MIHRA.ORG / Music Industry Human Rights Association

THE "STAR" SYSTEM AND REPARATION
FOR ITS CRIMINAL HISTORY

Here we have a an office of "not-for-profit" Euro Dream Sales Merchants - Presumably, Euro Commission assisted propagandists which released 90s reports that had no relation to the burgeoning social problems at, nor (similar to the US - but not specifically on Air Play) as to any existent legal protections for, the roots of the (UK especial) industry

http://www.google.com/search?hl=en&ie=UTF-8&oe=UTF-8&q=european+music+office

List of available studies :

Music in Europe
September 1996, see summary and table of contents.
Hindrances and obstacles to the circulation of repertoires, productions and artists in Europe
September 1996, see summary and table of contents.
The European Music Industry 1997-1998
January 1999, see summary and table of contents.
The European Music Industry : annual report on the music sector
October 1999, see introduction and table of contents.
Music in Europe: from the creation stage to the audience; stage 2 : music in the digital economy
October 1999, see summary and table of contents.
European repertoire Briefing 1999
November 1999, see introduction and table of contents.
Music in Europe: from the creation stage to the audience; stage 1 : access of the public to music
November 1999, see introduction and table of contents.

The EMO site seems hardly to be functioning as it seems to wish to function. Presumable an echo of ?

It was not the French, the Dutch, nor even the Spanish who exploded the guitar and the industry, until 1972, it was solely the British and Americans

Fair Play And Restrictions upon Trade : The Star system and Selective and Incomplete Monitoring

The decision makers :

As a musician / composer you may think that you run your own career in the industry, that is not so, the genial people that run its systematic are in control. That's why they are there, as control.

These inhumane systematic could be compared to a hidden prison within which the only acceptable behaviour is the acknowledgement of cartel power and a lack of both complaint and of investigative intelligence. The system directly conflicts with the first statement of this document : What is music.

Good music versus bad? To the system you could be selling scrap iron or Rolls-Royces but you would still need the cartel to " work " on your behalf .

The problem with a commercially systematized and sustained art form is that it refuses to take into account anything other than cartel profitable enterprise. No matter who nor what, it's always going for the fast buck. That means that this particular industry absorbs some of the most socially primitive people in our societies. And whereas in general creative musicians have no need of "competitiveness". In the industry's administration the non creative but highly competitive scum will always rise to the top. Knowing and caring little about that which makes them secure for life. The social and technical "nuts and bolts" of the creation of music.

You would think that even the Great Orchestras have to rely upon arts councils and private sponsors to exist. But this is not the whole story. For the orchestras have an unfortunate ethic that relates to their vision of their own "importance". And in the UK the Great Orchestras have been emasculated by accepting what Mihra members define as bribery to keep silent on the Big One. The majority of the nations creative musicians' missing recording royalties and under such a non democratic monopoly, the grievous lack of government protection

The system only works for a minority of specialist and cartel aligned composers / arrangers / publishers and the TV / Radio linked and easily exploitable and taxable pop market.

The system has a history of being undeniably sexist, racist and ageist, it is supported by a anti-communicational and divide and rule philosophy that resembles Industrial Apartheid. Which does not permit musicians to make decisions upon the most vital economic-social ( eco-soc ) aspects of their own profession. The system also allows the cultural criminal element to work as their musically uneducated corporate whim directs and uses the many gaps that the lack of current international cultural laws that should be installed to protect not only "cartel copyright" but also the creator.

The system has not only emasculated the ethic of the Great Orchestras but also the UN Documentation on Copyright and the Berne Agreement. And the Spirit behind these august documents is now deleted.

Excluding public investment- or nationalisation, for creators this "star" based system is flawed beyond recovery. There are far more white collar administration staff earning steady finance, free vacations (and pensions) out of music than those responsible for its creation. Similarly to the slave trade, Its primary functions exist solely in order to keep a few author / composers and creative accountancy office based fat cats and their even less creative fat staffers secure and employed.

The industry does not exist on nor consistently reward merit. The system itself is responsible for over four decades of Industrial Apartheid and social injury. And for the majority at the creative end of the profession, it has to undergo radical change.

But if they have the courage to buck the system and tackle their parliamentarians, creative musicians and composers, with the help of meaningful government legislation and new communications technology, will be able to run their own eco-soc affairs.

And the centralization of that which brings pressure for governments to comply begins at policy-office@mihra.org

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