- Culture always builds on the past. .
- The past always tries to control the future. .
- Our future is becoming less free. .
- To build free societies you must limit the control of the past.
So far so good. A bit paranoid, perhaps, but I can kinda see where he's coming from. I mean . . . What kind of manifesto would it be if there wasn't some good dramatic tension there to exploit. A manifesto is a defense by definition, after all, and depends on this kind of dichotomy. Film needs tension; few would watch a documentary film about copyright issues that didn't involve at least some accusations of oppression—a little cloak and dagger keeps the interest. Bravado is particularly suited to the form too, so it's no surprise that an antagonistic posture is taken.
If Page, as a working musician, charges to play on other people's recording sessions, why shouldn't he charge those who would lift his playing from an existing recording to use it in their own commercial products. Some questions for DJ Whoever (DJW): Why can't he just take the time and make the effort to learn how to play the guitar? He'd be surprised at how little time will elapse before he can brave doing these kind of simplistic metal riffs. Or ... if that task is too daunting ... if he doesn't have the time for that .... Why doesn't he just then simply hire a guitar player if he wants a rock guitar lick on his "creation"? If the answer to this question turns out to be upon reflection that that particular Jimmy Page lick is iconic and instantly recognizable and that therefore no mere imitation would do, then that reasoning only would lessen DJW's "creativity" (I think) and instead reinforces the argument that Page's playing IS in fact something that is culturally valuable as its own entity. No? It is an indirect admission of the fact. Otherwise, anyone playing that two chord riff would have sufficed. Right? Why does it have to be Jimmy Page?
|Girl Talk "performing"|
All in all, RIP is an interesting look into a world that for the most part annoys the hell out of me, I'm curious to see what changes will come to accommodate the changing media of music production and distribution. This scene is bound to have an effect on the way music is proliferated forever.