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Product Description
Review
Bryan Appleyard: `important' --The Sunday Times
Davin O'Dwyer: `meticulously researched book ... Levine's solutions are sensible ... it's a vital discussion we need to be having' --Irish Times
'Comprehensive' --Independent
'comprehensive' --Independent
Davin O'Dwyer: `meticulously researched book ... Levine's solutions are sensible ... it's a vital discussion we need to be having' --Irish Times
'Comprehensive' --Independent
'comprehensive' --Independent
Book Description
An agenda-setting book about the global marketplace in transition.
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Most Helpful Customer Reviews
12 of 13 people found the following review helpful
Format:Hardcover
It has become almost commonplace for people to think and say that copyright is irrelevant in the internet age. Much has been written about it, and high-profile advocates talk about copyright as a barrier, rather than am incentive, to creativity and innovation.
As someone who has always though that view is self-evidently nonsensical, the lack of a credibly researched and presented counterpoint has been depressing. Defenders of copyright are too often rounded on and attacked and some leave themselves open to ad hominem attacks because their opinions - however valid - are insufficiently backed by research.
Robert Levine has written an important book because it not only makes the obvious points - that without reward there is no incentive to invest in creativity, that the anti-copyright arguments are usually put by those who have a vested interest in copyright being undermined, that our culture is at threat if professional creativity is no longer a career or business option - but backs them up meticulously with comprehensive references, research and statistics.
As well as that it's engagingly written and enjoyable to read. This is no dry academic legal text but nor, in my view, is a mere polemic. Levine certainly has a point of view, but he fully explains and justifies his conclusions and, to me at least, they're mostly (but not wholly) hard to argue with.
Read this if you have an interest in the internet and culture, if you want to get away from the almost religious zeal with which the argument is too often infused, if you are concerned about the future of culture and the dominance of the internet by monopolistic organisations which take out infinitely more than they put back into the creative economy.
This is an important contribution to a profoundly important debate. It shouldn't be trivialised by simplistic arguments and hidden agendas.
If you have anything at all to do with internet policy, lawmaking or lobbying this is required reading. As it should be for every Google employee.
As someone who has always though that view is self-evidently nonsensical, the lack of a credibly researched and presented counterpoint has been depressing. Defenders of copyright are too often rounded on and attacked and some leave themselves open to ad hominem attacks because their opinions - however valid - are insufficiently backed by research.
Robert Levine has written an important book because it not only makes the obvious points - that without reward there is no incentive to invest in creativity, that the anti-copyright arguments are usually put by those who have a vested interest in copyright being undermined, that our culture is at threat if professional creativity is no longer a career or business option - but backs them up meticulously with comprehensive references, research and statistics.
As well as that it's engagingly written and enjoyable to read. This is no dry academic legal text but nor, in my view, is a mere polemic. Levine certainly has a point of view, but he fully explains and justifies his conclusions and, to me at least, they're mostly (but not wholly) hard to argue with.
Read this if you have an interest in the internet and culture, if you want to get away from the almost religious zeal with which the argument is too often infused, if you are concerned about the future of culture and the dominance of the internet by monopolistic organisations which take out infinitely more than they put back into the creative economy.
This is an important contribution to a profoundly important debate. It shouldn't be trivialised by simplistic arguments and hidden agendas.
If you have anything at all to do with internet policy, lawmaking or lobbying this is required reading. As it should be for every Google employee.
1 of 1 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
I've often wondered why a better case hasn't been made for the cultural industries in their current plight. These days the coherent voices seem to come from those arguing in favour of the changes brought about by new tech. They come less from those who feel its adverse effects. Rob Levine's book "Free Ride: How The Internet Is Destroying The Culture Business" explores these adverse effects and suggests how the culture business can fight back.
It was a tough read. Levine knows his stuff and lays it out in exhaustive detail. Impressive though his analysis is, he is light on any radical ideas for how to fight back. Tighter regulation and better licensing of copyrights was about it. In other words: the way things were, but some more. That most of the responses I've read so far are unsupportive of the book's message is hardly surprising. They indicate which way the wind is blowing. Though I respect Levine for his vigorous research when you see his case articulated you understand why it is generally not expressed more often. Not only is it short on innovation, it is clearly the losing argument and who wants to be on the side of the movement that didn't prevail.
I think there are two crucial facts which pretty much kill off the case made in Free Ride.
The first is that, historically, copyright was only lucrative for a very small number of successful people who walked away with vast fortunes. The majority of us who were party to copyright deals made little if anything from them. Many were bruised from the experience. It should be remembered too that the greater number of artists - poets, musicians, novelists, songwriters, photographers et al - never even got near such a deal. They were effectively off the copyright radar. The upshot was that much so called intellectual property was economically worthless - and invisible.
That's the first point: copyright was irrelevant for most of us.
