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| SteveD |
 Posted: Sat Jan 21, 2012 7:27 am |
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Joined: 28 Oct 2009
Posts: 290
Location: Canada
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I have read here that Immi, like many artists, has a negative opinion of bootleg recordings as they are not representative of the quality of her music.
I can appreciate why an artist would not like bootlegs. They are almost always of inferior quality, so it is fair to say they are not representative.
However, why aren't these same objections raised concerning YouTube recordings? Surely the vast majority of recordings of artists on YouTube are (relatively) inferior amateur recordings which reflect poorly on an artist compared with their professional releases.
It goes without saying that it would be inappropriate to sell bootlegs for profit, yet Google profits greatly from YouTube...
There has been very little transparency concerning the business model for YouTube, outside of vague corporate propaganda and frankly pathetic reimbursement to artists with regards to their intellectual property. Even worse, artists' work can be associated with corporate advertising, which they probably do not approve of.
So why is YouTube not held in the same contempt as a bootleg profiteer; and why is there not any substantial pressure on Google/YouTube to reform their ways?
With all this talk of SOPA and PIPA and website blackouts hmmm? |
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| unfolias |
| Posted: Sat Jan 21, 2012 2:14 pm |
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Joined: 14 Sep 2010
Posts: 75
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Yeah she doesn't approve bootlegs. But I've become more fan of Immi's music because of her live shows that were recorded. And i support her in other ways, like buying her music.
And for those countries were our favourite artists can't go, bootlegs and youtube are the only way for the fans to get some live experience.
so my point is: i really don't get SOPA and i hope it doesn't get approved, because artists are artists not for the money, but for the fans. without us, they have very little ways of spreading their music. |
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| DavidB |
| Posted: Sun Jan 22, 2012 4:08 pm |
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Joined: 02 Jul 2009
Posts: 1202
Location: London
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| YouTube are not all that bad. They do take down videos quickly if they get a complaint from the copyright holders, which is what they are required to do under the Digital Millennium Copyright Act. They also have a system to identify likely examples of copyright material, and then offer the rights holders the opportunity of having adverts placed and getting royalties from it. There are much worse operators out there, such as Grooveshark, where offending material always seems to be reposted almost as soon as it is removed (as Zoe Keating has complained). All 4 of the major record companies are suing Grooveshark, but they are generally content with YouTube at the moment. |
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| Chaul |
| Posted: Sun Jan 22, 2012 10:07 pm |
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Joined: 26 Aug 2010
Posts: 66
Location: Finland
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I became aware of Imogen Heap via Youtube. Mostly thanks to the official channels though, not the amateur recordings. Youtube does have a way of linking content to the artists, so in theory there should be a way in place that channels the ad income to the copyright holders. I don't care much for the grainy sideways with a thumb on the mic -videos, or the ones that look like they were recorded handheld from a tv screen.
There would be no way of hearing some of the rare pieces if online channels like this didn't exist. Also even music videos are difficult to come by from other sources. What annoys me with amateur content most is that there are audio-only posts and so many reposts that you don't know which one was the original version. It's a video service. It also annoys me that the supposed music TV channels don't play music videos these days.
However, thanks to all the accessible online content, I've now bought few albums, a bluray, from local shops, and the digital release bundles from the official site here. So it can't be all that bad. I can't buy physical copies of all the stuff that I've watched and heard on Youtube these last 2 years because they simply don't exist. Missed a concert because it was sold out, but maybe next time. |
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