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The only way that an effective boycott of RIAA is going to happen is if:

1) Everyone knows about it - how many people actually know about the problems RIAA is causing? It's all very well and good to preach to the choir on NF and<nobr> <wbr></nobr>/. but it IS preaching to the choir. Perhaps we should ask ourselves what is an effective method of reaching beyond this arena and getting the message out to the real world in a manner the real world can understand.

2) It's all very well and good if a few people boycott RIAA (that'll show em!) - I myself quit buying music a couple of years ago (and I don't download, either). What's going to have to happen is that it starts affecting pocketbooks in a very real way. That means boycotting radio station, advertisers, distributors, sellers, etc. It may have to go even further - boycotting consumers of music as well such as bars, malls, and anyone else you can think of. And letting them know why.

3) It will have to be sustained - not one day, or even one week. A month or even a year is more likely. This is not something you can cheat on - you have to be serious about it.

4) Find an acceptable way for artists who aren't represented by RIAA companies to make a living. Some artists do try to make a living with their music - it's a time-honored tradition. The method needs to be something that is neither burdensome on the consumer, the middleman, or the artist. That artists should be paid for their work is, oddly enough, the only thing I agree with RIAA on.

We have reached a point in our society where the individual doesn't have a real voice, but the masses do. So if 100,000 people in New York suddenly quit consuming music from RIAA members, they're going to take notice. If 10 million people across the US stop consuming music, they're going to panic. Especially if the reason is publicly known.

This is the reality I fear we are faced with.

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The problem with a boycot is that the RIAA will just try to blame the lost sales on piracy, using it as evidence for even more draconian anti-piracy laws.

That being said, the sooner we drive the RIAA out of business, the better. http://www.dontbuycds.org/

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I doubt seriously they would be able to blame it on piracy if consumers started boycotting anyone who associated with RIAA, if it was well-publicized. A peaceful mob standing around outside Hastings with signs is probably not engaged in piracy.

In order for a boycott to be truly effective, it has to strike the pocketbooks of the target, but the target must know beyond all doubt that it is being boycotted. I'm not talking about just not buying music, but making it very obvious that music is not being bought or consumed in any manner.

How long do you think it would take ClearChannel to call RIAA if 1 million listeners called the various stations to tell them that they were no longer going to listen to any ClearChannel station that played music by a RIAA artist?

How long before BMI/ASCAP take some sort of action because malls/restaurants/other venues are complaining about consumers staying away because BMI/ASCAP collects royalties to line RIAAs pockets?

We're not talking just a boycott of RIAA, but a total boycott of anyone who uses or consumes anything that RIAA produces. Yes, there would be collateral economic damage, but nothing gets a real-world merchant to take action on behalf of his or her patrons than the potential loss of sales (obviously exluding RIAA).

Apparently, there's enough independent music out there to satisfy the needs of the people most likely to actually take this action. Why not put it to the test?

Burn RIAA and affiliates to the ground financially. From the ashes, we can build a new, more human recording industry.

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But do they really need to charge $15 for each CD? Let's be honest, it only really costs a few cents to make each CD, the jewel case is dirt cheap, and so is the tiny little booklet they supply you with. The artists could certainly be making much more money than they are now. If CDs were $5, and $3 of that went to the artist, they'd still be rich. The RIAA wouldn't be as rich but it'd still have plenty of money. What is their function anyhow? What purpose does the RIAA really serve? To make money?

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The RIAA was effectively a music production-to-distribution cartel.

Previously, an artist presumably needed assistance in recording their work, someone to sort out all those tedious manufacturing details and the distribution to retail. In order to make it a profitable exercise, volumes probably had to be significant, especially if the middlemen (ie. record companies) took a cut for making it all happen. Thus, promotion supposedly became necessary to hype up the artist in order to get those volumes.

But now, with widespread availability of manufacturing, or the absence of it given digital distribution which itself removes the need for middlemen to exert their influence at the retail level, the bar is lowered enough for many more people to get into music publishing and distribution.

So, back to the RIAA: they're just representatives of the old school end-to-end practices of the business, but arguably they only exert influence over the distribution side of it. Now that file sharing has come into the picture, their cartel risks losing the last foothold that they really have, since it's much easier for anyone to make and manufacturer music even using traditional media.

If people stop going to stores and buying top 20 "hits", the need for a traditional record industry will be threatened. Hence the RIAA are doing everything they can to prevent this. Does music and do artists really need the RIAA and the traditional record outfits? That's the objective line of questioning here.

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While materially it doesn't cost much to produce a music CD - there's more to it than what you put forth. There's the royalty the songwriter expects, the copyright holder of the song. Then each member of the band needs to be compensated as well as the lead vocalist. The manager, record label company, distributor, wholesaler, retailer and associated shipping companies. The advertising agencies like to get paid too.

However, I still think that $10 is sufficient - however this is a free market economy - they can and will charge whatever the market will bear.

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Something I've been very confused about is - What about the "IP" I've *already* paid for? I bought the "Dark Side of the Moon" LP years ago, then I bought the cassette at least three times, and the CD twice (wear and tear, etc.). If I paid for the "IP" the first time around, why am I repeatedly paying for it? Also, I'm damn certain that there was *no* EULA with the LP/cassette/CD saying that I was "renting" the IP.
Sounds like a good case for a class-action lawsuit to me...

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WOO!!! Semi-obscure Beatles reference!!
So now, it's "Bang! Bang! My MP3 player made sure that I was dead!"
Nice one, Roblimo!

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If you have such problems with RIAA, don't buy their products.

Myself, I've been converting tracker mods into MP3's to listen to on the bus. As I understand it, I'm also allowed to make mp3 cd's from material posted on mp3.com.

But the key thing in; if those people are such a problem for you, why not support your local musicians and performers, and tell the mass-produced-entertainment companies to go to Hell?

And, as for Congress extenting copyrights over and over again, or any number of other "people's issues," here's what I have to say:

If you don't like it, get busy and unseat the members who vote for these atrocities.

But then again, I saw an awful lot of people who didn't like George Bush vote for Ralph Nader. Real smooth move.

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But then again, I saw an awful lot of people who didn't like George Bush vote for Ralph Nader. Real smooth move.

ouch. thanks for reminding me.

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Give me a break.

Yes, be cautious about sharing your files with others on a mass scale.

But should you be worried about sharing them with a few friends and family members, or with yourself? (In the form of different formats?)

Please. Don't give up your rights so easily. A boycott isn't the answer. A retreat isn't the answer. Keep using your rights, and press those rights as far as you can to the extent of the risks you are willing to incur.

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An RIAA boycott is useless. No business will give in to a boycott if doing so will bring a hastened end to their business. Do you think the tobacco companies would give in to a boycott aimed at making them stop selling cancer causing products? Fortunately, a boycott is unnecessary.

Ccchips is on the right track about Congress. As was recently reaffirmed by the Supreme Court just this year in the Eldred Press case (championed by Larry Lessig), Congress has the Constitutional authority to set copyright law pretty much as it sees fit. In this case, the court allowed the extension of the copyright term to allow Disney to keep Mickey Mouse under copyright, but it could be a double edged sword. By well established legal precedent, Congress could set copyrights to expire after 10 years, or could set a legal definition of fair use that would explicitly allow non-commercial sharing of intellectual property.

Sure, much of Congress is in the RIAA's pocket, but that's because the RIAA doesn't face much real opposition. If enough people get fed up with the RIAA (and MPAA) and their tactics, and get organized and lobby Congress, you'll see change. Look at the NRA. They don't really have all that much money, and represent an industry that is much less profitable than the recording industry, but they have enormous influence. Why? They have (or claim) 3 million members, many of which are willing to contact Congress, and are willing to make their cause the deciding issue when they vote.

If Congress cut back copyright terms, I'm sure it would go to the courts, but the odds are against the courts over ruling Congress. The legal precedents are well established. And while the Constitution does provide protection against the government seizing property without compensation, rolling back copyright law isn't really a seizure, and the courts don't view intellectual property as quite the same as real property.

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No business will give in to a boycott if doing so will bring a hastened end to their business.

It would if it was a year long boycott by a large enough sector of their audience.

Look at the NRA. They don't really have all that much money,

What planet are you from? The NRA isn't a bunch of shirtless wonders from Walmart, it includes weapons manufacturers, software engineers, doctors, etc. If I read the figures right, this year, they've spent $10mil to further their aims.

