YTSEJAM Digest 2016
Today's Topics:
1) Fanning the Flames....
by Adam Barnhart <adamb@cfmc.com>
2) Re: YTSEJAM digest 2014
by acook@tiac.net (acook)
3) EastWest, Spock's, etc.
by The Digital Man <cmerlo@cs.uvm.edu>
4) Re: YTSEJAM digest 2010
by "IbnzRG570" <ibanez@mailhost.cyberhighway.net>
5) Re: YTSEJAM digest 2015
by "Richard A. Rivera" <rrivera@zoo.uvm.edu>
6) Re: What the paycheck is for...
by "IbnzRG570" <ibanez@mailhost.cyberhighway.net>
7) Mike Portnoy Instructional Vid.
by lsprague@i84.net (Lee T. Sprague)
8) GC on TTT
by Rick Audet <ytse@cris.com>
9) top 5 poll...
by John Hough <jhough@mindspring.com>
10) Heather continues to babble as usual
by Heather Powers <ladydragon@earthlink.net>
11) Re: top 5 poll...
by Syrinx <syrinx@dreamt.org>
12) clinic in Norfolk
by Jaime Kimpton <jaimekimpton@vwc.edu>
13) Re: YTSEJAM digest 2015
by Richard Warren <rwarren@memphisonline.com>
14) Re: Heather's post
by "Vincent G. LuPone" <vgl@u.arizona.edu>
15) Ummmmmm
by "Ryan P. Skadberg" <skadberg@wicked.stigmata.org>
16) THE FINAL WORD ON BOOTLEGS
by durnik <durnik@goodnet.com>
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Date: Mon, 11 Nov 1996 15:52:26 -0800
From: Adam Barnhart <adamb@cfmc.com>
To: ytsejam@ax.com
Subject: Fanning the Flames....
Message-ID: <199611112352.PAA15228@main.cfmc.com>
Pitching in some comments of indeterminate value:
Knowing musical theory is a tremendous tool. Not every musician has studied
the nuances of theory -- Vangelis, for one, is a guy who writes pretty
literate music without being particularly literate. That having been said,
the more you KNOW about music, the easier it is not only communicate musical
ideas to others, but to transition between those ideas in your head. The
more oblivious one is to musical knowledge, the more one has to reinvent the
wheel as a musician. Sometimes these people create wonderful new
wheels...but it takes them a LOT of time to build a car. You can pick your
tools of learning, but most people use tab or videos or friends showing them
how to play one thing or another.....this is a learning tool. It isn't
necessarily theory-proper, but it IS musical information. And having that
information at hand is VITAL to being a good musician, no matter how you
couch it. When I was a busier musician, I was the most schooled musician in
my band...and a primary writer. Basically, it was a nice mesh of the
moderately-well-informed, self-taught musician and the schooled,
classically-trained musician. And it worked out very well...we had very
complimentary skills. For example, if my co-writer came up with some
wonderful riff, I'd be able to better set a chord background for it, figure
out what kind of modulations we might want to use in the song, and come up
with a countermelodic bass part. But it was certainly a fruitful pairing,
if only because there was both some talent and some knowledge with which to
communicate. Nothing wrong with knowing what you're doing....I really can't
agree with the idea that knowledge ruins the soul of a piece of music.
I've never really like Ibanez basses....I've never picked one up in a store
that sounded worth a damn. However, a friend of mine bought an Ibanez a
while ago and it sounded great....like that classic Steve Harris sound --
far richer than I'd gotten used to from them. Doesn't quite sound like an
Alembic or Pedulla or a Wal, but awfully good. I guess it's one of those
things....you can get a tremendous deal for the money if you just poke
around. Guitarwise, obviously, they're a little stronger. Better quality
control, I'd say.
