In a counter move Jordan decided to share all of his music on BitTorrent for free. This worked out pretty well for him, and more than four years later Jordan still doesn’t mind when people download his work.

However, it’s a different story when other artists rip off his music for profit.

Jordan recently discovered that an unknown musician named “Inventor” had released a “copy” of his most popular track and put it up for sale in nearly every digital music store. The track is labeled as a remix, but Inventor did nothing more than adding some bird sounds in the background (spotify: Inventor versus Flashbulb).

To resolve the issue, Jordan contacted Inventor’s record label “Foul Play,” but without any luck.

Not a problem, Jordan thought, because nowadays most Internet ventures are quick to respond to takedown requests. In fact, The Flashbulb himself has quite a bit of experience with DMCA notices, as he details on his blog.

“Google has previously sent me copyright infringement warnings for my own material on YouTube, pertaining to, hilariously, the exact same song mentioned above. I’ve responded with proof that I own every possible right to the music, only to get another DMCA notice a week later,” he explains.

Having your own content censored by mistake is problematic of course, but for once strict copyright regimes could now become of use. Jordan is suing “Inventor” for the unauthorized use of his work, and in the meantime has decided to ask all digital music stores to take the pirated songs offline.

Surprisingly, this was easier said than done.

Jordan contacted iTunes, Google, Microsoft, Rhapsody, Emusic, Junodownload, Spotify and other music stores, but they all failed to respond, or claim to be working on it. Talking to TorrentFreak the frustrated artist says that these companies care very little about the artists they make their money off.

“They care about profit, and being the #1 music retailer. I assume that to them, a salary to an artist representative is a salary that could pay someone to do development or marketing,” Jordan says.

Meanwhile, Inventor blatantly continues to generate revenue from The Flashbulb’s work.

Jordan had hoped that nearly half a decade after his initial row with iTunes, things would have changed for the better. But judging from his recent experience it’s still the same old song.

“At the end of the day, I look back 5 years to my last brush against iTunes, and realize that nothing has changed. None of these music stores have a department, or even an employee to deal with artists directly. When they sell my music, they make money, and lots of it,” Jordan notes.

Jordan was never too keen on the big money side of the music industry, and after this most recent debacle he wonders whether he should just give up on it again.

“I have made these companies 6 figures over my career, yet there’s not one person I can contact to resolve a simple issue such as this. It is sad to say, as a precedent, I simply can’t justify my agreement with any of these companies at this time, and it makes me question if and how I will release albums in the future.”

It’s a grim conclusion, but Jordan believes that only the big labels have the power to get anything done. Not with the interests of artists in mind, but to secure their own profits.

“So the next time you get a letter from your ISP threatening you about illegally downloading music, or the next time your YouTube account gets banned for using a clip of Megadeth behind your video of a squirrel eating Chex Mix, remember that on the other side of the transaction, all of that bullying amounts to nothing unless you’re a RIAA partner.”

“These companies are willing to shove 1,000 attorneys down your throat if you share music, but won’t even respond to a legal order about actual music theft and piracy,” Jordan concludes.

Source: TorrentFreak, for the latest info on copyright, file-sharing and anonymous VPN services.

The Big Music (RIAA) labels make their fortunes by promoting and marketing artists who usually only pocket a few percent of album sales. Their control over the distribution channels has given them a great deal of power, but the Internet is taking this monopoly away bit by bit. Today, independent artists and labels can easily reach millions of customers, something unimaginable only a decade ago.

That said, the advancement of the Internet has also brought in new threats. Apple. for example, is taking a big chunk of the revenue music generates online and their growing power is frustrating artists more and more. Musicians are forced to cut up songs because Apple deems them too long, and track listings are shuffled by mistake without an option for the artist to restore his art.

One of the first musicians who revolted publicly against Apple was Benn Jordan aka The Flashbulb, who found his album on iTunes in early 2008 without being aware or paid for it. In a counter move Jordan decided to share all his music on BitTorrent for free, which turned out to be one of the best business decisions he has made in his career.

On Christmas eve, where sharing is on the minds of millions of people, we sit down with Benn to talk about what has happened in the past three years. How did he fare financially? Has his opinion towards Apple or the RIAA labels changed? Where does he think the music industry is heading?

TF: You first published your music for free on BitTorrent nearly three years ago. Could you take us back to that moment and explain why you took this decision?

Jordan: I just figured that if someone was going to upload my new album to these sites, it may as well be me. I can make sure the rip is a good one and I can personalize it with a message. It wasn’t marketing or anything political at first either. Trent Reznor and some other big names released stuff in a similar fashion a few months later and the same crowd applauded, but I felt like it was more about marketing.

TF: How has this decision changed your stance toward “piracy”?

Jordan: It oddly put me in a hot seat for a bit and for a limited time, made me an pseudo expert in a field of study that doesn’t really exist yet. Again, this was all undeserved and weird. Music piracy is still a huge issue and people want answers, but they’re not sure who to ask.

I’m grateful now because it made me think, generally, file trading is just a peephole to a much larger picture. Copyright, in its current state, holds information at ransom for monetary value. While in music it can stifle culture and art, with literature and education it can be nothing more than a weapon of class warfare.