If Congress cut back copyright terms,

Won't happen - RIAA has too much money and influence to buy their way out of it. Besides, it's too easy to distract the public by declaring a war, or a scandal or just about anything, really.

The only effective tool against RIAA is a total boycott of their product. THAT will get RIAA's attention and force THEM to push for the change.

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Lobbying? Sure. But the first step for geeks is to educate yourselves about what is or is not currently permissible. Exactly what are you lobbying for?

One thing you will want to lobby for is to maintain your existing rights. You have every right to make a copy into another format. You have every right to share on a limited scale. You have every right to do just about anything you want with the content which you BOUGHT, so long as you don't significantly commercially harm the content providers.

So the first step is to stop being scared little weasels afraid you will be prosecuted for transforming a<nobr> <wbr></nobr>.wav file into an mp3 file. Grow up already, okay?

Now, if you want to argue that you should also be able to share files on a massive scale over the Internet, even if it does hurt commercial interests, and that it's too bad for those commercial interests that technology has come along which made file sharing easy and reduced the value of their content dramatically<nobr> <wbr></nobr>... that sharing files is generally a GOOD THING and provides a social and economic benefit, well, fine, go ahead, I and 60 million other people agree with you, but recognize in that circumstance you are lobbying for a new right which currently doesn't exist under (US) law.

But please, please, please, don't get so caught up in the RIAA/MPAA propaganda that you're out there being afraid that you don't currently have rights which you already have. Yes, the RIAAs and MPAAs are trying to take those existing rights of yours away, so by all means fight against that. But one of the ways of fighting it is not to succumb to the propaganda and assume you don't now have those rights - you do! So keep exercising those rights and don't retreat. If you want to listen to a CD in a car, OF COURSE YOU LEGALLY CAN! Geez...

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and provides a social and economic benefit

I guess I can understand the social benefit, but what is the economic benefit of filesharing if the artists aren't getting paid for existing material that they should be getting paid for?

NOTE: This is not a value judgement on anyone's production. One man's trash is another man's art (except Justin Timberlake - some things just ain't right).

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Um, increased use of broadband? Increased usage of computers? More purchases of portable Mp3 portable units? There are reams of ways in which file sharing can create economic benefits.

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The whole new system of sharing could be improved where the files are crypto-split up among the sharing computers... -very much the same way the striping occurs in a hard drive RAID system! ONLY the host computers would only allow certain permissions for the crypto signatures of the "parts" of files that they allow to be stored on their computers... THis system would be FAST, very very fast! AND should be based ONLY on the OGG VORBIS file format (for music)!

I have been waiting for two scenero to develop with this idea. (oh -since it would use the same logic of RAID drive subsystems the technology side already has patents -that are expiring). SO - licensing the idea or patenting it - will just drive the idea overseas to where they don't have the software patent bullcrap to deal with)!

SCENERIO #1- I have been waiting for the hackers to do this with the NEW WINDOWs security problems... basicly taking control of users computer and sharing out parts of files from them... due to the number of files and users (a ratio) the actual amount of accesss that one "host" computer would see would be minimal! AND the system would be redundant as well AND could be world wide... !

This way no one person could be "caught with whole copyrighted files on one single computer... as they would be split up among many other computers.

SCENERIO #2 - The recoding artists could set up their own system that would do the same thing...The catch would be that one would have to have legal copy to copy onto the "network" before being able to retrieve it... THIS way the artist would be able to get paid (however, if the artists wanted to they could create such a system and use it to distribute their own music at a price where they would get paid and the Recording Industry!
The artists could charge two ways - pay per view OR unlimited use! AND they would still make money if they charged only $1.00 per song!

The users of the system that allowed the recording artist "system" to host parts of files on their computers could get paid for this OR get discounts for use of the copyrighted material that is in the system.
-----------------------------------------
The fear that the "recording industry" has is, that with the internet, they can not control the distribution channel like they did the old system... AND that their musicians (and movie artists - actors, directors etc) COULD unify and do it themselves thereby cutting them out of the creme that they are skimming of the top now!

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Hmmm, A massive cluster of internet-worked computers where the files are spread around and has redundancy at the same time where songs (or movies) would reside only in small parts on any one computer. Very interesting. And multiple computers would have some parts of songs be mirrored on any number of other computers!

The artists should be paid for their creativity!
SO yes, in a legal version of this (and completly open sourced from the software side of things as well) - the music artists would only have to
log on an upload their music into the system and the users could pay for only what they want (and maybe could sample the songs first as well) OR gain a subscription to the system that would allow them access without having to pay per song related transaction! Since there would be no real cost to maintaining the system for the artists (as the users support the network) then, any amount of money charged for the use of a song could be paid directly 100% to the artist (with not one dollar going to anyone else)!

Hmmm, Cutting the record industry out of the mix would make it possibly more profitable for the musicians and less costly for the music buyers!

When you think about the price of LUNCH and then the price of MUSIC... then, getting a song for a buck or so (US) does not sound bad.

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Hey, cool idea!

The users could enforce the "integrity of use" of the artists creations (as the user, someone that the user knows or is related to, could in turn, pick up knowlege of music, or music editing, and publish their OWN creative inspirations on this internet cluster file storage system as well, and get paid).

Would need a financial institution or two to handle the money (might need to be paid for this OR if they could hold the money for 10 days or so and get interest on it as a way to have their services paid for)!

Ogg Vorbis would be the format to use as then their would be no MP3 license fees to deal with.

AND the many frustratied movie creators that are out there would find that they could have a means to distribute their own "homemade or semi-professional made movies" as well - AND GET PAID!

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So glad to see this thread here!

Yes you are on the right track. I have been working on a project that is pretty much this very idea since the start of 2003. DINT (Distributed Information Network Technology) is the rather stopgap handle I gave to the concept at the start. I have teamed up with another computer scientist to work on an open source implementation. We are still recruiting hackers to help with this. At the moment the project is at the detailed RFC stage with a good analysis of the algorithmic framework.

There are many issues that I will outline beifly.

1) Legal: By splitting data into thousands of distributed chunks users keeping such data are immune under current copyright laws. The enforcement of any case against the power of collective resposibilty on a massive scale renders the current law unenforcable to all intents. Another interesting effect is that a browser can be made such that the full copy of a copyrighted work never even exists on the users machine...it is effectively streamed down and erased from FIFO buffer on the fly. This is a true 'Ghost Network'.

2) Practical: A distributed archive system, like a hologram, the human brain and the internet itself as originally concived by ARPA, is effectively bomb-proof. Data encoded in DINT would be 'unerasable' once distributed. Having no localised data means no single point of weakness. As a concept it has side effects far beyond filesharing, including ultra-safe archives for proprietry data, or even ways for journalists working in dangerous conditions to disseminate material without personal risk or fear of information being "shut down".

Here are some of the issues we have studied:

i) Architecture

One of the most promising ideas is a algorithm based partly on Conways 'Life' and Kohonens self organising maps. Packets have a kind of inbuilt intelligence that allows them to know about their neighbors on other machines and how long to stay alive, when to replicate and how to reassemble themselves back into the original data given a catalytic 'key', a term we refer to as recrystalisation.

ii) Poisoning

In such a open system there are a myriad of issues to deal with concerning security and data integrity. One of the problems is incorporating hashes and other checks that allow data to avoid being poisoned or impersonated. No doubt the RIAA etc would not think twice about employing such abuse if holes existed.

iii) Namespace

How to prevent unintentional crosstalk between similar files distributed in the same space has plauged our studies.

iv) Transactional value

Given that each user would have to allocate an area of public space what incentive can the system give. Also consider that the methods are non deterministic, no guaranteed delivery times, or even certainty that all the data can ever be recovered at any time. This is somewhat mitigated by the redundant distribution of the data making it 'Fuzzy' , in other words you might be able to recover a partial version of a time based file like audio which although 'complete' in time is of lower quality (like a dirty CD).

My job means I cant dedicate nearly as much time as I want to this project. I hope to publish a detailed RFC towards the end of the year. In the meantime I am very interested in hearing other ideas or from groups and individuals also working on this concept. To see other people on the same road is very encouraging, I truly beleive this is the future of filesharing communities in an opressive 'intelectual property environment'

email me and exchange PGP keys if you want to talk about this in more detail.

