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Originally posted by cdtm
One of my pet peeve's beautifully explained:



https://www.google.com/amp/s/amp.theguardian.com/music/musicblog/2007/aug/10/todaysmusicbusinessisselfi








This is a generational problem, and extends to other industries. It is best summed up by "Fake it till you make it"..


The philosophy has driven every generation after the greatest generation, and I'd argue even many Boomers. Everyone wants to live like Caligula, while presenting the front of an altruistic ideal.
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Haha....according to his wikipedia page, Peter Waterman was part of talent finding shows in the same American Idol mold.

So why are we listening about artists selling their music to other types of media...when he does the same ****ing thing?

Arists don't make much money on albums sales and streaming profits...so now its all about live shows, merchandise and selling content to other media venues......

He is probably the same type of guy who owns artists masters and ****s them over...and he has the balls to say its all about lawyers...well, yes, because record companies have been ****ing over new artists for years. Just ask Taylor Swift.

Talking about dishonesty.

As the record climbed the charts, the single ran into legal difficulties. With "Pump Up the Volume" standing at number two, an injunction was obtained against it by pop music producers Stock Aitken Waterman (SAW), who objected to the use of a sample from their hit single "Roadblock". Distribution was held up for several days while negotiations took place, and the result was that overseas releases would not include the "Roadblock" sample. Dorrell later stated that he believed SAW would never have noticed the highly distorted sample had he not rashly boasted about it in a radio interview. The offending article consisted of seven seconds of an anonymous background voice moaning the single word "hey", involved no musical or melodic information and could never be considered plagiarism in the literary sense. SAW member Pete Waterman wrote an open letter to the music press calling such things "wholesale theft". Some publications were quick to point out that Waterman was currently using the bassline from the Colonel Abrams song "Trapped" in his production of Rick Astley's "Never Gonna Give You Up", which was competing in close proximity to "Pump Up the Volume" in the pop charts. Observers suggested that SAW's motives had just as much to do with extending the run of "Never Gonna Give You Up" at the top of the chart. SAW could afford extensive legal resources and M|A|R|R|S stood little chance of a successful defence. Despite all this, "Pump Up the Volume" went on to spend two weeks at number one in October 1987 and was a chart hit in many other countries, receiving considerable airplay on American, Australian and European airwaves. While the offending "Roadblock" sample was stripped from the official American release, the version containing it reached the Australian charts. In the U.S., where the song was licensed to 4th & B'way Records, the original version contained several samples from previous 4th & B'way releases, and the label was able to provide clearance for new samples for the American version.

So he complained that a song used a heavily distorted sample of a song his company owned.....

So he called it theft...

BUT NOO........kid these days..its all about the money.....said a record company exec.