Adam D. Barnhart
adamb@cfmc.com
ydnt85a@prodigy.com
------------------------------
Date: Mon, 11 Nov 1996 19:54:55 -0500 (EST)
From: acook@tiac.net (acook)
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 2014
Message-ID: <199611120054.TAA29764@zork.tiac.net>
>
>Anyway, the funny part was that not only was poor Mr. Johnson, an
>otherwise astounding performer, way out of his league with the
>pseudo-jizz-jazz riff-raff he was playing against Vai and Satch, his
>whole rig quit on his in the middle of a "burning" solo in front of God
>and everybody!!! I felt sorry for him. I think his ES-335 (a big jazz
>guitar) burned out on him--he didn't use it for the rest of the night
>until towards the end of his section... Otherwise he was good.
No offense or anything, but Johnson is leagues ahead of Satriani and
sometimes even Vai when it comes to advanced guitar soloing. Satch is great
and all, but it's mostly pentatonic and tapping tricks. That
"pseudo-jizz-jazz" you're referring to is called putting melody into solos
instead of jerking off on the whammy bar all night. Don't get the wrong
impression, I love all of them almost equally composition wise, but I
USUALLY find Johnson takes the cake when it comes to pure guitar playing. I
don't hope to start a war with this, so I'll just say this is my opinion
(even though it's not and I'm completely correct and have evidence to
support this statement) :)
Adam Cook acook@tiac.net visit me at, http://www.tiac.net/users/com (hard
hat construction area!)
------------------------------
Date: Mon, 11 Nov 1996 19:56:02 -0500 (EST)
From: The Digital Man <cmerlo@cs.uvm.edu>
To: Ytse Jam <ytsejam@ax.com>
Subject: EastWest, Spock's, etc.
Message-ID: <Pine.3.89.9611111940.C19962-0100000@griffin.emba.uvm.edu>
> From: "(: Nicole or Ken :)" <stachowic_n@UHDVX3.DT.UH.EDU>
> Subject: Re: Mike Portnoy clinic in Dallas (& other stuff)
>
> I'm assuming that DT will stay with the same record label Eastwest
> Records America Division of Atlantic Recording Corporation. If I'm right
> (and I have no real way of knowing :) they can be reached at
DT will most likely stay with EastWest. However, EastWest did not stay
with Atlantic. Shortly after ACoS was released, EastWest somehow wound
up becoming a subsidiary of Elektra. Hence, I assume the snail-mail
address is wrong. Try the web - it's gotta be there somewhere.
----> From: BILL HUSTON <HUSTON@IOMEGA.COM> > Subject: TTT demo, LATM, and other DT content > > Spock's Beard would be a great opener for DT. I have the CD and, > although it is very different from them, think it's one of my faves. > Also it is because they are so different from DT that I think they > would be very good as an opener. They're still very much prog just in > a different direction.
Not that I wouldn't go see DT even if the funny-looking old guy that plays clarinet on Church St. here in Burlington were opening, but if Spock's were to open for DT, I would quit school and follow them around the country.
Of course, if the opener were one of the many people that play pan-flute out here on Church St, I wouldn't go. :) (Yes, there are *many* different people that play pan flute on the street here. Where the hell would you buy one of those things, anyway??)
----
> From: Pat Griffin <c675311@everest.cclabs.missouri.edu> > Subject: New Survey! > > Hi everyone, I've decided to do a survey. Everybody email me ASAP with a > listing of the top five pointless surveys of the year (yes, you can > include this one). Remember, don't respond to the 'jam, instead send all > the lists to d-man@dreamt.org Thank you all for your time.
The funniest thing happened. I sent off my survey answer, and it came back to me. Hmm. I guess that means that THOSE OF YOU THAT ARE SARCASM-CHALLENGED SHOULD NOT TAKE THIS SERIOUSLY OR YOU MIGHT INCUR THE WRATH OF THE FIRST MAILBOMB PROGRAM I FIND.