NOSPAMprisonernumbernineNOSPAM@yahoo.NOSPAMcom

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appologies, the above should read
prisonernumbernineNOSPAM@yahoo.co.uk

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Unfortunately, new legislation could interfere with personal use of audio devices.

Until then, we have the AHRA to protect us. We may use any AHRA device or medium. Frankly, some people believe the computer to be an AHRA medium because it is not specifically designated to copy movies or databases. If it were, then the likes of Dell and Gateway would be in trouble.

Please don't settle with the RIAA if you get a complaint! USE The AHRA.

also, NET is not relevant as long as the files are on your personal computer...

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Hey Rob<nobr> <wbr></nobr>.. how about a list of the RIAA members so we could purchase from anyone 'but'? I have no idea how to tell them apart<nobr> <wbr></nobr>... so I haven't bought a CD in ages despite hearing some compelling stuff on NPR.

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From the RIAA website:

1500 Records
20G Entertainment
241 Records
2Ksounds
32 Records
333 Music
4AD Records
4th & Broadway
5 Minute Walk
5.1 Entertainment
510 Records
550 Music
57 Records
A& E Latin Music
A&M Records
A440 Records
Abkco
Acony Records
AD Records
Aftermath/Shady
Aleho
Alice
Alliance
Alligator Records
Almo Sounds
Amaru Records
Ambar Records
American Empire
American Recording
Amiata Records
Andy Prieboy
Angel
Angels
Antilles
Antone's
Antra Records
Apple
Archive
Ardent
Aries Music Entertainment, Inc.
Arista Latin
Arista Nashville
Arista Records
Ark 21
Arsenal
Artanis
Arte Nova
Artemis
Artist Direct/Kneeling Elephant
Astoria Entertainment
Astralwerks Records
Asylum Records
Atco
Atlantic
Atlantic Classics
Atlantic Nashville
ATO Records
Atrium Records
AV8 Records
Avatar Records
Avenue Records
AVI
Aware
AWOL Records
Axiom
B.E.C.
Back Porch Records
Bad Boy Entertainment
Bad Dog Records
Ballers Entertainment
Baphomet Housecore
Barak Entertainment
Barb Wire Productions
Barco Records
Bass Productions
Beat Club
Beauty Records
Beginner's Bible
Beiler Bros Records
Belart
Bellmark
Belly Soundtrack
Benson Record
Berman Brothers
Best Side
Beyond Music
Bibleman
Big Baller
Big Beat Records
Big Cat/Work
Big Deal
Big Dog Records
Big Ear Music
Big Head Todd
Big Idea Productions
Big Records
Big Screen Music
Big Tree
Big Wadd
Big World
Bigtyme Records
Billy Corgan
Biv Ten Records
Black Market Records
Black Out
Black Pumpkin Records
Black Top Records
Blackground (Barry & Sons, Inc.)
Blackground Records
Blackheart
Blackstone
Bliss Productions
Blix Street
Blood and Fire
Bloodline Records
Blue Gorilla
Blue Jackel Entertainment
Blue Note
Blue Plate
Blue Thumb
Bluebird
Blues Bureau
BMG Classics
BMG Entertainment
BMG U.S. Latin
BNA Records
Bob Marley Music
Bocelli-Sogno
Bohemia
Bon Jovi
Box Tunes
Branford Marsalis
Breakaway
B-Rite
Broadway MCA
Brody Records
Broken Bow Records
Broken Records
Brutal Records
Bullseye
Bungalow Records
Burnside
C2
Cadena Records
Cadence Christian
Caliente
Candle In The Wind
Cannan
Capitol Nashville
Capitol Records
Capricorn
Cargo Records
Cash Money Records
Catalyst
Caviant
Cell Block Records
Celtic Corner
Celtic Heartbeat
Chameleon Records
Charisma
Cheeba Sounds
Cherry Entertainment
Chignon Records
Children
Chord
Chordant
Christian Music Group
Chronicles/PSM
Chrysalis Music Group
Chuck Life
Cintas Acuario
Circular Moves
City of Hope
Cky
Classic Tracs
Clatown Records
Clean Slate
Climate
C-Loc Records
Clockwork
CMC International
CMG
Cold Chillin' Records
Colli Park Music
Columbia Records
Command
Conifer
Contemporary
Coolhunter Records
Coolsville Productions
Copacabana Records
Costarola
Cotillion
Covenant Artists
Crazy Cat
Crescent Moon
Crime Partners
Critique Records
Crowne Music Group
Crystal Lewis
Crystal Rose
CTW/Sesame Street
Curb
Curb/Rising Tide
Cyan Records
Cypress
D & D Records
Da Border Music, Inc.
Dagger Records
Dali Records
Damian Music
Damian US Latin
Dancing Cat
Dare 2BU, Inc.
DAS
Day Spring
Daywind Music Group
DCC
Death Row
Debris Records
Debut
Decca
Deep Purple
Def Jam
Def Soul
Delicious Vinyl
Delos
Denon
Desert Storm
DGG
DHM
Digital Theater System, Inc.
Disa
Discipline
Disques Vogue
DJ Honda Recordings
DKC
DM Music
DM Records, Inc.
DMY
DMZ
Doggystyle Records
Domo Records
Dopehouse Records
Down in the Delta JV
Dr. Dream
DreamWorks
DreamWorks Nashville
Drive Thru Records
Duck Down Music
DV8 Records
E Pluribus Unum
Eagle Rock
Eaglevision
Earthbeat
Earthdance
East Side Digital
East West Records
Easydisc
ECM
Eddie Soundtrack
Edel America Records
Edel Entertainment
Edito Classica
Edmonds Record Group
Elektra Asylum
Elektra Entertainment Group
Elektra Musician group
Elementree Records
Ellipsis Arts
Elton John
Elvis Tribute Project
EMD Music
Emergent Music Marketing
EMI Classics
EMI Gospel Music
EMI Latin
EMI Records
Eminent
Empire Records
Enjoy Records
Epic
Epic Nashville
Epidrome
Equinox Music
ERATO
ESC Records
Esparanza Atlantic
Essence Records
Essential Classics
Essex Records
Eureka
Eurodisc
Everland
Evolver
Extasy
Facility
Fantasy
Farmclub
Fast Horse
Fat Boy Music
Favored Nation
FDM
Fedora
Festival Five Records
Finlandia
First Generation Records
First Priority Music
Flashback Gold
Flashback Rhino
Flashpoint International
Flava Unit Entertainment
Flawless
Flicker Records
Floodgate
Flora
Flying Fish
Flyte Tyme Records
Fome
Fonovisa
Forefront
Freeze Records
Friday Records
Fubu
Full Moon Records
Furious Records
Future Farmer

