Loot (was looking for 2 tango's)

[Jai Jeffryes <doktordogg @YAHOO.COM>]

--- Hannes Rieger <hrieger @GMX.DE> wrote:
> Stephen Brown wrote:
>
> > Some DJs in Buenos Aires use old recordings to
> produce private CDs that
> > contain tangos, valses and milongas that are not
> available on commerically
> > released CDs.  These private releases can be
> purchased directly from the
> > DJ.  That may be the case for La Cicatriz and La
> Zandunga.
>
>
> Exact (at least in one case). Whereby I sometimes
> ask myself, whether
> this offends some copyrights, especially if you use
> it on public events
> link milongas.

Of course it does.

The domain of intellectual property rights is the new
Wild, Wild West.  Bootleggers ignore the legitimate
property claims of artists who create content.
Burning CD's and giving them to your friends is a
violation of a property owner's exclusive right to
publish.  So is selling them, unless you have
purchased something called a mechanical license from
the publisher.  Playing them in public without
purchasing a blanket license from a performing rights
licensing agency violates an owner's exclusive right
to perform.  These rights are excusive, meaning you
must get permission from the owner who doesn't have to
award the permission, because they are defined as such
by law.  These laws were enforceable when distribution
was controllable.

CD burners aren't the only tool for infringement.  MP3
files and peer-to-peer networks (P2P) are the big
brothers of burners.  Napster was a modern Pandora's
Box.  The legal action against them, the fledgling
security initiatives for digital media, and so on are
all (probably futile) efforts to close up the Box
again.

It will never be the same for musicians.  Nobody has
to buy what musicians labor to produce and which they
legally own.  If you examine the entertainment press
(Billboard and Variety for starters) you will see that
movie studios are also hysterical with fear because
they're next for the guillotine of peer-to-peer
networking.  The only thing preserving them from the
wholesale piracy that has ravaged the music industry
is limitations to bandwidth.  As soon as you can
download the digital file for a full length feature
film in a reasonable amount of time, the landscape of
Hollywood will change, too.

If movies can't be sold to consumers, then nobody will
be able to afford the tens of millions of dollars it
takes to produce blockbuster films.  This same economy
constrains music production today.  More specifically,
it constrains the release of tango recordings that
have not yet been released on digital media.  Since it
is hard for owners to recoup their investment, you are
more likely to obtain that music as contraband from
pirates.

Some tango DJ's flout the law fearlessly because
nobody has the resources to prosecute them.  Some DJ's
even market their loot unabashedly on the web.  When
we have seen looters rampage in riots, it is easy to
recognize why law enforcement officials can do little
but stand by helplessly.  The mayhem is far too large
to control.

There are two essential differences between the
looting in, say, the LA riots and the looting of
intellectual property.  One, looting of intellectual
property doesn't produce visible, physical damage like
smashed storefronts.  Two, looting of digital property
has resulted in economic losses vast in comparison to
the meager losses caused by looters in riots.

The morality is identical.

Jai Jeffryes

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