The Internet is in its infancy. Electronic information still travels along copper wires left over from the industrial revolution, but the information age is about to hit puberty. Fiber optic cables are sprouting in unexpected places. The piracy and chaos we are collectively experiencing is growing pains.

    For a few awkward years, the situation is only going to get worse. But soon enough the labels, studios and every other paranoid media owner will have to stop acting like petulant teenagers. The time has come to address piracy with some real, sustainable solutions that consumers will support. The time has come for the entertainment industry to grow up.

    ACT I: THE SET-UP

    Current system is shot to hell. Heads buried firmly in sand.

    A few months ago, the writer and NYU professor Clay Shirky told me he thought DRM was a “nostalgic” idea. Nostalgic is the best adjective I’ve heard to describe how most large entertainment companies think about controlling their content in a digital era. Big media continue to view the situation through rose-tinted spectacles while consumers see red. When being a pirate is the easiest way for people to access the content they want in the format they want it in, then something has gone very, very wrong.

    There isn’t a moral defense for stealing in most cases. But there isn’t a moral defense for invading people’s privacy and imposing draconian laws to protect outdated, crumbling business models either. Music and movie piracy is rampant because over the last ten years, the market has utterly failed to provide a wide range of preferable legitimate solutions. If this continues as bandwidth increases and download speeds accelerate, the entertainment industry will be left in ruins. Many think that needs to happen for new business models to form. I think those currently in power simply need to grow a set and confront the reality of the situation.

    So far the search for new revenue streams by the big labels and studios has only turned up one that they seem to be comfortable with: the legal department. It’s impossibly difficult and expensive for the average consumer to use music legally in podcasts, on websites, in remixes, or in public speeches for example. But if you do decide to use music illegally, it’s entirely possible that a huge team of lawyers will come at you like a troop of rabid spider-monkeys. Instead of looking at real solutions, all the labels seem to be doing is exacerbating their problems.

    Pretending the current laws or legitimate options for consuming movies and music online are in some way going to stop piracy from turning the entire entertainment business into a giant anarchic swap-meet is like pretending recycling plastic water bottles will single-handedly end global warming. The problem is the entertainment business doesn’t recognize the giant anarchic swap-meet for what it really is; a great way for them to make a ton of money.

    ACT II: CONFRONTATION

    Licenses replace sales. Labels accept reality, or die.

    CD sales are in freefall, (the arrival of the Mac Book Air this week was perhaps the final death knell for the format) and the legal department is clearly not a viable long-term revenue stream. A more efficient way to monetize how we consume music online (and other goods with zero marginal production costs) is not to think about monetizing them in terms of sales, but instead in terms of licenses.

    This is already beginning to happen. Deals like the “Comes With Music” partnership struck between Universal and Nokia last month may feel like “one step forward, two steps back”, but at least we’re finally heading in the right direction. And the fact that all the majors are starting to work with legitimate file-sharing models like iMeem is encouraging.

    The solution we are slowly moving towards is a voluntary collective license for music, which consumers could choose to pay, or not. It needs to work all over the world. National boundaries don’t apply to this kind of information anymore. To pretend they do is as nostalgic a notion as DRM.

    Organizations such as ASCAP or the BMI could fulfill this role. This system wouldn’t be a tax; there would be no cap on the amount of money an artist or label could earn, innovation would not be stifled. Bennet Lincoff wrote a paper this time last year which I believe could be the answer. The EFF is also supportive of a similar solution, which they outlined in a 2004 paper:

    “The concept is simple: the music industry forms a collecting society, which then offers file-sharing music fans the opportunity to “get legit” in exchange for a reasonable regular payment, say $5 per month. So long as they pay, the fans are free to keep doing what they are going to do anyway—share the music they love using whatever software they like on whatever computer platform they prefer—without fear of lawsuits. The money collected gets divided among rights-holders based on the popularity of their music.

    “In exchange, file-sharing music fans will be free to download whatever they like, using whatever software works best for them. The more people share, the more money goes to rights-holders. The more competition in applications, the more rapid the innovation and improvement. The more freedom to fans to publish what they care about, the deeper the catalog.”

