

The victim of this overreach was a piece of shit and a chronic bad troll by the sounds of it, misusing email aliases to harass people. Even though this was likely special treatment because they sent abusive messages to the Director of the FBI’s girlfriend, it’s hard to be anti corpo-state surveillance when assholes like that get picked off so easily. But we here all know that it starts with the scum and power always gets misused.







This touches on one of the reasons I am inclined to pirate – the majority of the time it’s not the author or developer that you pay, it’s the distributor or streaming provider (who often takes a 30% cut), then the payment processor takes about 5%, then the publisher takes a significant and usually undisclosed portion, until finally (and this differs between media) the actual creator sees perhaps £10 of a £60 purchase. Until the vultures clear the field and stop taking hefty cuts, or if I trust the publisher, I am inclined to find a way to actually pay the developer, or not at all, because even though it takes effort to research the sources and distributors, I would much rather vote with my wallet and not accept astronomical distributor fees and anti-consumer practices.
When I was younger I found an album I really liked on Bandcamp. The monetisation model the artist used meant you could actually pay 0 for the music. As I was tight financially I took it but was extremely grateful. This can be seen as consensual piracy, because in my eyes that produce is worth a certain value that can be exchanged with money, even if the seller doesn’t say it. Anyway, Bandcamp takes a 15% cut which is low for the industry, and this particular artist was also independent, meaning they were their own publisher/record label, so when I could I honoured that ‘pay what you feel it’s worth’ approach and bought it a couple years or so later for more than a commercial album. Trust is also extremely infrequent in capitalism, and I appreciated the design.