  Galaxy
Garden City
Garland
Garmex
Garth Brooks
Gasoline Alley
Gazillion Records
Geffen
Gemini Sun Records
Genie Entertainment/Lightyear
Gfunk
Ghetto Youth International
Giant Records
Gift Horse
Glassnote
Gold Circle
Gold Seal
Golden Books
Good News
Good Time Jazz
Gospocentric
Gotee Records
Grammavision
Grammy Nominee Project
Grand Royal
Grape Tree
Grateful Dead Records
Great Performances
Green Linnet
GRP/Verve
GTS
Guardian
Guts & Grace
GWK Records
H2E Records
Hall of Fame
Hammer & Lace
Hannibal
Hannibal International
Harmony Records
HBO/WEA
Heart Records
Heartbeat
Heartery
Herb Harris Music Co.
Hieroglyphics
High Performance
High Street
Higher Octave Music
Highnote
Hightone Records
Hip O Records
Hittel LLC
HKD Productions
Hollywood Records
Hollywood Visa
Home Sweet Home
Home Video
Homegrown Music Network
Homeland
Hood Rat Records
House of Music
H-Town Records
Hush
Hybrid Recordings
Hyperdisk Records
I Am
I Funk Records LLC
I.E. Music
Ice Records
Ichiban Records
IG Records, Inc.
Imaginary Road
Immediate
Immortal Records
Import Music
Impulse
Indiginous
Infinity Digital
Innocent
InPop Records
Insane Clown Posse
Inside/Out
Insidesessions
Instinct Records
Integrity Inc.
Interhit Records
International Special Markets
Interscope
Invisible Sound
Iris
IRS
Island Def Jam
Island Jamaica
Island Mercury
Island Records
J Records
J&N Records
Jaggo Records
Jake Records
Java Records
Jazzland
Jazz-Non US
Jcor
Jersey Records
Jireh
Jive Records(Bentwood Music/Cedarmont Kids<nobr> <wbr></nobr>/Reunion/Sick Wid It/ Silvertone/Verity/Volcano)
JMC Records
JMM
Joey
Karen
KDFC
Kelly Family distribution
Kicking Mule
Kid Rhino
Kinetic Records
King Communication
Kings Way
Kismet Records
Kiss Video
KKSF
Koch Entertainment LLC
Korta
Krasnow
Krystal/The Firm
KukDo Records
KWJZ
La Face
Label M
Labor Records
Largo
Latin Pop/Tropical
Latin Regional Mexican
Latino Music
Lava Records
Left Eye
Legacy
Leni Stern Recordings
Liars Inc.
Liberty United Artists
Lideres
Lighthouse Point Entertainment
Lightstorm
Lightyear Entertainment
Lil Joe Records
Lil Man
Liquid 8 Records
Lissette
Little David (Atlantic)
Little Dog
Living Music
Living Stereo
Liz Phair
Lobster Records
Locomotive Music
Logic Records
London Records
London Red Ant
London Slash
London U.S.
Longevity Records (NYC) Inc.
Lookout
Loose Cannon
Loosegroove
Lost Highway
Loud Records
Luaka Bop
Lucky Dog Monument
Luna Negra
Luther Campbell Records
Lyle Lovett
Lyric Street
M.T. Enterprises dba Thuy Nga's
M2.0 Inc.
M2.0 Productions
Mach Entertainment
Mad Yacht
Magnum Music
Major Label Records
Major League Baseball
Mammoth Records
Manga
Mango
Manhattan Records
Many Roads Records
Marantha!
Margaritaville
Marinda Grace
MAS Entertainment
Masterworks
Maverick Musica
Maverick Records
Max Music
Max Weinberg 7
Maxjazz
Maya Records
MCA
MCA Nashville
Media Safari
Medicine
MegaForce
Melisma Ventures LLC
Melodiya
Memphis International
Mercury Nashville
Mercury Records
Mesa/Bluemoon
Messenger Records
Metal Blade
Metrix Music
Metro One
MGM
Mic Media/Lyricist Lougre
Mifflin Hills Music Company
Mighty Horn
Milan (Jade Records)
Milestone
Militia Group
Ministry of Sounds
Miramax
MJJ
Mo Thugs
Mock & Roll
Modern (Atlantic)
Mojo
Mondo Melodia
Moonshine Conspiracy
Mosh
Motown Records
Mouth Almighty
Moviso
Mozote Music
Mr. Incognito
MSC Music Entertainment
MTV
Murder Inc.
Music for Little People (Rhino)
Music One
Music Up Records, Inc.
Musimex
Musiteca
Mutant Sound System
N'Focus Entertainment
N2K
Narada Records
Nas
Native
Nelle Hooper
Neptunes
Nettwerk Records
Neurodisc Records
New Haven Records
New West
Next Century Records
Next Next Entertainment
Next Plateau
Nick @ Nite
Nimbus
Ninth Avenue Music, Inc.
No Limit Records
Nonesuch Musician
Noo Trybe
Noontime
Northside
Northsounds
Nothing Records
Novus
NOW
NPG Records
Nu American Music
Nu Opp
Nutone Records
NVC Arts
NY:LA Music Inc.
Octone Records
Odyssey
Odyssey in Minds Eye
Oh Boy
Okeh
Old Fonovisa
Omni
Omnium
On Point
One Life One Love
Orfeon
Organized Noise
Original Blues Classics
Original Jazz Classics
Oro Musical
Orpheus
Outburst
Outpost
Overbrook Music
P & A
Pablo
Padma
Pagan America
Pakaderm
Pallas Records
Palm Entertainment
Palm Video
Palma MusicInc.
Pan Disc/Streetbeat
Pangaea
Paradigm Records
Paras Recording Co.
Patriot Records
Payaso Records
PBS Records
PBS Records
PCLC Capricorn
Pegan America
Pendulum
Perspective
Philadelphia Records
Philips
Philo
Phoenix Music
Pias
Pioneer
Platino Records
Players Club
PlexiMusic
Plump
PLV Rhino Exclusive
Point Blank
Point Music
Poly Atlas
Poly TV
Polybeat Records
Polydor Country
Polymedia
Portrait
PRA Records
Praise Gathering
Prawn Song
Premium
Premium Latin Music
Premonition Records
Prestige Productions
Priority Records
Private Music

  Proclaim
Project
Promotions of the World
Protel
PSM Records
Psychopathic Records
Q Records
Quango
Quiet Boys Records
Qwest Records (Warner)
R.A.L.
Radio Universal
Radioactive Records
RAM Records
Random House
Rap?A?Lot
Raptivism Records
Rasheeda
Rawkus Records
Ray Boltz Spindust
Razor & Tie
Razor Sharp
RCA Records
RCA Records Nashville
RCC Records
Real Music
Real World Records
Rebound Records
Red Ant
Red Feather
RED Ink
Red Pajamas
Red Seal
Red Star
Redline Entertainment
Refuge Records
Regina Records
Rejoice
Relapse Records
Relaxation Music
Release
Renegade Records
Reprise
Resound
Restless Records
Revolution Records
RFC (Warner)
Rhino London Sire
Rhino Records
Rhyme Records
Rhythm Safari
Rick Rubin Entertainment
Right Cross Records
Righteous Babe Records
Ripchord
Rising Tide Nashville
Risky Business
Riverboat
Riverside
RJO
RMM
Roadrunner Records, Inc.
Robbins Entertainment
Roc-A-Fella Records
Rocket Records
Rocketown Records
Rockstar Games
Rocky Mountain Recorders
Ropeadope Records
Roswell Records
Rough Ryders Records
Rounder Records
RPM/Columbia
Ruffhouse Records
Ruffnation
Rural Rhythm
Ruthless
Ruthless Records (Atlantic)
Ryko International
Ryko Latina
Rykodisc
Rykovision
S & P Records
Sactuary
Sai Records
Saja Records (Atlantic)
Sambora
Samson
Saregama PLC
Savant
Savoy
Savoy Jazz
SBK
Scarface Records
Scratchie
S-Curve
Sea Creatures
Sega
Seiko Matsuda
Seismic Records
Selah
SEON
Seraphim
Shadow Records
Shady Records
Shakti
Shamton
Shang
Sheppard Lane Music
Shrapnel Records
Sideburn
Silas
Silver Seal
Silverware
Sindrome Records
Sing 2 School
Sir George Records
Six Degrees
Skaggs Family Records
Slamm Dunk
Slash Distributed
Slash Warner
Slipdisc
Slow River
Slow River International
Smash
Smashing Pumpkins- Adore
SMI
SMV
So So Def<nobr> <wbr></nobr>/All out Ent.
Sojourn Hills
Sonique
Sonolux
Sony Classical
Sony Discos
Sony Japan
Sony Labels
Sony Music
Sony Music US (Latin)
Sony Wonder
Soulwerkz
Sound Gizmo
Sound Mex
Sound of Atlanta
Spark Entertainment
Sparrow
Specialty
Spirit Soundtrack
Spit Records
Spring Hill Music Group
Spring House
Squint Entertainment
Star Records
Star Song
Stax
Stinky Records
Stonecreek
Straight Outta Labb
Straight Profit
Straightway
Streetbeat
Stretch Music
String Cheese Incident
Stuart Hersch
Suave Records
Sugar Beats
Sunnyside
Super Ego Records
Surfdog Records
Surrender Records
Susquehanna Hat Company
Svengali
Swan Song
Sybersound Music
Tabu
Tag Records
Taj Mahal Records
Takoma
Teledec
Telethon
Terminus Records
Texas Music Group
The Enclave
The Guys Who Sell Records/Bronx
The Right Stuff
The Road to Eldorado
The Source
The Start/The Label
The Voice of Music, Inc.
The Wall
Third Stone Records
Thirsty Ear
Three keys/Lightyear
Thrive Records
Thump Arsenal Productions, Inc.
Thump Records
Tim Kerr
Timbaland
Time Bomb
Time Home Intertainment
Time/Life (ADA)
Tinder
Tips Exports Inc.
TJ Martell
Tone Cool
Tooth and Nail
Top Dawg Productions
Top Sail Productions
Tornado Records
Toros Records
Track Factory
Trackmasters
Traditions
Trans Continental Records
Transparent Records
Trauma Entertainment
Trauma Records
Treat & Release
Treydan Records
Tribal
Triloka
Tropical Storm
Tropix
Troubadour
TRS Buddah Inactive
Trudy Greene
Trust Kill
Tuff Gong
Turn Music
TV First
TVG Records
Twin Sisters Productions, Inc.
TwISm
Twisted
Ultimate Records
Underground Recordz
Unison
Unitone
Universal Music Latino
Universal Records
University Music Group
University Records
Univision
Unsigned Hype
Untertainment
Up Above Records
Upstart
UpTown Project
Uptown Records - URC
UTV Uni Roy
UTV Island
UTV Motown
V.O.R.A.C. Records
V2(GeeStreet/Push Records/Delicious Vinyl)
Vagrant Records
Vapor
Varese Sarabande
Varrick
Velas
Velocette Records
Velour Recordings
Vernon Yard
Verve
VI Music
Victory Music
Victrola
Vineyard
Violator Records
Virgin Blackground
Virgin Classics
Virgin Latino
Virgin Nashville
Virgin Records
Virgin Underground
Vital
Viva Discos
Vivarte
Volt
VOX Lumania
VP Music Group, Inc.
VP Records
Walt Disney Records
Waltzing Bear
Warlock
Warmth
Warner Bros. Christian
Warner Bros. Records Inc.
Warner Music Group
Warner Music Latina
Warner/Reprise Country ADV
WEA Latina
WEACaribe
WEAMex
Weird Sleeper Man Records
West Side Latino
Whitfield Records
Wicklow
Wild Pitch
Windham Hill
Wind-Up Entertainment
WJJZ
WNUA
Wonderland
Woodstock
Word Entertainment
Work
World Hits
World Music Network
Worship Together
WOV Records
WOW Joint Venture
Wrechsop Records
WSJZ
Wu-Tang Records
Wynonna
Xenophile
Yo! MTV Raps
ZAPPA
Zebra Lightyear
Zebra Records
Zero Hour
Zoe
Zomba/Def Jam

