The discography of the group has seen a shift from a short, song-based approach in their earlier albums to a more conceptual approach in their later offerings. The band has been known throughout their career for employing a wide variety of musical styles in their compositions, often combining them with technically demanding playing.

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Not to mention - as others have done - the streaming services are very lacking in many ways. Lets take Spotify as an example: There are plenty of artists not avaliable there, one prominent (to me) being Bonnie Prince Billy (or Will Oldham).

Another problem is discovering music: If you go to Explore (if it's called that in English) you get what is popular and trending, which is not what I'm interested in. Go to Metal, under the heading Metal bands click Show All and there's a grid of like 20 bands or so, and it bunches Yngwie Malmsteen together with Deicide. Yeah, metal sure, but.

There's metal and there's metal, you know? And go to any artist and then Similar artists and there is just the same twenty or so artists that circulate around each other, and also they are displayed in huge boxes with just the band name.

In short, it feels like I have no way of discovering new exiting music with Spotify. I don't know if you use the Spotify Discovery playlist (basically a playlist generated by Spotify specifically for you, based on what you already listen to) but for me it has led me to a lot of great discoveries lately. I've made more great musical discoveries this year than any year since my early 20s probably. As for what.cd, I found it extremely useful for finding out of print or otherwise prohibitively expensive releases. It had a musical selection that any kind of streaming service (or any other legal means of acquiring music) could not even hope to match.i buy fourty to sixty albums per year, maintain a respectable library of rare independent and historic pressings, and have never been sold on corporate streaming services, but this article is the first time i've heard of what.cd.was its database more accurate than discogs and its community more engaged than CDnow?It's no exaggeration to describe what.cd as the Library of Alexandria of music. If anyone has any interest in the last 50 or so years of music, it would be extremely difficult to get a more complete picture than what was presented by what.cd.

As good as WhatCD was, I think people are romanticizing it a little bit. I had a WhatCD account for a few years, and I enjoyed it.

But it wasn't perfect. It's still just an index of torrents, with all of the inherent flaws of the BitTorrent protocol. Sure, the site has a torrent for that rare super-special-edition LP with the bonus track that only came out in Spain, but if you actually wanted to download it, you might have to wait hours or days for the one person who has it to come online and seed it. And unless you spent lots of money buying new-release CDs and ripping them to the site's high standards on day 0, or you spent lots of money on a seedbox, chances are you had ratio problems. Not because you weren't seeding, but because no-one would download from you. At the end of the day, I got tired of dealing with the ratio problems and I let my account lapse. I moved over to Zune Music Pass and never looked back.

Since the music is already widely distributed as torrents on millions of computers, what is the actual size of the database for the closed site? Could it be distributed as a fixed unchanging torrent to keep the archive alive, possibly followed by a version with decentralized magnet links?

Such an archive could become the core of future efforts, hopefully recovering vibrant discussion groups and sense of community as they evolve. Of course, this would depend on whether the administrators have reached a point where they are willing to contribute to such an archive library.

It sounds as though they are community-minded enough to consider making the effort. Q: If it was allowed back up because they agreed to monetize it- maybe $1 to several dollars per song depending on quality and perhaps artist demands: Artists/labels get 70% and What.CD gets 25% to cover costs and some profit. The remaining 5% goes to the accounts of the computers where the files were uploaded from. Essentially for providing and sharing you get a cut, but into your What.CD account which can only be used for music not cashed out. Granted, you'd probably have people setting up hundreds of accounts with hordes of music just sitting there, collecting $$$ from uploads. And then eventually those accounts would just be sold on eBay for some fraction of the $$$ accrued. I guess you might have to tweak the user% in a way that.

But if the outcry is more about the loss of free music than the loss of this 'amazing priceless repository', then obviously this wouldn't work. Q: If it was allowed back up because they agreed to monetize it- maybe $1 to several dollars per song depending on quality and perhaps artist demands: Artists/labels get 70% and What.CD gets 25% to cover costs and some profit. The remaining 5% goes to the accounts of the computers where the files were uploaded from. Essentially for providing and sharing you get a cut, but into your What.CD account which can only be used for music not cashed out. Granted, you'd probably have people setting up hundreds of accounts with hordes of music just sitting there, collecting $$$ from uploads. And then eventually those accounts would just be sold on eBay for some fraction of the $$$ accrued. I guess you might have to tweak the user% in a way that.