:)
------------------------------------------------------------------------ The Digital Man \|/ ____ \|/ Secretary & Webmaster cmerlo@cs.uvm.edu "@'/ ,. \`@" UVM Comp Sci Student Assn d-man@dreamt.org /_| \__/ |_\ "He won't need a bed http://www.emba.uvm.edu/~cmerlo \__U_/ He's a digital man" - Peart ------------------------------------------------------------------------ Maintainer of the Official Dream Theater Frequently Asked Questions List http://www.emba.uvm.edu/~cmerlo/dtfaq.html
------------------------------
Date: Mon, 11 Nov 1996 17:59:21 +0000 From: "IbnzRG570" <ibanez@mailhost.cyberhighway.net> To: ytsejam@ax.com Subject: Re: YTSEJAM digest 2010 Message-ID: <199611120105.SAA09548@cyberhighway.net>
> Pat wrote: > > The way I understand it, it's because he doesn't like people passing around > > copies of what may be "sub-standard" performances. > > There are two ways in which John Petrucci might solve this problem: > > - Get Mike Bahr arrested, and beat up anyone who brings a tape recorder to > a DT show > > OR > > - Don't play any sub-standard performances. > > Which do you think would be easier?
That's kinda tough for John hearing how he's fallen off the stage a couple of times. :) (Luckily, no knjuries)
Anyone got this on video? I bet he'd love that!
IbnzRG570 aka Mr. Chuckalupugus
"Life is Precious. All of life. And one must try to take in as much of it as possible." -- Yanni
"Life sucks." -- Butthead "Yeah, yeah! And then you die!" -- Beavis
------------------------------
Date: Mon, 11 Nov 1996 20:08:10 -0500 (EST) From: "Richard A. Rivera" <rrivera@zoo.uvm.edu> To: ytsejam@ax.com Subject: Re: YTSEJAM digest 2015 Message-ID: <Pine.A32.3.91.961111200328.137310B-100000@gnu.uvm.edu>
On Mon, 11 Nov 1996 ytsejam@ax.com wrote: > > I'm assuming that DT will stay with the same record label Eastwest > Records America Division of Atlantic Recording Corporation. If I'm right > (and I have no real way of knowing :) they can be reached at > > Eastwest Records America Division of Atlantic Recording Corporation > 75 Rochefeller Plaza > New York, NY 10019 > > ..or so it says on the back of ACoS :)
Just to clarify, Eastwest is technically now owned by Elektra, which is part of WEA (Warner Bros, Elektra, Atlantic). The switch happened sometime after Awake was released, and I am thoroughly confused as to why the CD says otherwise. I'll look into this...
Richie (who hopes to one day attain "bar band" status)
------------------------------
Date: Mon, 11 Nov 1996 18:18:07 +0000 From: "IbnzRG570" <ibanez@mailhost.cyberhighway.net> To: ytsejam@ax.com Subject: Re: What the paycheck is for... Message-ID: <199611120124.SAA12543@cyberhighway.net>
> Here's the thing that gets me, though... How come I pay for a ticket, my > right to admission, but I can't tape anything or take photographs, even > if it's solely for my own use? Didn't I buy the right to that > experience? There are other businesses that allow me to create mementos > of my visit for personal, non-commerical use.
Yeah, but I don't think people would be paying $25+ a pop for a picture of you and your family at DisneyLand (No offense, maybe they would) :)
I still agree that bootlegs are fair enough. Noone gripes at the forums that make a profit because of the bands. Look at how much they charge for refreshments for crying out loud! Besides, I'm sure alot of places totally rip off the bands by charging them more than the cost to play there. I can sympathize with the bands about money, poor performances, etc. the only time I ever pay for bootlegs is when there is RARE stuff, that you'll likely never see on a future live or studio release. Trading is a much better way to deal with bootlegs, IMHO. I even give away copies when I'm in good moods. :)
IbnzRG570 aka Mr. Chuckalupugus
"Life is Precious. All of life. And one must try to take in as much of it as possible." -- Yanni
"Life sucks." -- Butthead "Yeah, yeah! And then you die!" -- Beavis
------------------------------
Date: Mon, 11 Nov 1996 20:49:51 -0500 From: lsprague@i84.net (Lee T. Sprague) To: ytsejam@ax.com Subject: Mike Portnoy Instructional Vid. Message-ID: <v01510100aead86fcfea6@[206.148.160.34]>
Does anybody know of (or have) an instructional video for drumming with Mike Portnoy on it? A long time ago I read an interview with him saying he was going to do one for DCI or something. I then thought I heard he was going to be one of *several* artists on an instructional video, but not the only one. I have not seen any with him even listed.
