But the problem with the lottery ticket mentality is that I think it mostly stems from the fact that the 'greedy and seedy suits' exert so much control over other peoples art on top of collecting all/most of the profits (even more so in the past).
Examples are ample:
musicians not owning the actual music (in the past not even owning the actual recording masters), not able to decide how/when to (re)release albums, directors/creators of movies not owning 'video rights' and as such not in charge of how crappy a DVD is put together, comic book artists/writers not even having control over a character they invented from scratch...
The only reason you would ever put up with such ...ahem... 'fascism' is that you get compensated beyond a 'living wage'.
Also: I don't equate control/copyright over your own art/work with being able to control weather someone can get a hold of your art without paying for it.
That kind of thinking is completely obsolete this day and age and again only serves one purpose: maximize profits by ripping of (cfr. Nine In Nails album pricing in certain countries) or pestering consumers (cfr. DRM & unskippable 'do not steal' intros on DVD's you just bought)
Once the control problem goes away, new and equally profitable means of monetization can and should be created without feeling cheated (cfr. Radiohead In Rainbows)
We all know how it feels to work a job that has a crappy commute or crappy hours/people but
happily put up with it if you're compensated more than enough.
When it comes to losing control over your art, only billions are 'more than enough' it seems ;-)
Good point, but unfortunately that only applies to the performing arts.
And even then the issue of control comes to play. I know for a fact that if you want to play a certain big festival in my country you have to agree that t-shirts can only be bought at the designated stand, for a price that's higher than the price you decide and they take a cut of the profits.
Again, maximising profits by ripping of customers beyond your control...
Anyway, I wouldn't mind paying for a 3 hour live performance of Apocalypse Now (but only with the original actors, director and in the original location ;-)
These festivals shouldn't be run by media business people, they should be run by musician business people. If there are too many people taking cuts then things will cost too much.
But the problem with the lottery ticket mentality is that I think it mostly stems from the fact that the 'greedy and seedy suits' exert so much control over other peoples art on top of collecting all/most of the profits (even more so in the past).
Examples are ample: musicians not owning the actual music (in the past not even owning the actual recording masters), not able to decide how/when to (re)release albums, directors/creators of movies not owning 'video rights' and as such not in charge of how crappy a DVD is put together, comic book artists/writers not even having control over a character they invented from scratch...
The only reason you would ever put up with such ...ahem... 'fascism' is that you get compensated beyond a 'living wage'.
Also: I don't equate control/copyright over your own art/work with being able to control weather someone can get a hold of your art without paying for it.
That kind of thinking is completely obsolete this day and age and again only serves one purpose: maximize profits by ripping of (cfr. Nine In Nails album pricing in certain countries) or pestering consumers (cfr. DRM & unskippable 'do not steal' intros on DVD's you just bought)
Once the control problem goes away, new and equally profitable means of monetization can and should be created without feeling cheated (cfr. Radiohead In Rainbows)
We all know how it feels to work a job that has a crappy commute or crappy hours/people but happily put up with it if you're compensated more than enough.
When it comes to losing control over your art, only billions are 'more than enough' it seems ;-)