Musik muss sich bewegen und verändern können.
Mir ist eins klargeworden in den nun schon zwei Jahrzehnten, in denen ich Hunderte von Songs veröffentlicht habe... Die Politik soll sich bitte heraushalten. Die Regulierung des Internets, Zensurmassnahmen, neue Gesetze, die Stasimethoden zulassen ...all das verkrüppelt das Internet. Wir brauchen keinen Überwachungsstaat.
Ich will nicht, daß meine Songs von Männern mit Gewehren verteidigt werden, denn darauf läuft es hinaus, wenn sie einen Jugendlichen wegen 'illegaler' Downloads vor Gericht zerren.
Since their release in 1978, hit albums like Bruce Springsteen’s “Darkness on the Edge of Town,” Billy Joel’s “52nd Street,” the Doobie Brothers’ “Minute by Minute,” Kenny Rogers’s “Gambler” and Funkadelic’s “One Nation Under a Groove” have generated tens of millions of dollars for record companies. But thanks to a little-noted provision in United States copyright law, those artists — and thousands more — now have the right to reclaim ownership of their recordings, potentially leaving the labels out in the cold.
In the ongoing conflict between PRS for Music and YouTube over the takedown of all music related content in the UK, PRS for Music have created a new site, fairplayforcreators.com, exposing the views of the music writers impacted by the YouTube decision. I am not certain if these views have been editorially compromised, but by reading a few pages, it's clear to me that Music writers represented by PRS for Music are largely clueless about what the Internet and YouTube means to the music industry. Kind of explains why the music industry is in such a decline — and also why so much litigation takes place on the music writers' behalf.
A feature of UK copyright law is that ripping songs from a CD isn't allowed. That could change soon as Lord Triesman, Minister for Intellectual Property, announced a consultation on IP reform that could make format shifting a legal right.