Please help me!!
Lee
......------''''''-----..... /,\ ......-----'''''' ''''''-----....... \ /| / ___ _ ___ ___ ___ ___ ___ _ lsprague@i84.net /| |\ | \ | >|_ /\ |\/| | |_||_ /\ | |_ | > /| |\ _|_/ | \|__/ \| | | | ||__/ \ | |__ | \ GO PACKERS!(8-1) /| |\ /| |\ ......------''''''------..... /| |\ ......-----'''''' ''''''------......./ |/,\ \_/
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Date: Mon, 11 Nov 1996 20:52:40 -0500 (EST) From: Rick Audet <ytse@cris.com> To: ytsejam@ax.com Subject: GC on TTT Message-ID: <199611120152.UAA12418@cliff.cris.com>
Brain Cox pointed out,
>somebody asked about boot with gc singing with dt. > >as far as i know, most if not all of the summer '93 dates where >gc opened for dt had the guys on ttt. also, they joined the band >for ttt in housotn on 11/18/94. those were probably all the times.
Ah yes. The 2 CD boot "Lords of Sound", recorded in Milwaukee 6/29/93, indeed has GC singing backup on TTT. Sounds like they didn't have mics to sing in, so they had to really belt it out and hope to get picked up by a nearby mic. At the end of the tune, however, it sounds like they all huddled around James' mic to sing the outtro "Taaaaaaake The_____ Tiiiiiiiiiiiime!" because the voices are clear. Interesting that GC sounds just like they did on LiT singing TTT. I guess it really was them.
Now Playing: Power of Omens, "Demo '96"
-Rick Audet
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Date: Mon, 11 Nov 1996 21:49:03 -0500 (EST) From: John Hough <jhough@mindspring.com> To: ytsejam@ax.com Subject: top 5 poll... Message-ID: <199611120249.VAA07852@answerman.mindspring.com>
Well how's it going in the land of the jam? I have been kind of lurking lately because well... there's nothing on this list that I HAVE to come back and check out every day like I used to. For those of you who don't know me, I can lurk on this list considering I have been on it for 2 years. I usually read about 5 jams every 30 or so just to see what's the latest on the band (yeah right) and other threads. Korn and Theory are the hot ones this week. Well I refuse to argue Korn, not worth it, and Theory is cool if you know it, but if you don't hey... you still can play and that's what it's all about right...
The main reason I am sending this is to say that I just saw the list of the cd's that are getting nominated for the best of the year, and I would like to express my disappointment that not one of the cd's I am voting for were on the list. I guess the 80's early 90's style metal is still good only in my eyes now. Oh well. The only disc I voted for that is not by an 80's metal band or in that style was Kenny Wayne Sheppard's "Ledbetter Heights". If you like rocknroll style blues like SRV, Chris Duarte... then check out this disc. This guy is <i think> 19 years old and man can he play. If anyone knows of any other blues players in this sort of vain, let me know please.
Waiting for the new discs from QR, Skids, and DT patiently.