 

#

Here is the list of members from their own site.
1500 Records
20G Entertainment
241 Records
2Ksounds
32 Records
333 Music
4AD Records
4th & Broadway
5 Minute Walk
5.1 Entertainment
510 Records
550 Music
57 Records
A& E Latin Music
A&M Records
A440 Records
Abkco
Acony Records
AD Records
Aftermath/Shady
Aleho
Alice
Alliance
Alligator Records
Almo Sounds
Amaru Records
Ambar Records
American Empire
American Recording
Amiata Records
Andy Prieboy
Angel
Angels
Antilles
Antone's
Antra Records
Apple
Archive
Ardent
Aries Music Entertainment, Inc.
Arista Latin
Arista Nashville
Arista Records
Ark 21
Arsenal
Artanis
Arte Nova
Artemis
Artist Direct/Kneeling Elephant
Astoria Entertainment
Astralwerks Records
Asylum Records
Atco
Atlantic
Atlantic Classics
Atlantic Nashville
ATO Records
Atrium Records
AV8 Records
Avatar Records
Avenue Records
AVI
Aware
AWOL Records
Axiom
B.E.C.
Back Porch Records
Bad Boy Entertainment
Bad Dog Records
Ballers Entertainment
Baphomet Housecore
Barak Entertainment
Barb Wire Productions
Barco Records
Bass Productions
Beat Club
Beauty Records
Beginner's Bible
Beiler Bros Records
Belart
Bellmark
Belly Soundtrack
Benson Record
Berman Brothers
Best Side
Beyond Music
Bibleman
Big Baller
Big Beat Records
Big Cat/Work
Big Deal
Big Dog Records
Big Ear Music
Big Head Todd
Big Idea Productions
Big Records
Big Screen Music
Big Tree
Big Wadd
Big World
Bigtyme Records
Billy Corgan
Biv Ten Records
Black Market Records
Black Out
Black Pumpkin Records
Black Top Records
Blackground (Barry & Sons, Inc.)
Blackground Records
Blackheart
Blackstone
Bliss Productions
Blix Street
Blood and Fire
Bloodline Records
Blue Gorilla
Blue Jackel Entertainment
Blue Note
Blue Plate
Blue Thumb
Bluebird
Blues Bureau
BMG Classics
BMG Entertainment
BMG U.S. Latin
BNA Records
Bob Marley Music
Bocelli-Sogno
Bohemia
Bon Jovi
Box Tunes
Branford Marsalis
Breakaway
B-Rite
Broadway MCA
Brody Records
Broken Bow Records
Broken Records
Brutal Records
Bullseye
Bungalow Records
Burnside
C2
Cadena Records
Cadence Christian
Caliente
Candle In The Wind
Cannan
Capitol Nashville
Capitol Records
Capricorn
Cargo Records
Cash Money Records
Catalyst
Caviant
Cell Block Records
Celtic Corner
Celtic Heartbeat
Chameleon Records
Charisma
Cheeba Sounds
Cherry Entertainment
Chignon Records
Children
Chord
Chordant
Christian Music Group
Chronicles/PSM
Chrysalis Music Group
Chuck Life
Cintas Acuario
Circular Moves
City of Hope
Cky
Classic Tracs
Clatown Records
Clean Slate
Climate
C-Loc Records
Clockwork
CMC International
CMG
Cold Chillin' Records
Colli Park Music
Columbia Records
Command
Conifer
Contemporary
Coolhunter Records
Coolsville Productions
Copacabana Records
Costarola
Cotillion
Covenant Artists
Crazy Cat
Crescent Moon
Crime Partners
Critique Records
Crowne Music Group
Crystal Lewis
Crystal Rose
CTW/Sesame Street
Curb
Curb/Rising Tide
Cyan Records
Cypress
D & D Records
Da Border Music, Inc.
Dagger Records
Dali Records
Damian Music
Damian US Latin
Dancing Cat
Dare 2BU, Inc.
DAS
Day Spring
Daywind Music Group
DCC
Death Row
Debris Records
Debut
Decca
Deep Purple
Def Jam
Def Soul
Delicious Vinyl
Delos
Denon
Desert Storm
DGG
DHM
Digital Theater System, Inc.
Disa
Discipline
Disques Vogue
DJ Honda Recordings
DKC
DM Music
DM Records, Inc.
DMY
DMZ
Doggystyle Records
Domo Records
Dopehouse Records
Down in the Delta JV
Dr. Dream
DreamWorks
DreamWorks Nashville
Drive Thru Records
Duck Down Music
DV8 Records
E Pluribus Unum
Eagle Rock
Eaglevision
Earthbeat
Earthdance
East Side Digital
East West Records
Easydisc
ECM
Eddie Soundtrack
Edel America Records
Edel Entertainment
Edito Classica
Edmonds Record Group
Elektra Asylum
Elektra Entertainment Group
Elektra Musician group
Elementree Records
Ellipsis Arts
Elton John
Elvis Tribute Project
EMD Music
Emergent Music Marketing
EMI Classics
EMI Gospel Music
EMI Latin
EMI Records
Eminent
Empire Records
Enjoy Records
Epic
Epic Nashville
Epidrome
Equinox Music
ERATO
ESC Records
Esparanza Atlantic
Essence Records
Essential Classics
Essex Records
Eureka
Eurodisc
Everland
Evolver
Extasy
Facility
Fantasy
Farmclub
Fast Horse
Fat Boy Music
Favored Nation
FDM
Fedora
Festival Five Records
Finlandia
First Generation Records
First Priority Music
Flashback Gold
Flashback Rhino
Flashpoint International
Flava Unit Entertainment
Flawless
Flicker Records
Floodgate
Flora
Flying Fish
Flyte Tyme Records
Fome
Fonovisa
Forefront
Freeze Records
Friday Records
Fubu
Full Moon Records
Furious Records
Future Farmer

