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
List of available
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 email@example.com
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