John Hough jhough@mindspring.com www.mindspring.com/~jhough (Under serious construction) "Once upon A Time, I thought the world was mine alone." "Had no time to realize, it came without a warning at all." Gotthard - "Fist in your Face" - from the album "G" 1996
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Date: Mon, 11 Nov 1996 21:50:22 -0500 From: Heather Powers <ladydragon@earthlink.net> To: ytsejam@ax.com Subject: Heather continues to babble as usual Message-ID: <3287E5EE.2485@earthlink.net>
Heather never said "the bands make money from the performance " that was a quote that lost the <> :P All bands...local, national, or international have the right to claim royalties to their material. The clubs that Do have to pay royalties to ASCAP and BMI for the right to broadcast music and have live shows. However, if you look in a royalty payment booklet, the bands never see any of that money. According to BMI, this money is used to cover the expenses of running BMI without cost to the composer. I think thats an awful lot of money for them to be taking in, but who the hell cares what I think! What I as a composer am entitled to, is a portion of all money collected from sales, performance in a public domain(IE radio and TV) etc... I would be awfully pissed if someone was cutting into my $$flow with a tape recorder. Until Dream Theater themselves says "you may record our concerts" then you are going against thier wishes. I don't call anyone who goes against the direct wishes of a band...their fan ( remember that for when Im famous and you're in MY post area ;) ) -Lady Dragon
*****************still looking for a guitar player in NJ/NY/PA*********
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Date: Mon, 11 Nov 1996 22:12:12 -0500 (EST) From: Syrinx <syrinx@dreamt.org> To: John Hough <jhough@mindspring.com> Subject: Re: top 5 poll... Message-ID: <Pine.BSD.3.91.961111221115.7198J-100000@astro.ocis.temple.edu>
i have to agree with John's Kenny Wayne Shepard CD selection. I didn't chose it as a top 5, but it was definatly in my top 10. If you like SRV, you'll LOVE this kid. He sounds almost exactly like him. VERY reccomended from me.
____________________________________________ michael b. ostrich - musical consultant e-mail: syrinx@dreamt.org syrinx@wicked.stigmata.org syrinx@astro.ocis.temple.edu
"..and now you're trembling on a rocky ledge, staring down into a heartless sea. done with life on a razor's egde, nothing's what you thought it woule be.." - neil peart.
------------------------------
Date: Mon, 11 Nov 1996 22:48:13 -0400 From: Jaime Kimpton <jaimekimpton@vwc.edu> To: ytsejam@ax.com Subject: clinic in Norfolk Message-ID: <1.5.4.16.19961110233248.0e1f6d8e@mailhost.vwc.edu>
Just got back a little while ago. Got to hear "Just Let Me Breathe" and "Lines in the Sand," and Mike was also gracious to grant me an interview with what little time there was left at the end before the store owner shooed us out. With regard to the new CD stuff, he didn't say anything that hasn't already been posted here a dozen times already by people that were at previous clinics; as for the other stuff, well, you can read the interview when the next issue of Metropolis Watch comes out. :)
Which reminds me: when my computer crashed, my address book went with it. Fortunately, I have hard copies of most of them, but I *am* missing several. So if there are any of you on the Jam due for another issue (should be out in the beginning of the year), *please* send me your addresses (except JennieBear and Partha; I do have yours); I would feel really horrible if I had to lose someone due to that little catastrophe. :/
Jaime the Dragon, whose name is pronounced like the traditional "Jamie", except the way hers is spelled is more phonetically correct. :)
"Due to intense mind fog, all thoughts have been grounded."
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Date: Mon, 11 Nov 1996 22:21:06 -0600 From: Richard Warren <rwarren@memphisonline.com> To: ytsejam@ax.com Subject: Re: YTSEJAM digest 2015 Message-ID: <199611120421.WAA02677@ford.socomm.net>
>Ahh, good point. I stand corrected. I was under the impression that those >rights pertained to the *particular* recording being played. Does that mean >RUSH gets royalties every time a cut from Working Man (the tribute) gets >airplay? How about every time a "bar band" plays a cover-tune on stage? >
I am no expert on this subject but I believe the answer is yes. I know bars pay ASCAP, BMI, etc. for "bar bands" to play covers in their club. I not sure about Working Man tracks being played on the radio but I would be inclined to say they would be paid. I do not know if it is by the radio station or Magna Carta or what.