  Galaxy
Garden City
Garland
Garmex
Garth Brooks
Gasoline Alley
Gazillion Records
Geffen
Gemini Sun Records
Genie Entertainment/Lightyear
Gfunk
Ghetto Youth International
Giant Records
Gift Horse
Glassnote
Gold Circle
Gold Seal
Golden Books
Good News
Good Time Jazz
Gospocentric
Gotee Records
Grammavision
Grammy Nominee Project
Grand Royal
Grape Tree
Grateful Dead Records
Great Performances
Green Linnet
GRP/Verve
GTS
Guardian
Guts & Grace
GWK Records
H2E Records
Hall of Fame
Hammer & Lace
Hannibal
Hannibal International
Harmony Records
HBO/WEA
Heart Records
Heartbeat
Heartery
Herb Harris Music Co.
Hieroglyphics
High Performance
High Street
Higher Octave Music
Highnote
Hightone Records
Hip O Records
Hittel LLC
HKD Productions
Hollywood Records
Hollywood Visa
Home Sweet Home
Home Video
Homegrown Music Network
Homeland
Hood Rat Records
House of Music
H-Town Records
Hush
Hybrid Recordings
Hyperdisk Records
I Am
I Funk Records LLC
I.E. Music
Ice Records
Ichiban Records
IG Records, Inc.
Imaginary Road
Immediate
Immortal Records
Import Music
Impulse
Indiginous
Infinity Digital
Innocent
InPop Records
Insane Clown Posse
Inside/Out
Insidesessions
Instinct Records
Integrity Inc.
Interhit Records
International Special Markets
Interscope
Invisible Sound
Iris
IRS
Island Def Jam
Island Jamaica
Island Mercury
Island Records
J Records
J&N Records
Jaggo Records
Jake Records
Java Records
Jazzland
Jazz-Non US
Jcor
Jersey Records
Jireh
Jive Records(Bentwood Music/Cedarmont Kids<nobr> <wbr></nobr>/Reunion/Sick Wid It/ Silvertone/Verity/Volcano)
JMC Records
JMM
Joey
Karen
KDFC
Kelly Family distribution
Kicking Mule
Kid Rhino
Kinetic Records
King Communication
Kings Way
Kismet Records
Kiss Video
KKSF
Koch Entertainment LLC
Korta
Krasnow
Krystal/The Firm
KukDo Records
KWJZ
La Face
Label M
Labor Records
Largo
Latin Pop/Tropical
Latin Regional Mexican
Latino Music
Lava Records
Left Eye
Legacy
Leni Stern Recordings
Liars Inc.
Liberty United Artists
Lideres
Lighthouse Point Entertainment
Lightstorm
Lightyear Entertainment
Lil Joe Records
Lil Man
Liquid 8 Records
Lissette
Little David (Atlantic)
Little Dog
Living Music
Living Stereo
Liz Phair
Lobster Records
Locomotive Music
Logic Records
London Records
London Red Ant
London Slash
London U.S.
Longevity Records (NYC) Inc.
Lookout
Loose Cannon
Loosegroove
Lost Highway
Loud Records
Luaka Bop
Lucky Dog Monument
Luna Negra
Luther Campbell Records
Lyle Lovett
Lyric Street
M.T. Enterprises dba Thuy Nga's
M2.0 Inc.
M2.0 Productions
Mach Entertainment
Mad Yacht
Magnum Music
Major Label Records
Major League Baseball
Mammoth Records
Manga
Mango
Manhattan Records
Many Roads Records
Marantha!
Margaritaville
Marinda Grace
MAS Entertainment
Masterworks
Maverick Musica
Maverick Records
Max Music
Max Weinberg 7
Maxjazz
Maya Records
MCA
MCA Nashville
Media Safari
Medicine
MegaForce
Melisma Ventures LLC
Melodiya
Memphis International
Mercury Nashville
Mercury Records
Mesa/Bluemoon
Messenger Records
Metal Blade
Metrix Music
Metro One
MGM
Mic Media/Lyricist Lougre
Mifflin Hills Music Company
Mighty Horn
Milan (Jade Records)
Milestone
Militia Group
Ministry of Sounds
Miramax
MJJ
Mo Thugs
Mock & Roll
Modern (Atlantic)
Mojo
Mondo Melodia
Moonshine Conspiracy
Mosh
Motown Records
Mouth Almighty
Moviso
Mozote Music
Mr. Incognito
MSC Music Entertainment
MTV
Murder Inc.
Music for Little People (Rhino)
Music One
Music Up Records, Inc.
Musimex
Musiteca
Mutant Sound System
N'Focus Entertainment
N2K
Narada Records
Nas
Native
Nelle Hooper
Neptunes
Nettwerk Records
Neurodisc Records
New Haven Records
New West
Next Century Records
Next Next Entertainment
Next Plateau
Nick @ Nite
Nimbus
Ninth Avenue Music, Inc.
No Limit Records
Nonesuch Musician
Noo Trybe
Noontime
Northside
Northsounds
Nothing Records
Novus
NOW
NPG Records
Nu American Music
Nu Opp
Nutone Records
NVC Arts
NY:LA Music Inc.
Octone Records
Odyssey
Odyssey in Minds Eye
Oh Boy
Okeh
Old Fonovisa
Omni
Omnium
On Point
One Life One Love
Orfeon
Organized Noise
Original Blues Classics
Original Jazz Classics
Oro Musical
Orpheus
Outburst
Outpost
Overbrook Music
P & A
Pablo
Padma
Pagan America
Pakaderm
Pallas Records
Palm Entertainment
Palm Video
Palma MusicInc.
Pan Disc/Streetbeat
Pangaea
Paradigm Records
Paras Recording Co.
Patriot Records
Payaso Records
PBS Records
PBS Records
PCLC Capricorn
Pegan America
Pendulum
Perspective
Philadelphia Records
Philips
Philo
Phoenix Music
Pias
Pioneer
Platino Records
Players Club
PlexiMusic
Plump
PLV Rhino Exclusive
Point Blank
Point Music
Poly Atlas
Poly TV
Polybeat Records
Polydor Country
Polymedia
Portrait
PRA Records
Praise Gathering
Prawn Song
Premium
Premium Latin Music
Premonition Records
Prestige Productions
Priority Records
Private Music

