The recording industry vs. consumers: Dealing with the perception of piracy

A conflict can readily be observed regarding the increasing copyright restrictions within the music industry, versus the increasing amount of ‘hackers’ and piracy that are associated with said music. The recording industry follows the popular belief that ‘hackers’ are stealing music through applications such as Napster and Limewire, hence the increase in copyright laws and legislation regarding the music industry. This perspective could possibly be altered through proven research and consumers working together to demonstrate the positive benefits of obtaining a cultural commons. Music is not simply a material object such as a toaster or a computer; music encompasses and creates a culture bringing people together physically, and over the Online community where music can be discussed and exchanged between users and consumers.

As Condry (2004) notes, focusing on fan participation in media success could implement an alternative perspective regarding how to encourage flourishing music cultures, rather than simply focusing on the business and financial aspect of the music industry. This reflects the thoughts of McCourt and Burkart (2003) who note how cultural production is driven more by business models and legal frameworks (copyright restrictions) than it is by consumer/audience desires and practices. If this were the case, music would be more readily available and accessible to users who want to access this music; instead, users who are regarded as ‘hackers’ by the music and recording industry are penalized for their desire to access music. Bradley (2006) remarks upon the importance of ease of use and access that is afforded to “regular folks” in terms of digital media and technology. If consumers are not able to access digital media and technology, how can they use or enjoy such media to create a cultural commons that is so heavily associated with music and media?

A possible suggestion, as made by Condry (2004), is to distinguish an alternative compensation system for musicians and those working within the recording industry, rather than these individuals simply relying on the financial and economical means they earn through direct expense of their music by their consumers, which clearly, they cannot always afford. The underlying concept is to devise new strategies in which artists and entertainment companies are supported in order to offset the losses attributable to unauthorized copyright. Such a suggestion could also potentially decrease the negative consequences associated with expanding enforcement of intellectual property rights.

          It is also important for those working within the recording industry to note that success of artists and musicians does not rely solely on a desire to make money. Piracy cannot be put at exclusive fault for the perceived fall of the music industry as artists are not only supported through the protection of digital content. Decreasing overbearing copyright laws and restrictions may not even affect the music industry as detrimentally as they seem to believe; a lot of music is already available for free, yet people still pay for music by buying CDs and purchasing songs through applications such as iTunes. Downloading a CD is not the same as shoplifting as the media is still available even after an individual user has accessed it (Condry, 2004). The recording industry must see why people want music in the first place; music creates social bonds, further expanding upon the concepts of culture and a cultural commons where individuals can feel connected through the access to content without the hassle of copyright laws and restrictions.

References
 

Bradley, D. (2006) Scenes of Transmission: Youth Culture, MP3 File Sharing, and Transferable Strategies of Cultural Practice. M/C Journal. 9(1).

Condry, Ian. (2004). Cultures of Music Piracy: An Ethnographic Comparison of the US and Japan. International Journal of Cultural Studies. 7 (3), pg. 343-363.

 

McCourt, T., P. Burkart. (2003). When Creators, Corporations and Consumers Collide: Napster and the Development of On-line Music Distribution. Media, Culture & Society. 25 (3), pg. 333-350