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Date: Mon, 11 Nov 1996 21:54:25 -0700 From: "Vincent G. LuPone" <vgl@u.arizona.edu> To: ytsejam@ax.com Subject: Re: Heather's post Message-ID: <199611120454.VAA19848@nevis.u.arizona.edu>
Standard Disclaimer--THIS IS NOT A FLAME!!
At 06:56 PM 11/11/96 -0800, you wrote: > Until Dream Theater themselves says "you may record our concerts" then >you are going against thier wishes. I don't call anyone who goes against >the direct wishes of a band...their fan ( remember that for when Im >famous and you're in MY post area ;) ) >-Lady Dragon
First off Heather, Michael Portnoy himself purchases bootlegs from Mike Bahr. Heather, I am a true "fan" of several bands and I also love bootlegs. I love bootlegs because they are additional material by a certain band. I do not use them as a supplement for anything. I still go to concerts when they tour, and I still buy all the band's albums. I just also buy boots because they contain cool stuff. For example, I'm a big Metallica fan, and I have all their albums. But they also put on a kick ass live show. Along with their live box set, I have a few bootleg videos and CDs of them from various years. I do this because I want as much Metallica stuff as I can afford, and it's cool to hear a band do different things that they do live in different venues. I'm also a big DT fan, and let's not forget--without our (I'm including myself here, even though I'm just a ytse-newbie) bootlegs of ACoS, the song would've never been OFFICIALLY released. I'm sure you know that story, so I won't go into it. For the most part, bootlegs are a good thing (IMHO). There are very few people I know of that would buy a bootleg CD for around $25 rather than paying $15 for a studio album which contains much better versions of the songs. That just doesn't make sense. I prefer to have both. I hope my comments haven't fallen on deaf ears or closed minds!
>*****************still looking for a guitar player in NJ/NY/PA********* > Wish I could help, but I'm in Southern Arizona.
Peace be with you and God bless.
~Vince
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Date: Tue, 12 Nov 1996 00:17:36 -0500 From: "Ryan P. Skadberg" <skadberg@wicked.stigmata.org> To: ytsejam@ax.com Subject: Ummmmmm Message-ID: <199611120517.AAA03676@wicked.stigmata.org>
1 2 3 4 5 6 7 8 9 10 11 12 13 14
OK, we got everyone, lets go :)
Skadz
PS - this is an amazingly inside joke, but i am hyper, so deal :P
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Date: Mon, 11 Nov 1996 22:19:33 -0700 (MST) From: durnik <durnik@goodnet.com> To: ytsejam@ax.com Cc: durnik@goodnet.com Subject: THE FINAL WORD ON BOOTLEGS Message-ID: <199611120519.WAA03073@goodguy.goodnet.com>
OK, can we all agree that I have a pretty good knowledge of bootlegging law, based on the fact that I and my lawyers were preparing to defend me against it? Good. :)
Let's be perfectly clear right away: Bootlegging, that is to say, the act of recording and/or reproducing live performances >>> WITHOUT PERMISSION <<< is quite illegal. And that's about the size of that. Once the act of recording or reproduction is done with permission, as with the Queensryche shows of 1995, it's no longer under any legal directive, though I have no doubt that Queensryche reserves a blanket non-permission on reproduction of those tapes for profit.
Now then, bootlegging is NOT THEFT. No physical article, person, deed, or license is being permanently transferred. As with the case of software piracy, when a person can duplicate something without in any way affecting the original, it is COPYRIGHT infringement. Which is to say, if the copyright holder cares to pursue the infringer, they basically have the deck stacked in their favour, but if they never do anything about it, nothing is going to happen.
Now then, what about royalties. Clubs that allow cover performances pay a blanket generic fee to ASCAP/BMI for the right to have the performances, and those funds are distributed proportionally amongst the bands already earning royalties on the other playings and public performances of their copyrighted songs. Whenever a song is played on the radio, or anywhere really, if it ain't by the band, a royalty is paid, somehow, someway. You'd be amazed at the amount of efficiency with which they handle the process, too. It also explains away the reason why some choice CDs are mysteroiusly absent from club DJ shelves, or playlists... the bands can choose to have ASCAP deny the rights to play those songs to prospective royalty payers. Why a band would refuse an _offered_ paycheck is anyone's guess... this last bit really isn't a problem with the bands we care about, who are lucky to make rent (KX, GC, SG, FW, etc.)
