Rob O’Hara offers an interesting perspective on piracy.
I agree with him. 20 years ago, copyrighted material offered presence. It was something special.
Computer software was mostly sold in specialty stores. And if you wanted something, the store might or might not have it. There was a bit of a hunt involved. I still have fond memories of going to Dolgin’s, Babbage’s, and other long-gone stores to buy Commodore software. Sure, I pirated some stuff (who didn’t?) but mostly confined myself to out-of-print stuff that you couldn’t otherwise get.
Believe it or not, I took pride in having a shelf of paid-for software.
Music was the same way. Back then, the average record store had a comparable selection to your local Target. If you decided you liked Joy Division or Sisters of Mercy, you had a long road ahead of you to collect all their stuff. Acquiring material that was far off the Top 40 path took time and effort, not just money.
Today it doesn’t matter what you want, you can probably find it in 30 minutes online. Legally, or, in most cases, illegally. Like a friend asked me about 10 years ago when broadband connections became attainable and this stuff started to change, “How can data be rare?”
The solution some people give is touring. That works for musicians, but not so well for everyone else. Book signings aren’t very profitable for most authors. There’s no close equivalent at all for software. Charging for service works for application software, but not at all for games.
The solution is to find other ways to make a living.
The loss? Culture, frankly. Music gets reduced to the lowest common denominator. Record labels can’t (or won’t) take a chance on promising young bands whose first few records don’t sell. Had U2 come on the scene in 1999 instead of 1979, it never would have made it. The Joshua Tree was a huge seller, but who’s ever heard of Boy and October? By today’s standards for first and second albums, they were flops.
The result is we see a lot more acts like Justin Timberlake, who can make a lot of money fast. If they fade from view, it doesn’t matter, because the record companies can always manufacture a replacement. Which leaves little reason to take a chance on someone who does things differently and takes a few years to really burst onto the scene. The environment doesn’t really favor the development of someone like Talking Heads, the Moody Blues, or much of anything else that deviates from the norm today. Or U2, for that matter, who may sound mainstream today, but they sure didn’t in 1980.
I see other arenas suffering too. Name me an innovative video game. There’s been very little innovation since Wolfenstein 3D came into being in 1992. Virtually everything since is just a variation on that same theme: Shoot everything that moves in a 3D environment. Yawn. That wasn’t even very innovative–it’s just that it happened in 3D. There were plenty of shoot-everything-that-moves games out there in the mid/late 1980s for the Nintendo NES. Wolfenstein itself was a remake of a 2D shooter from the early 80s for 8-bit computers called Castle Wolfenstein.
Creative people who want to have a house and a car and a few things to put in it find other ways to make a living. Like writing or doing graphic design for Pizza Today or another trade magazine. It’s steady work. It’s not glamorous and won’t make you famous, but it pays the bills. And it’s niche enough that it’s unlikely to be pirated.
Someone may find a way to make things work in this new reality. Odds are it won’t be someone in Washington. And it probably won’t happen tomorrow. Which is a shame.