I foresee a marked deterioration in American music and musical taste, an interruption in the musical development of the country, and a host of other injuries to music in its artistic manifestations, by virtue – or rather by vice – of the multiplication of the various music-reproducing machines.
— John Philip Sousa, “The Menace of Mechanical Music,” 1906
The latest copyright discussion to break out on the Internet was the result of a post on the NPR radio blog by one of their interns, Emily White, entitled I Never Owned Any Music To Begin With, in which she says she has purchased about 15 CDs in her life. Here’s the crux of what she said:
As I’ve grown up, I’ve come to realize the gravity of what file-sharing means to the musicians I love. I can’t support them with concert tickets and T-shirts alone. But I honestly don’t think my peers and I will ever pay for albums. I do think we will pay for convenience. What I want is one massive Spotify-like catalog of music that will sync to my phone and various home entertainment devices. With this new universal database, everyone would have convenient access to everything that has ever been recorded, and performance royalties would be distributed based on play counts (hopefully with more money going back to the artist than the present model). All I require is the ability to listen to what I want, when I want and how I want it. Is that too much to ask?
Seems like it was for some people