The second fact is the more devastating one for team Levine. It is simply that history has overtaken them. It was probably inevitable. A system based on exclusive rights to copy could hardly survive a new technology whereby everyone carries highly efficient copying devices in their pocket, devices which are permanently connected to ever more sophisticated communication networks wired for sharing. All the moral arguments in the world can't get away from that. Culture moves with technological and social change. The Reformation was a direct descendent of the printing press; symphony orchestras emerged from urban growth and bigger concert halls; the phonograph was progenitor to rock and roll. Many noses are put out of joint with even the most peaceful of revolutions. It is understandable that those heavily invested in the conventions want perpetuity. Their arguments are thus forgivable. But that the old dies to make way for the new is as sure as day arising from night.
So, history is moving on and there is no turning back. Thus Rob Levine's battle is a losing one. Short of creating police states throughout the world I can't see how the culture world as it has existed for past generations can maintain its way of doing business. With its demise will come an entire restructuring of the firmament. Free Ride does nothing to anticipate that and is thus lacking in imagination. It is better read as a history book, an excellent study for students of its subject matter. Beyond that it doesn't help much being more about where we are and how we got here than where we're going.
It would be churlish to mark this book down not agreeing with its thrust. Due to Levine's knowledge and his articulacy I give it five.
It was a tough read. Levine knows his stuff and lays it out in exhaustive detail. Impressive though his analysis is, he is light on any radical ideas for how to fight back. Tighter regulation and better licensing of copyrights was about it. In other words: the way things were, but some more. That most of the responses I've read so far are unsupportive of the book's message is hardly surprising. They indicate which way the wind is blowing. Though I respect Levine for his vigorous research when you see his case articulated you understand why it is generally not expressed more often. Not only is it short on innovation, it is clearly the losing argument and who wants to be on the side of the movement that didn't prevail.
I think there are two crucial facts which pretty much kill off the case made in Free Ride.
The first is that, historically, copyright was only lucrative for a very small number of successful people who walked away with vast fortunes. The majority of us who were party to copyright deals made little if anything from them. Many were bruised from the experience. It should be remembered too that the greater number of artists - poets, musicians, novelists, songwriters, photographers et al - never even got near such a deal. They were effectively off the copyright radar. The upshot was that much so called intellectual property was economically worthless - and invisible.
That's the first point: copyright was irrelevant for most of us.
The second fact is the more devastating one for team Levine. It is simply that history has overtaken them. It was probably inevitable. A system based on exclusive rights to copy could hardly survive a new technology whereby everyone carries highly efficient copying devices in their pocket, devices which are permanently connected to ever more sophisticated communication networks wired for sharing. All the moral arguments in the world can't get away from that. Culture moves with technological and social change. The Reformation was a direct descendent of the printing press; symphony orchestras emerged from urban growth and bigger concert halls; the phonograph was progenitor to rock and roll. Many noses are put out of joint with even the most peaceful of revolutions. It is understandable that those heavily invested in the conventions want perpetuity. Their arguments are thus forgivable. But that the old dies to make way for the new is as sure as day arising from night.
So, history is moving on and there is no turning back. Thus Rob Levine's battle is a losing one. Short of creating police states throughout the world I can't see how the culture world as it has existed for past generations can maintain its way of doing business. With its demise will come an entire restructuring of the firmament. Free Ride does nothing to anticipate that and is thus lacking in imagination. It is better read as a history book, an excellent study for students of its subject matter. Beyond that it doesn't help much being more about where we are and how we got here than where we're going.
It would be churlish to mark this book down not agreeing with its thrust. Due to Levine's knowledge and his articulacy I give it five.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
5 of 16 people found the following review helpful
The pleasure of denial
16 Aug 2011
Format:Hardcover
There is really only one readership for this book. If, like the author, you were an executive in a music intermediary who made lots of money until technology changed the way that people experience music then this book is for you. It will reassure you that its not your fault. It is not your fault that although money spent on music, movies and books is increasing that many incumbent intermediaries aren't making as much as before, although still enough to keep paying executives a lot more than most artists receive. Its not your fault that despite spending millions on lobbying the laws that you bought weren't able to force people to conform to your business model. Its not your fault that despite endless campaigns vilifying your customer base, suing your own customers and making other businesses your janissaries some people still want the content that you distribute but quicker and more efficiently than you choose to distribute it.It is not your fault that refusing to acknowledge changes in technology means that others have built businesses that you said would never work.It is not your fault that many musicians and authors have new business models that don't need you.
No, it is not your fault, it is a vast conspiracy by every technology company (except I guess Sony) who could never have become rich by ingenuity, hard work and offering customers what they want. It is a conspiracy by politicians who despite passing every law you ever paid them to pass failed to make the Internet illegal.
Customers, politicians, technologists, new businesses, it is all their fault, blame everyone else.
No, it is not your fault, it is a vast conspiracy by every technology company (except I guess Sony) who could never have become rich by ingenuity, hard work and offering customers what they want. It is a conspiracy by politicians who despite passing every law you ever paid them to pass failed to make the Internet illegal.
Customers, politicians, technologists, new businesses, it is all their fault, blame everyone else.
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