    目(mu)前(qian)的(de)互(hu)聯(lian)網(wang)正(zheng)處(chu)於(yu)孩(hai)童(tong)時(shi)期(qi)。電(dian)子(zi)信(xin)息(xi)通(tong)過(guo)工(gong)業(ye)革(ge)命(ming)留(liu)下(xia)的(de)銅(tong)線(xian)廣(guang)泛(fan)傳(chuan)播(bo)，信(xin)息(xi)時(shi)代(dai)即(ji)將(jiang)步(bu)入(ru)青(qing)春(chun)期(qi)。光(guang)纖(xian)網(wang)絡(luo)隨(sui)處(chu)而(er)見(jian)，而(er)互(hu)聯(lian)網(wang)帶(dai)給(gei)人(ren)們(men)的(de)混(hun)亂(luan)和(he)隱(yin)私(si)上(shang)的(de)衝(chong)擊(ji)同(tong)樣(yang)經(jing)曆(li)著(zhe)一(yi)場(chang)巨(ju)大(da)的(de)考(kao)驗(yan)。

    媒(mei)體(ti)的(de)發(fa)展(zhan)進(jin)入(ru)了(le)多(duo)年(nian)以(yi)來(lai)的(de)低(di)穀(gu)。但(dan)是(shi)
，短(duan)時(shi)間(jian)之(zhi)後(hou)品(pin)牌(pai)媒(mei)介(jie)，工(gong)作(zuo)室(shi)以(yi)及(ji)其(qi)他(ta)的(de)恐(kong)慌(huang)的(de)媒(mei)體(ti)公(gong)司(si)老(lao)板(ban)都(dou)不(bu)得(de)不(bu)停(ting)止(zhi)自(zi)己(ji)憤(fen)怒(nu)的(de)行(xing)為(wei)。到(dao)了(le)一(yi)個(ge)不(bu)得(de)不(bu)用(yong)一(yi)些(xie)實(shi)際(ji)可(ke)行(xing)的(de)辦(ban)法(fa)來(lai)解(jie)決(jue)隱(yin)私(si)問(wen)題(ti)的(de)時(shi)候(hou)了(le)。娛(yu)樂(le)產(chan)業(ye)必(bi)須(xu)成(cheng)長(chang)。

    幾個月前，紐約大學教授Clay Shirky告訴筆者說,DRM(內容數字版權加密保護技術)zhinengzuoweiyizhonghuaijiudexiangfale。huaijiushidadeyulegongsiduiyuzaishumashidaikongzhizijifaxingneirongbaohudezuihaodexingrongci。dazhongchuanmeishizhongdaizhemeiguisedeyanjinglaikanzhezhongqingkuang，erxiaofeizhedaizhehongsedeyanjinglaikanzhezhongqingkuang。dangdaobannenggoushirenmendiyishijiankandaozijixiangkandexingshiheneirong
，namewentijiuhenyanzhongle。

    在(zai)大(da)多(duo)數(shu)情(qing)況(kuang)下(xia)，人(ren)們(men)都(dou)不(bu)會(hui)為(wei)偷(tou)東(dong)西(xi)這(zhe)樣(yang)的(de)行(xing)為(wei)進(jin)行(xing)道(dao)德(de)上(shang)的(de)辯(bian)解(jie)。人(ren)們(men)同(tong)樣(yang)不(bu)會(hui)為(wei)入(ru)侵(qin)別(bie)人(ren)隱(yin)私(si)以(yi)及(ji)為(wei)保(bao)護(hu)已(yi)經(jing)過(guo)時(shi)
，頻(pin)臨(lin)崩(beng)潰(kui)的(de)商(shang)業(ye)模(mo)式(shi)進(jin)行(xing)嚴(yan)厲(li)的(de)法(fa)律(lv)保(bao)護(hu)的(de)行(xing)為(wei)進(jin)行(xing)辯(bian)解(jie)。過(guo)去(qu)十(shi)年(nian)
，音(yin)樂(le)以(yi)及(ji)影(ying)視(shi)盜(dao)版(ban)光(guang)盤(pan)泛(fan)濫(lan)的(de)產(chan)生(sheng)是(shi)由(you)於(yu)人(ren)們(men)無(wu)法(fa)為(wei)音(yin)像(xiang)市(shi)場(chang)提(ti)供(gong)行(xing)之(zhi)有(you)效(xiao)的(de)法(fa)律(lv)保(bao)護(hu)。隨(sui)著(zhe)帶(dai)寬(kuan)的(de)增(zeng)加(jia)以(yi)及(ji)下(xia)載(zai)速(su)度(du)的(de)提(ti)升(sheng)，如(ru)果(guo)仍(reng)然(ran)沒(mei)有(you)完(wan)善(shan)的(de)法(fa)律(lv)體(ti)係(xi)

