I’ve always been suspicious of music streaming because I knew they couldn’t adopt the performance and neighbouring rights of radio because it would make their operations unprofitable but could adopt radio’s vetting, which would cause artists to not only get almost nothing but for some to get shoved aside for recordings that have already garnered mass interest.

Now AI is flooding streaming services and resulting in no royalty payments as recordings are entirely removed because they were popular enough in the states or the United Kingdom, causing people to wonder where their favourite tracks went.

I have always recommended the purchase of film on a physical format because of how fickle the streaming services are and now the situation has worsened in music, causing compact disc sales to resurge upwards as people see other industries go digital, like Sony’s Playstation game console.

Gamers have learned that discs will no longer be produced for this console in 2028 and that the games they purchased online could suddenly disappear from their consoles, some releases having already been delisted. And this resulted in a notable consumer backlash, including a petition that reached over 360,000 signatures in less than two months.

It has become quite clear that these companies are no longer catering to their customers demands but pandering to upper middle class urbanite and sub-urbanite with high speed internet, that accept the opinions of what’s popular according to the companies.

The promise that we would have access to everything and for a reasonable cost, is now gone. And that physical media is the only way to go whilst streaming is simply a means to preview popular films, television programs and music.

For example, when New Zealand actor Sam Neill passed away last month one could easily find the vast majority of his most popular films, including Jurassic Park and my favourite of his films, The Hunt For Red October. But Australian thriller Dead Calm is not available for streaming or purchase for download in Canada, anywhere.

This film got a high ranking at Rotten Tomatoes whilst Bicentennial Man got very low rankings, yet the later is available on Apple TV for purchase because people know it and still like it, like yours truly. And this means our personal preferences are all subject to arbitrary judgements by these corporations.

Multiple generations that have grown up with VHS, DVD and blu-ray rentals are noticing the films of their childhood were either available only for a short time on the streaming services or were never on them in the first place. And they have been purchasing them on whatever physical format is available, causing them to expand their purchases to compact discs en masse since 2025.

I, for one, will probably purchase Godzilla Minus Zero after this film’s initial release in November 2026 because foreign sequels in a language other than English tend to only remain online when it has matched or surpassed the original release‘s popularity. And I will continue encouraging everyone to at least consider purchasing greatest hits compilations on compact disc, so that fans still have their very favourite singles if the streaming services decide to slim down their catalogs and replace recordings with similar sounding tracks made with artificial intelligence.

I am not discouraging the use of streaming services, which are great if you already have the recordings that you listen to on vinyl and/or compact disc and when you want to preview recordings. But if you truly love an album, consider getting it on vinyl and/or, just in case.

RIAA Responds To Protests

Well, a RIAA spokesperson had responded to the SOPA and PIPA protests in the NY Times. And of course, it’s the same old rhetoric.

Apparently he thinks everyone that opposed the Stop Online Piracy Act and Protect IP Act were either severely misinformed or want everything for free.

Of course RIAA are doing their best to “inform” people of their spin, that the industry is suffering. And by “inform” I mean suing Americans and foreigners willy nilly. But it is obvious that the public is not buying their claims.

For two decades every expert in the industry has stated the music industry would shift from physical formats to digital. But they resisted, to their detriment, and wish to continue resisting even when international music sales are growing substantially.

It’s obvious that they’re crying foul on behalf of the manufacturers, who will be unable to capitalize on format shifts in the past.

These manufacturers, many of which are owned by the labels, profited from format shifting, when people upgraded from vinyl to 8-track, from 8-track to cassette and from cassette to CD. And if they had their way they’d get a royalty whenever someone copies a recording to a device.

This is an industry that thinks that because you aren’t paying to copy your legally purchased mp3s to your mp3 player that you are a “thief”. That you are just like those pirates that mass produce CDs and DVDs and sell them in pawn shops, farmer’s markets and online.

No ? Then why are these people lobbying the current government in Canada to disallow private copying of copy protected works with Bill C-11 ? Why are attempting to push a levy mp3 players in Canada ?

We’ve heard the excuse that some people use the internet to download mp3 files illegally. But have they ever produced a study proving the majority of these illegally downloaded recordings end up on mp3 players ?

Of course not.

They don’t want to distinguish previewing and private copying from illegal downloads. They’d rather just use one word, “infringement“, to gloss over the issues and call pretty much everything piracy to get their way with the technologically inept politicians.

Some members of the industry are also currently attempting to obtain royalties for the 30 second previews retailers posts online in Canada, in order to disqualify music downloads as “fair dealing” research for Canadians.

The Stop Online Piracy Act, Protect IP Act and Anti-Counterfeiting Trade Agreement impose RIAA‘s views in regards to fair dealing and private copying on foreign nations.

They circumvent the democratic processes of nations who have established their own legislation on these subjects and an undue influence in regards to policy is imposed on nations that are undergoing copyright reforms.

It is obvious that the inflexibility of ATCA in regards to fair dealing and copy protection is causing the current government in Canada to refuse to alter Bill C-11 in accordance to the public’s wishes.

This proves that our political process has been polluted by foreign interests and SOPA/Protect IP like legislation in the United States could further undermine Canada’s democracy and sovereignty.

When Bill C-11 was introduced as Bill C-32, the Canadian Bar Association openly questioned the workability and purpose of some of the provisions, including the fair dealing and technological protection measure provisions.

They also questioned the need for additional legislation to address unauthorized distribution on the internet, so there is clearly a disconnect in-between the people of Canada and the legislation’s proponents.

This is clearly the case in the United States as well.

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RIAA Responds To Protests