  Proclaim
Project
Promotions of the World
Protel
PSM Records
Psychopathic Records
Q Records
Quango
Quiet Boys Records
Qwest Records (Warner)
R.A.L.
Radio Universal
Radioactive Records
RAM Records
Random House
Rap?A?Lot
Raptivism Records
Rasheeda
Rawkus Records
Ray Boltz Spindust
Razor & Tie
Razor Sharp
RCA Records
RCA Records Nashville
RCC Records
Real Music
Real World Records
Rebound Records
Red Ant
Red Feather
RED Ink
Red Pajamas
Red Seal
Red Star
Redline Entertainment
Refuge Records
Regina Records
Rejoice
Relapse Records
Relaxation Music
Release
Renegade Records
Reprise
Resound
Restless Records
Revolution Records
RFC (Warner)
Rhino London Sire
Rhino Records
Rhyme Records
Rhythm Safari
Rick Rubin Entertainment
Right Cross Records
Righteous Babe Records
Ripchord
Rising Tide Nashville
Risky Business
Riverboat
Riverside
RJO
RMM
Roadrunner Records, Inc.
Robbins Entertainment
Roc-A-Fella Records
Rocket Records
Rocketown Records
Rockstar Games
Rocky Mountain Recorders
Ropeadope Records
Roswell Records
Rough Ryders Records
Rounder Records
RPM/Columbia
Ruffhouse Records
Ruffnation
Rural Rhythm
Ruthless
Ruthless Records (Atlantic)
Ryko International
Ryko Latina
Rykodisc
Rykovision
S & P Records
Sactuary
Sai Records
Saja Records (Atlantic)
Sambora
Samson
Saregama PLC
Savant
Savoy
Savoy Jazz
SBK
Scarface Records
Scratchie
S-Curve
Sea Creatures
Sega
Seiko Matsuda
Seismic Records
Selah
SEON
Seraphim
Shadow Records
Shady Records
Shakti
Shamton
Shang
Sheppard Lane Music
Shrapnel Records
Sideburn
Silas
Silver Seal
Silverware
Sindrome Records
Sing 2 School
Sir George Records
Six Degrees
Skaggs Family Records
Slamm Dunk
Slash Distributed
Slash Warner
Slipdisc
Slow River
Slow River International
Smash
Smashing Pumpkins- Adore
SMI
SMV
So So Def<nobr> <wbr></nobr>/All out Ent.
Sojourn Hills
Sonique
Sonolux
Sony Classical
Sony Discos
Sony Japan
Sony Labels
Sony Music
Sony Music US (Latin)
Sony Wonder
Soulwerkz
Sound Gizmo
Sound Mex
Sound of Atlanta
Spark Entertainment
Sparrow
Specialty
Spirit Soundtrack
Spit Records
Spring Hill Music Group
Spring House
Squint Entertainment
Star Records
Star Song
Stax
Stinky Records
Stonecreek
Straight Outta Labb
Straight Profit
Straightway
Streetbeat
Stretch Music
String Cheese Incident
Stuart Hersch
Suave Records
Sugar Beats
Sunnyside
Super Ego Records
Surfdog Records
Surrender Records
Susquehanna Hat Company
Svengali
Swan Song
Sybersound Music
Tabu
Tag Records
Taj Mahal Records
Takoma
Teledec
Telethon
Terminus Records
Texas Music Group
The Enclave
The Guys Who Sell Records/Bronx
The Right Stuff
The Road to Eldorado
The Source
The Start/The Label
The Voice of Music, Inc.
The Wall
Third Stone Records
Thirsty Ear
Three keys/Lightyear
Thrive Records
Thump Arsenal Productions, Inc.
Thump Records
Tim Kerr
Timbaland
Time Bomb
Time Home Intertainment
Time/Life (ADA)
Tinder
Tips Exports Inc.
TJ Martell
Tone Cool
Tooth and Nail
Top Dawg Productions
Top Sail Productions
Tornado Records
Toros Records
Track Factory
Trackmasters
Traditions
Trans Continental Records
Transparent Records
Trauma Entertainment
Trauma Records
Treat & Release
Treydan Records
Tribal
Triloka
Tropical Storm
Tropix
Troubadour
TRS Buddah Inactive
Trudy Greene
Trust Kill
Tuff Gong
Turn Music
TV First
TVG Records
Twin Sisters Productions, Inc.
TwISm
Twisted
Ultimate Records
Underground Recordz
Unison
Unitone
Universal Music Latino
Universal Records
University Music Group
University Records
Univision
Unsigned Hype
Untertainment
Up Above Records
Upstart
UpTown Project
Uptown Records - URC
UTV Uni Roy
UTV Island
UTV Motown
V.O.R.A.C. Records
V2(GeeStreet/Push Records/Delicious Vinyl)
Vagrant Records
Vapor
Varese Sarabande
Varrick
Velas
Velocette Records
Velour Recordings
Vernon Yard
Verve
VI Music
Victory Music
Victrola
Vineyard
Violator Records
Virgin Blackground
Virgin Classics
Virgin Latino
Virgin Nashville
Virgin Records
Virgin Underground
Vital
Viva Discos
Vivarte
Volt
VOX Lumania
VP Music Group, Inc.
VP Records
Walt Disney Records
Waltzing Bear
Warlock
Warmth
Warner Bros. Christian
Warner Bros. Records Inc.
Warner Music Group
Warner Music Latina
Warner/Reprise Country ADV
WEA Latina
WEACaribe
WEAMex
Weird Sleeper Man Records
West Side Latino
Whitfield Records
Wicklow
Wild Pitch
Windham Hill
Wind-Up Entertainment
WJJZ
WNUA
Wonderland
Woodstock
Word Entertainment
Work
World Hits
World Music Network
Worship Together
WOV Records
WOW Joint Venture
Wrechsop Records
WSJZ
Wu-Tang Records
Wynonna
Xenophile
Yo! MTV Raps
ZAPPA
Zebra Lightyear
Zebra Records
Zero Hour
Zoe
Zomba/Def Jam

 

#

RIAA Who are the Pirates?

It seems to me that every few days there is yet another article on the web about the recording companies attempts to bring rampant pirates to justice. I think the RIAA's idea of justice might be a little one sided and a double standard. Fact is, the recording companies have been flying the Jolly Roger since day one. They have been perpetrating an injustice on all consumers of their products for decades and I see no indication they are going to correct it.

There is a scene in the original movie "Men in Black" where Tommy Lee Jones and Will smith are at the alien receiving center, in the alien technologies room. Tommy Lee Jones is showing Will Smith these new technologies and he picks up what looks like a one inch in diameter CDROM for playing music and says "I guess I'll have to buy the Beatles White Album again".

Using this example, why is Tommy Lee Jones saying "I guess I'll have to buy the Beatles White Album again" ? He obviously already owns it, the word "again" indicates that. What he is really saying is "I already have a full license to listen to and enjoy the music that is on the Beatles White Album that I now have on CD. But things being what they are with the greedy, pirate recording companies, in order to get the Beatles White Album on this new one inch disk medium, I'll have to buy another license as well. Come to think of it, being as old as I am, I paid for a full licence for the original 12" vinyl LP, the Eight Track Tape, the cassette and the CD. No, wait ! I just remembered. I bought the eight track twice and the cassette three times. Those old tape players ate a lot of good music." In this scenario you might expect Will Smith to ask:

1) Isn't there a way to return the CDROM and pay for just upgrading to the new one inch medium ?

A)The record companies have at no time in the past nor are they likely in the future to (without buyers boycotting) implement any form of new media format exchange program.

2) What happens if the cd cracks or gets scratched,(which is hard to avoid) can you get it replaced or do you have to buy a full license every time?

A)You are out of luck, you have to buy a full license every time.

3) Is there any way to make a backup? That way you can store the original in a safe place and replace the backup when it becomes unplayable.

A)Currently (amid much pig squeeling in the background) you can make backups with your computer but the RIAA (Recording Industry Association of America) using the DMCA (Digital Millenium Copright Act) are working furiously to plug that hole with DRM (Digital Rights Management) which if implemented, will cripple your computer so that you can't. Already Windows XP users computers are crippled to some degree. (Ohhh,Nooo, Yummy Microsoft wouln't do that! Microsoft is leading the charge trying to establish themselves as the de-facto "Copy Cops" ).

4) What happened to all of those old legally licensed copies you bought.

A)The dollar value of legal, legitimate, licensed music on unusable media that has ended up in dumps and landfills over the years is undoubtedly huge and probably staggering. I don't have a figure but ask yourself how many times you have had to replace a tape or a disk because it became unusable. If your young, Ask your folks how many trash cans they could fill up with LP's, 45's, 8tracks, cassettes,dvd's, VHS, betamax and cdrom's that became unusable over the years. The generally universal answer would be " ALOT"! Now multiply that times millions of homes in the US alone. Yup," ALOT" fits quite well !

Conclusion:

We have to get out of the mind set that we are buying disks or tapes. We are purchasing licenses. The physical media that it is on is just a way of conveying it to you the purchaser. When you purchase dowloadable music online, you never see a cdrom because it is conveyed to you the purchaser by electronic media. Even Microsoft doesn't make you buy a new license for windows because of unusable media. The're only interested in COA's and Product Keys. The recording companies like it just fine that we buy the same licenses over and over again. They are absolute zealots at trying to stop us from making backups of the media we purchase on flimsy, unprotected, easily damaged disks but have never once offered a remedy for the reason we need to make backups. It is more than reasonable for us to expect to purchase only one license for any artists particular work. And that sellers of recording licenses should be obligated to assist us purchasers in maintaining those licenses on current, usable media. Even more so if their going to try to prevent us from making our own backups.

To end this injustice the recording companies should change their policies and make available through their distributors:

1) Replacements for broken or unusable media for the cost of the media. If it got cracked, chipped, eaten, scatched, folded, melted, or just plain worn out, or like US currency anything over half is whole anything under half is zero.

2) Media format upgrades and updates. If it's on an LP, 45, 8track or cassette,etc, bring in the original for an upgrade to the current media format for the cost of the media.

That would be Justice !

