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There\u2019s a lot that\u2019s impossible to know about this short LP because the information simply isn\u2019t present. First of which, where these recordings were made and who made them. You can work out that at least some of these recordings of birds come from France, simply because a parrot can be heard repeating a person saying \u201Cbonjour, coco\u201D on one of the tracks. If these recordings were made for research or pleasure, the packaging doesn\u2019t say. The date of release isn\u2019t even possible to figure out, with the year of 1955 listed on Discogs being nothing more than an estimate based on adjacent releases in the La Voix De Son Ma\u00EEtre catalog. I don\u2019t even know where the LP came from\u2014some guy on a torrent site found it by chance and ripped it, knowing nothing of its provenance himself. I held on to these files for years not only because they\u2019re pretty, but because I think these moments in time are worth preserving. I became protective of this record because someone decided to preserve its contents on a whim, and because everyone else that downloaded it almost surely forgot about it. I can\u2019t tell you a thing about why it should matter, and that\u2019s why it matters so much to me. \u2014Shy Thompson
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This week saw the publishing of the latest piracy figures. Internet consultancy group Envisional, despite sounding like a team on The Apprentice, have managed to release the results of a study that suggests that illegal downloads have risen 30% in the last four years in the UK. Although this figure seems very high, internet piracy increased by the same amount in 2004 alone, and when you consider the rate at which download speeds have increased in the last four years, it could have been much worse. Their study suggests that the top five box office movies of 2010 were downloaded around 1.4 million times. However, these movies made a collective $4.7 Billion worldwide, so why is your average basement-dwelling adolescent going to worry about that?
Since global internet speeds reached the capacity to share 700MB video files, the industry as a whole has been dragging its feet. The first legal music downloading platforms were released in 2003, and were already making hundreds of millions of dollars by the time the first legal movie streaming services arrive in 2006. The movie industry as a whole has done three main things to counter the rise of the torrent sites: Drastically increased cinema prices, increased the amount of unnecessary 3D releases that cannot be filmed from inside a theatre, and made scapegoats out of a few perpetrators, forcing them to pay astronomical amounts in fines that they obviously will never be able to afford. They have also realised that the old scaremongering ads, which compare downloading to stealing cars and accuse offenders of funding terrorism, have had little effect. Now we are greeted in the cinema by the bloke out of Gavin & Stacey, telling us that he won't be able to get a job if people keep downloading his films. Anyone who has seen Lesbian Vampire Killers will be racing to the nearest torrent site.
The rise of iTunes, Zune and LoveFilm are all helping to cut back the number of illegal downloads, but if the film industry want to make some real progress they need to realize some difficult truths. People will always download films illegally. Video piracy was around long before Tim Berners-Lee, and as long as people have access to the internet it is, unfortunately, impossible to stop them without compromising net neutrality. What the aim should be is to keep this number as small as possible, and these are a few ways in which this can happen.
1. Stop treating people who download films like criminals. Most people who download movies are young people who simply can't afford to pay the ever-increasing price of admission. They are not stupid, and telling them that their downloading is funding terrorism is not true, and they know it. Perhaps if studios listened to the people downloading films instead of threatening them, they could learn something about how to stop it. 2ff7e9595c
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