So, you think that, because the major record labels have stepped up their game and started exploiting musicians further and through different channels, the right thing to do is keep feeding them cash? Give me a break. Your critique is targeted only at the issue as it pertains to artists working for major record labels. My whole point is that the recording industry was controlled an unstable monopoly based on price-fixing and exploitative contracts from the beginning, and supporting them does not, in any way, equal helping artists.
Although I'd prefer not to dredge this into a petty back-and-forth ad hominem contest, it may be your sense of the industry that is incomplete. Many smaller labels are turning to free digital releases, treating these as a form of cheap and highly effective advertising, and still selling enough physical recordings and merchandise to make a profit, all while giving a larger portion of the revenues to artists. By presenting the situation as false dichotomy between "stealing from artists" or not, you ignore the fact that there may be a better model for the industry as a whole, with more equitable sharing of profits, and you also ignore the incalculable social benefits of free and open access to information and artistic works. In the real world, moral choices are complex, and often you are presented with the choice between two bad things, supporting a fundamentally corrupt and exploitative recording industry that is expropriating profits through collusion and unethical business practices or possibly taking some money away from some people.
> So, you think that, because the major record labels have stepped up their game and started exploiting musicians further and through different channels, the right thing to do is keep feeding them cash?
No. You're putting words in my mouth, and are seemingly incapable of understanding that the works of small, struggling, middle class bands--the kind who have always treated each other well--ALSO get pirated, and that those declining revenues have an impact on their lives.
Bands and labels that are small, indie, and love their audiences are not fighting piracy because they don't want to demonize or create conflict with their fans. Their fans reward them for that by taking money out of their pockets by getting their albums for free from a pirate site instead of paying the actual artists.
And worst of all, they think they're doing the artists a favor by doing it!
Of course bands and labels are releasing music for free now. What other choice do they have?? You can't fight a tsunami. They are making do with less because they have to. That doesn't mean it's objectively a good thing for the industry or the artists.
You're not alone. There is this amazingly powerful Stockholm syndrome where young artists have been convinced by people way outside the music industry (primarily technology) to argue vociferously against their own self-interest.
It's one thing to choose to give away your music for free as marketing--that's always been legal and always will be. And it's not a new or innovative idea...the radio has been doing it for 50 years.
It's another thing if you're trying to sell albums, and the albums are really popular, but you're still not making enough to do basic middle-class things like buy a house, take a vacation, have kids, save for college, etc. Meanwhile, everyone else in the ecosystem gets rich: ISPs, electronics manufacturers, software producers, websites that run ads, etc. Music labels are not the only companies who can exploit musicians.
Although I'd prefer not to dredge this into a petty back-and-forth ad hominem contest, it may be your sense of the industry that is incomplete. Many smaller labels are turning to free digital releases, treating these as a form of cheap and highly effective advertising, and still selling enough physical recordings and merchandise to make a profit, all while giving a larger portion of the revenues to artists. By presenting the situation as false dichotomy between "stealing from artists" or not, you ignore the fact that there may be a better model for the industry as a whole, with more equitable sharing of profits, and you also ignore the incalculable social benefits of free and open access to information and artistic works. In the real world, moral choices are complex, and often you are presented with the choice between two bad things, supporting a fundamentally corrupt and exploitative recording industry that is expropriating profits through collusion and unethical business practices or possibly taking some money away from some people.