Tickets to concerts are contracts indeed, and the terms pretty much always include the agreement not to tape it at all. There are now exceptions like Metallica and Queensryche. But by and large, it is indeed copyright infringement just to tape it for yourself. Pretty lame eh??
Now it comes down to whether it's right, wrong, or whatever. I have yet to see why major bands and major labels even care. I mean what do they even do with that extra million? "Oh, throw it on the pile, I guess." Music sales is a multi-billion dollar a year industry. Make no mistake, those people at Atlantic are driving Jaguars, even though the starving spiritual troubadors of King's X earned them their money and then got left out in the cold. CDs for mass-consumption are made in print runs of millions... or in minimal cases, tens of thousands. Otherwise would the concept of a "platinum album" even exist? Considering that most bootleg print runs of more than 1000 discs are considering enormous and long-term, the argument that bootlegging even begins to dent the market share of the performer is completely washed up. I have yet to print 1001 or more of any given disc because bootlegs are the niche niche niche of niches of niche market. :) Virtually nobody even knows about them, and fewer care. That's why the only efforts to suppress the industry have been: a.) legislative, and, b.) A-Current-Affair styled token busts and "stings" set up to get a soundbite played on cable and "scare the smugglers".
Meanwhile, the small struggling band has music that hasn't even broken through yet. To think that a new buyer wants an _inferior_ recording of that is ludicrous. The truth is that 99.9% of all bootlegs are bought by hardcore fans of the bands who have several, if not all, of that band's albums already. With that in mind, boots make the band's fans even MORE hardcore. It's human nature: when you hear a boot with a fuckup on a bad night by the band, you've got your own "little secret" about the band and you love to show it off to other fans. It's the way we are.. "I know something you don't know." And when that knowledge is in the context of an industry and pastime that is fan- and publicity-oriented, the combination is like sparks on gasoline.
So is bootlegging illegal? Yes. What happens as a result of bootlegging? An edict written into law is disobeyed, and further "ripple" effects are minimal, if even measurable, on the negative side... and minimally but marginally positive. Has someone lost profits or property? No. What about lost royalties? Well, if the bootleg owner didn't have his or her bootleg, it's doubtful in the extreme that they would have applied for the license to reproduce, so no. This is the same argument that flattens the software industry's claims that they lose $10 billion a year to piracy. Here's how they find those numbers.
1. Joe Blow downloads Super Mario 9 to check it out. Go to 2. 2. Joe, being a seasoned pirate, does one of the following: a. Hates the game because it sucks. Go to 3. b. Loves the game, and buys it to have the docs/maps/etc. Go to 4. 3. Super HoloSoft claims it as "$70 in lost revenue", because Joe obtained the game, even though Joe would NEVER have bought it outright, and Joe isn't even using it anymore. Go to 4. 4. And yet a copyright has been infringed. On paper, this is a crime. Tangibly, NOTHING HAPPENED.
So bascially what the music industry is saying when they tell us that they're losing money to me, is that:
"If Mike Bahr didn't make his special CDs, clearly all those Ytsejammers would spend the money instead on 14 more Awake CDs!"
Is it just me, or does the fallacy of bootleg law become readily apparent to all?
This isn't in the Constitution or the Code of Hammurabi or whatever because for the only time in the history of the world, it's been possible to take an exact "ghost" of something, a working complete article, without in any way affecting the original article. Software and music bootlegging is a victimless crime, but a crime nonetheless. Should you stop? I'd say no, but it's your decision to make, and I would not seek to decide it for you.
- Mike Bahr - durnik@goodnet.com - ASU Sun Devils 10-0, PAC 10 Champs!
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End of YTSEJAM Digest 2016 **************************
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