，那(na)麼(me)娛(yu)樂(le)業(ye)確(que)實(shi)危(wei)在(zai)旦(dan)夕(xi)。很(hen)多(duo)人(ren)認(ren)為(wei)麵(mian)對(dui)互(hu)聯(lian)網(wang)的(de)衝(chong)擊(ji)
，娛(yu)樂(le)業(ye)應(ying)該(gai)采(cai)取(qu)新(xin)的(de)商(shang)業(ye)模(mo)式(shi)去(qu)經(jing)營(ying)
，我(wo)認(ren)為(wei)目(mu)前(qian)在(zai)位(wei)的(de)經(jing)理(li)人(ren)的(de)確(que)應(ying)該(gai)製(zhi)造(zao)一(yi)係(xi)列(lie)新(xin)的(de)方(fang)案(an)來(lai)應(ying)對(dui)當(dang)前(qian)的(de)形(xing)勢(shi)。

    muqianweizhihenduodadeyulemeitigongsiyijigongzuoshiduifalvtixixiangduilijie。duizaiboke
，hulianwangyijihunyinshiyijigonggongyanjiangzhongshiyongyinledexiaofeizhejinxingzhengshuishibukeneng，erqiechengbenangguide。danshiruguonidaguimodeweifashiyongyinle，bufahuiyouyigelvshituanduinijinxingzhicai。budanmeiyoujiejuetamendewenti，duigongzhongxiazaixingweicaiquguojixingweizhihuijiajuyulegongsidewenti。

    假jia設she我wo們men現xian在zai認ren為wei指zhi望wang當dang前qian的de法fa律lv體ti係xi對dui於yu在zai線xian音yin樂le和he電dian影ying來lai說shuo可ke以yi徹che底di解jie決jue盜dao版ban問wen題ti，那na麼me就jiu相xiang當dang於yu我wo們men在zai假jia設she回hui收shou塑su料liao瓶ping足zu以yi解jie決jue全quan球qiu變bian暖nuan問wen題ti一yi樣yang天tian真zhen。

    CD銷(xiao)量(liang)越(yue)來(lai)越(yue)少(shao)
，一(yi)個(ge)更(geng)有(you)效(xiao)的(de)辦(ban)法(fa)去(qu)衡(heng)量(liang)線(xian)上(shang)下(xia)載(zai)音(yin)樂(le)的(de)價(jia)值(zhi)不(bu)是(shi)量(liang)身(shen)訂(ding)價(jia)而(er)是(shi)下(xia)載(zai)許(xu)可(ke)證(zheng)。而(er)目(mu)前(qian)這(zhe)一(yi)切(qie)已(yi)經(jing)開(kai)始(shi)施(shi)行(xing)
，上(shang)個(ge)月(yue)環(huan)球(qiu)唱(chang)片(pian)與(yu)諾(nuo)基(ji)亞(ya)公(gong)司(si)在(zai)手(shou)機(ji)音(yin)樂(le)下(xia)載(zai)上(shang)的(de)合(he)作(zuo)看(kan)上(shang)去(qu)似(si)乎(hu)“前進一步
，倒退兩步”
，然而至少已經開始朝向一個正確的方向邁進了。

    問題是我們始終中間人，然而因為中間人無法很好的完成他們的工作
，因此我們決定不再支付給他們錢。

    娛樂行業今後的發展方向隻能是共享。不僅是個體用戶將自己的資源共享
，這也為很多網站提供了新的機會和賣點。

    娛樂行業目前麵臨的衝擊同傳統的盜版形式之間的一條線是由消費者畫出的。唯一可以解決盜版的方式仍然在於消費者。