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(it's not perfect, you try it)

I take using AG almost two years and continue buying the same amount of CDs that before. Nevertheless, the difference is in which since then I have
not returned to tune commercial radio transmitters, I have discovered groups that before did not know and are indeed this music the one that I have
bought. It is to say: the question that worries to the RIAA is not as much in HOW MUCH it sells, but in WHAT it sells.

THE SUPPLY:
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To the discográficas it does not interest the artists to them, they cannot force a creator to remove a work to the year nor to be put under continuous
sessions of photos or pueriles interviews. They cannot support that a group takes one decade in removing a new work or that another one refuses to
make the clown for videoclip or that third retires just when it begins to sell or that a quarter changes of style when it had its niche of market. The
discográficas do not know what they sell - music, nonCDs nor hamburgers -.

To the companies it better comes to them to put niñatos in the study with shameful prefabricated songs, to comb to them and to dress and to sound
snots to them, and to teach to them stupid passages to them of dance. Thus they know how many hamburgers can get to sell to the year.

THE DEMAND:
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All the plan of the discográficas depends then on the DIFFUSION CHANNELS. The companies have finished thinking that the sales depend on the
promotion that they do of the product and not of the product (in fact they appeal to much that they invest in it). They think that putting its sweepings to
us time and time again by the radio, the TV and the written press we will get to choose one or another one and the tasteful compreremos. In this state
of things, it does not worry to them that we compare between its music and Music since it is enough with not promoting this one so that, in less than a
generation, nobody knows that there are alternatives of quality in the world (is to say: the industry wants to finish with the musicians, that clear: we
can see with what percentage of the income pays to them, but is enough with thinking a little to know more clearly that for the discográficas the
creators are detrimental).

THE PROBLEM:
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The problem is based in the new means that are Internet when it is combined with technology MP3: it appears a new channel, it frees and not
controlled and, in addition, on world-wide scale. Where it is left the plan of the industry if anyone can expose its works there, to recommend
mouth-to-mouth where is the good thing and for comparing with which they try to us to sell? Since the effort to get frightened the population can be
useless.

They have replaced the creators by the puppets in his traditional propaganda successfully and now it is that it appears a channel in which prime the
freedom of expression and the freedom of election... too many liberties when they have put all the money in the control of means.

For that reason now they put its persistence in sinking each initiative that arises in this means: because they have done a bet mistaken, being based on
which they can: 1) to replace the musicians with puppets, to control the supply; 2) to stun the consumers, to control the demand.

If they hold a dozen of years with lawsuits, I believe that they can obtain it.
It is now or and the key never is in the point 2).

SUMMARY:
BUSINESS versus MUSIC To the RIAA worries its business to him and Music is its competitor.

Supply-puppets versus Supply-artists the RIAA is enough to him with sinking a pair of generations of artists.

MARKET versus FREEDOM does not exist the libremercado one, is not suitable the freedom of election nor the competition.

EXPERT CONSUMERS versus In our hands are not buying their hamburgers. Now.

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