The recording companies would actually make money on these exchanges. Even at an exchange rate of one or two dollars they would make money because they are just replacing the media. They don't have to pay out royalties to artists. They are just repackaging a license on new, fresh media. They could even replace just the actual disk in a sleeve instead shipping the jewel boxes. It would even help stop bootleggers because people would know they wouldn't ever be able to return or exchange them when they became unusable. Local brick and mortar recording stores could be revived from the slow death they are experiencing because it makes more sense to exchange media at a local shop (lower shipping costs) rather than having each individual packing up and shipping disks or tapes one at a time. They would become relevent again. They would become our backups. ( "oops! My Queen BR CD is skipping so I'm on my way to my local Recording Shop for a replacement. While I'm there, I'll have a look around for something else I might like to buy") Is it an assault on common sense to think that getting people into your store for exchanging a broken record, could lead to the purchase of something ?

The Recording company executives have been struck stupid by their greed. In this slow economy why don't they institute the above media exchange policy? It's the right thing to do and it's a source of income for God sake ! I personally have five or six hundred dollars worth of broken media or formats to upgrade. They might even experience a precipitous drop in their so called "rampant piracy". How much of this so called rampant piracy is simply people upgrading or replacing media on licenses they already own? Maybe just downloading the contents of one of their muddy sounding, worn out cassette tapes so they can enjoy that legally licensed music again. And who could really blame them for "Taking some digital Justice" ? Just my humble opinion. Anonymous...

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it's just another article about the ogg vorbis player that really isn't. To my knowledge there are some korean cdp's that play ogg vorbis out now. It's too bad it won't make it to the states. I just picked up a $29 mp3 cd player from best buy last month (Chinese made). That's about all I am paying for shit like that. Fuck it $400 for a fucking portable player. Are you all on crack?

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RIAA Pirates part 1

It seems to me that every few days there is yet another article on the web about the recording companies attempts to bring rampant pirates to justice. I think the RIAA's idea of justice might be a little one sided and a double standard. Fact is, the recording companies have been flying the Jolly Roger since day one. They have been perpetrating an injustice on all consumers of their products for decades and I see no indication they are going to correct it.

There is a scene in the original movie "Men in Black" where Tommy Lee Jones and Will smith are at the alien receiving center, in the alien technologies room. Tommy Lee Jones is showing Will Smith these new technologies and he picks up what looks like a one inch in diameter CDROM for playing music and says "I guess I'll have to buy the Beatles White Album again".

Using this example, why is Tommy Lee Jones saying "I guess I'll have to buy the Beatles White Album again" ? He obviously already owns it, the word "again" indicates that. What he is really saying is "I already have a full license to listen to and enjoy the music that is on the Beatles White Album that I now have on CD. But things being what they are with the greedy, pirate recording companies, in order to get the Beatles White Album on this new one inch disk medium, I'll have to buy another license as well. Come to think of it, being as old as I am, I paid for a full licence for the original 12" vinyl LP, the Eight Track Tape, the cassette and the CD. No, wait ! I just remembered. I bought the eight track twice and the cassette three times. Those old tape players ate a lot of good music." In this scenario you might expect Will Smith to ask:

1) Isn't there a way to return the CDROM and pay for just upgrading to the new one inch medium ?

A)The record companies have at no time in the past nor are they likely in the future to (without buyers boycotting) implement any form of new media format exchange program.

2) What happens if the cd cracks or gets scratched,(which is hard to avoid) can you get it replaced or do you have to buy a full license every time?

A)You are out of luck, you have to buy a full license every time.

3) Is there any way to make a backup? That way you can store the original in a safe place and replace the backup when it becomes unplayable.

A)Currently (amid much pig squeeling in the background) you can make backups with your computer but the RIAA (Recording Industry Association of America) using the DMCA (Digital Millenium Copright Act) are working furiously to plug that hole with DRM (Digital Rights Management) which if implemented, will cripple your computer so that you can't. Already Windows XP users computers are crippled to some degree. (Microsoft is leading the charge trying to establish themselves as the de-facto DRM "Copy Cops" ).

4) What happened to all of those old legally licensed copies you bought.

A)The dollar value of legal, legitimate, licensed music on unusable media that has ended up in dumps and landfills over the years is undoubtedly huge and probably staggering. I don't have a figure but ask yourself how many times you have had to replace a tape or a disk because it became unusable. If your young, Ask your folks how many trash cans they could fill up with LP's, 45's, 8tracks, cassettes,dvd's, VHS, betamax and cdrom's that became unusable over the years. The generally universal answer would be " ALOT"! Now multiply that times millions of homes in the US alone. Yup," ALOT" fits quite well !

Continue to part 2

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RIAA pirates part 2 Conclusion:

We have to get out of the mind set that we are buying disks or tapes. We are purchasing licenses. The physical media that it is on is just a way of conveying it to you the purchaser. When you purchase dowloadable music online, you never see a cdrom because it is conveyed to you the purchaser by electronic media. Even Microsoft doesn't make you buy a new license for windows because of unusable media. The're only interested in COA's and Product Keys. The recording companies like it just fine that we buy the same licenses over and over again. They are absolute zealots at trying to stop us from making backups of the media we purchase on flimsy, unprotected, easily damaged disks but have never once offered a remedy for the reason we need to make backups. It is more than reasonable for us to expect to purchase only one license for any artists particular work. And that sellers of recording licenses should be obligated to assist us purchasers in maintaining those licenses on current, usable media. Even more so if their going to try to prevent us from making our own backups.

To end this injustice the recording companies should change their policies and make available through their distributors:

1) Replacements for broken or unusable media for the cost of the media. If it got cracked, chipped, eaten, scatched, folded, melted, or just plain worn out, or like US currency anything over half is whole anything under half is zero.

2) Media format upgrades and updates. If it's on an LP, 45, 8track or cassette,etc, bring in the original for an upgrade to the current media format for the cost of the media.

That would be Justice !

The recording companies would actually make money on these exchanges. Even at an exchange rate of one or two dollars they would make money because they are just replacing the media. They don't have to pay out royalties to artists. They are just repackaging a license on new, fresh media. They could even replace just the actual disk in a sleeve instead shipping the jewel boxes. It would even help stop bootleggers because people would know they wouldn't ever be able to return or exchange them when they became unusable. Local brick and mortar recording stores could be revived from the slow death they are experiencing because it makes more sense to exchange media at a local shop (lower shipping costs) rather than having each individual packing up and shipping disks or tapes one at a time. They would become relevent again. They would become our backups. ( "oops! My Queen BR CD is skipping so I'm on my way to my local Recording Shop for a replacement. While I'm there, I'll have a look around for something else I might like to buy") Is it an assault on common sense to think that getting people into your store for exchanging a broken record, could lead to the purchase of something ?

The Recording company executives have been struck stupid by their greed. In this slow economy why don't they institute the above media exchange policy? It's the right thing to do and it's a source of income for God sake ! I personally have five or six hundred dollars worth of broken media or formats to upgrade. They might even experience a precipitous drop in their so called "rampant piracy". How much of this so called rampant piracy is simply people upgrading or replacing media on licenses they already own? Maybe just downloading the contents of one of their muddy sounding, worn out cassette tapes so they can enjoy that legally licensed music again. And who could really blame them for "Taking some digital Justice" ? Just my humble opinion. Zeek.....

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I never thought of it that way. There needs to be a third thing they provide us. Privacy. When we exchange media we shouldn't have to give them a DNA sample or fill out any forms. I bet alot of people who download are just spucing up stuff they previously bought. Thanks Zek

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...is for the Recording Industry to move to 96Khz/192Khz 5.1/7.1 surround sound DVD audio format. DVD audio will ensure that filesizes are sufficiently large > 10Meg/song which makes downloading and/or trading sufficiently painful. Movie p2p is still miniscule compared to audio p2p precisely because movie file sizes are large that it's not easy on dialup or even 250Kb/500Kb broadband.

Since majority of the consumers now own DVD players, you should be able to play DVD audio music without any penalty of having to buy new hardware for the home (or even computer)

The move to a better format solves the problem of justifying costs for music....$15 for 7.1 channel 192Khz sound means that you're getting a better product compared to stereo.

Ofcourse this means that the auto industry or personal electronics industry has to move to supporting new DVD audio formats. To enable people to afford DVD audio players in cars or portable DVD players, the music industry can give you a $5.00 rebate and you can collect enough rebates to apply them towards purchase of the DVD player.
So if a Car DVD player costs $50, you just need to purchase 10 DVD audio disks at full price and your car dvd player is free. The music industry also subsidizes hardware vendors so that effectively the whole electronics and music industry move out of a funk.

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Universal announces DVD-Audio.

Read: http://3dss.com/press/pr2757.html

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