TF: How are you doing financially compared to three years ago? Have you benefited from giving away your music?

Jordan: In this particular case, yes. It expanded the amount of people who pirate my music, therefore it has expanded those who bought CDs, donated to me, or came out to shows. Another interesting thing is that it wound up in some licensing company’s hands that I’ve never worked with before, and got me additional placement in TV/film/etc, which is a good portion of my income.

TF: What are your thoughts on the big labels. Are they good or bad for the majority of artists?

Jordan: I have to be honest. Big labels that aren’t being innovative are little more than delusional laughing stocks at this point. Their numbers get worse and worse, and they push the artists to do dumber and dumber stunts to try and stay on top of things.

The shows and festivals they book are sponsored by 8 different alcoholic beverages and 10 different energy drinks, and they just punish their customers while validating their own demise. I’m not worried about them and neither should you. Its a dozen senior citizens trying to stop a stampede of fresh culture. Good luck boys.

TF: And what about Apple?

Jordan: Apple, love or hate their products, is fucking scary. On one hand, hats off. They’re business and marketing geniuses. On the other hand, they might single handedly be the worst thing that has happened to entertainment media in the last 3 years. The major record industry collapsing should also mean that artists are more free to do what they want.

For example, iTunes completely screwed up the track listing of my last album Arboreal. Their network is so influential that over half of the people who have bought the CD from my label now have botched track titles on their mp3 players. Apple doesn’t have ANY accessible artist support to deal with things like this.

They reject my cover art if I don’t have my name and the title in bold. If I want to sell a 30 minute long track (Louisiana Mourning, for example), they require me to split it up into a bunch of separate tracks. Their distribution system is so unorganized that artists have to pay business like Tunecore upwards of $40 per album (and annual fees) to do Apple’s job for them.

Again, its genius on the business side. But they’ve wedged themselves in so well that now, if I don’t have an album on iTunes (under their insane rules and lack of support), a large portion of my listeners simply won’t know how to put my music on their iPods/iPhones.

I know I sound preachy, but think about it, how is that any better than what existed 15 years ago? I still maintain that I’d rather have my stuff “illegally” downloaded than have to go down that path.

TF: What advise do you have for artists who consider giving away their music?

Jordan: That being a “consideration” is always funny to me. You either release it knowing it will be distributed for free or you keep it locked up on your hard drive. If the last decade has taught us anything, it is that no amount of bitching, threatening, lobbying, suing, or file protecting is going to stop information from being spread to those who want it.

The way I look at it is, if hundreds of thousands of people are downloading my album, I’m contributing to culture and my music will likely outlive me. Money is pretty insignificant in the face of immortality.

TF: What changes in the industry would you like to see in the coming years?

Jordan: It makes me nervous because I feel like we’re at a really big crossroad. We’re facing three big issues at the same time that are eventually going to be connected: Net-neutrality, free speech, and piracy/copyright laws. We need to make a bigger deal about it because we don’t want information to be controlled by an entity that only exists for its investors.

We don’t want a situation where if Amazon refuses to carry a book, nobody will be able to read it. Or if iTunes refuses to carry an unabridged album, nobody will be able to hear it. Most importantly, we don’t want poor people to continue being less educated than wealthy people because of the illusion created that information has a monetary value. News, history, media, and culture is made by everyone, and it is intolerable to me that we allow the messengers to hold it from us at such a high price, whether monetarily or contextually .

Now’s the time to get involved.

Source: TorrentFreak, for the latest info on copyright, file-sharing and anonymous VPN services.

By sheer volume the number of downloads these lesser known bands accumulate might only be a fraction of those generated by the Britney Spears and Duffys of this world, but 10,000 downloads is pretty significant for developing artists. Artists need to be heard in order to build a steady fanbase.

Revenue wise, most artists trying to earn a living making music only have a moderate income, and every fan counts. Generally, they don’t make much from album sales – contracts where the band/artist gets less than 10% of the revenue are quite common. Merchandising and playing gigs are the largest source of income, income that is generated by fans.

If the average artist can pick up a few hundred extra fans by giving away his music for free, this can make a huge difference. This group might not be that interesting for the record labels and the royalty collectors, who tend to feed off the top 1% of artists who are generally well marketed by million dollar budgets from the music industry.

Contrary to the conclusions of the PRS study, a special brand of ‘pirates’ are particularly interested in new and unsigned bands. On the music tracker What.cd, which hosts almost 100,000 users, the most downloaded album ever is a compilation of unsigned artists. Second is an album from The Flashbulb, with 10 times as many downloads as Britney Spears’ Greatest Hits collection.

Similarly, on the music sharing website Jamendo thousands of artists are giving away their music for free. Rob Costlow, one of the early adopters of the site told TorrentFreak that thanks to this free music model, he is able to make a living off his passion. His most popular album on Jamendo was downloaded over 80,000 times while nearly half a million listened to it on the website.

So, even though the vast majority of the the users of file-sharing services download music from the top of the charts, there is undoubtedly a huge potential for new artists to market themselves through file-sharing. Perhaps less interesting for the major labels who make most money off cleverly marketed top acts, but extremely valuable for the average artist trying to make a living off music.

Source: TorrentFreak, for the latest info on copyright, file-sharing and anonymous VPN services.