So you'd agree to the try-before-buy principle for oh, say, condoms? There was no obligation to "try-before-buy" policies handed down to sellers of wares by Mo

So you'd agree to the try-before-buy principle for oh, say, condoms? There was no obligation to "try-before-buy" policies handed down to sellers of wares by Moses, you know. I fail to understand how paying for the music that you listen to is a sub-optimal arrangement. All this talk about obsolete business model is just bullshit. If you dig underneath all the "freedom" hyperbole and "fat-cat record companies" self-righteous finger-wagging, what you really have is desire to rationalize behaviour whose analogue in the real world nobody has any difficulty whatsoever to see as stealing. These self-described pirates deserve nothing less than jail. I say that as a musician who in an ideal world would find record companies that can finance producing or promoting an album, and instead finds a record industry hollowed out by a 50% decline in revenue within a decade. How does the idiotic "expert" professor for the defense explain that figure in the context of massively more pervasive access to music? It just doesn't compute. People are stealing music. Period. We need to stop it, so that the whole ecosystem of jobs related to music (most of these are not fat cats. People like mixing and mastering engineers, session musicians etc) is allowed to flourish. It's currently the case that a lot of the talent in mastering, for example, is being lost. Simply because it's too expensive to have it done by these people now idea. Result: over-compressed albums with totally fake dynamics. I'm an example: I'm a programmer, who would really love to be able to do music. But I don't really want to live on a tour bus the rest of my life. Now, ten years ago, you could go the Steely Dan way and just record studio albums; no touring. That approach simply doesn't work now, and inevitably that means that some real talent is not coming through; the incentives simply aren't there.