But if the outcry is more about the loss of free music than the loss of this 'amazing priceless repository', then obviously this wouldn't work. It would never work because the labels would never agree to it. They don't want to undercut their $15 CD business. You would end up with the paltry selection found on nearly every digital music service that isn't run by Apple. Even iTunes music store has a pathetic selection compared to what.cd. But according to this thread, there sounds to be loads of music that people would buy if they could find it, but was limited run or rare just because it's old or not easy to find in certain parts of the world, etc.

If that wasn't all BS with the real reason for liking What.CD is free music, then selling these rare songs for a couple bucks a piece with no physical production costs or distribution costs as opposed to getting literally nothing would seem to be positive from their perspective, right? But according to this thread, there sounds to be loads of music that people would buy if they could find it, but was limited run or rare just because it's old or not easy to find in certain parts of the world, etc. If that wasn't all BS with the real reason for liking What.CD is free music, then selling these rare songs for a couple bucks a piece with no physical production costs or distribution costs as opposed to getting literally nothing would seem to be positive from their perspective, right? You underestimate the laziness and greed of record labels. Even on big major services like iTunes music store you will usually only find a 'best of' or 'live at' collection for any random artist.

Back-albums are hard to find for the majority of artists. This is for two reasons, the first being that it's easier and it covers most of what people want, and the other is that they pay the artist less for a best of collection than an actual album sale, even if it's only a single off of the album. Ya know SAM - it would be really really nice if ARS had a consistant method for posting UPDATED information. One article yesterday had a clearly labeled UPDATE Paragraph at the top of the pre-existing article with an ORIGINAL STORY Tag following it. Another one this week had an UPDATE segment at the very end of the existing article. Where the hell is the updated information in yours?

Oh wait - buried in the middle!! Instead of something like a coherent standard process - it seems like it's up to what ever writer's whim. But according to this thread, there sounds to be loads of music that people would buy if they could find it, but was limited run or rare just because it's old or not easy to find in certain parts of the world, etc.

If that wasn't all BS with the real reason for liking What.CD is free music, then selling these rare songs for a couple bucks a piece with no physical production costs or distribution costs as opposed to getting literally nothing would seem to be positive from their perspective, right? You are never going to get a pirate to admit to the fact the reason those tracks aren't available elsewhere is their fault and not the labels. Let's face it why would a label warehouse a rare CD, or a single with B-Sides past the first pressing. The inventory is there for the moment it's actually charting, no one is going to do even a minimal second printing to bank on sales years down the line anymore. And even when they do, they'll wait until the very last bit of inventory is gone, and that limits in store availability.

And since the record stores are gone, good luck convincing Walmart or BestBuy to pick up any of that shit for the two aisles of CDs they stock. As good as WhatCD was, I think people are romanticizing it a little bit. I had a WhatCD account for a few years, and I enjoyed it. But it wasn't perfect. It's still just an index of torrents, with all of the inherent flaws of the BitTorrent protocol. Sure, the site has a torrent for that rare super-special-edition LP with the bonus track that only came out in Spain, but if you actually wanted to download it, you might have to wait hours or days for the one person who has it to come online and seed it. And unless you spent lots of money buying new-release CDs and ripping them to the site's high standards on day 0, or you spent lots of money on a seedbox, chances are you had ratio problems.

Not because you weren't seeding, but because no-one would download from you. At the end of the day, I got tired of dealing with the ratio problems and I let my account lapse. I moved over to Zune Music Pass and never looked back. So what you're saying is that, in exchange for utilizing a very expansive service built entirely via user input, you had to provide some non-trivial user input. There were other ways to build and maintain your ratio besides spending lots of money.

The vast majority of my upload credits were from filling requests, and literally only one of those I bought as a result of someone requesting it (and even then it was an artist I already followed-it was just a special edition of an album I was probably not going to buy otherwise). Some of the requests were things that I found for free on the internet. And it's absolutely not valid to imply that you had to upload new releases immediately-even with WCD's breadth there are plenty of artists that don't have many followers, and all you needed was one seedbox to automatically download your torrent and that's a free 600-800MB of credit (assuming you ripped in FLAC and MP3 and uploaded both), or more if it's multi-disc. Unless you're downloading a huge amount of stuff, you really only needed to contribute a few albums and maybe fill a request, possibly two, to be safe. I know there are other trackers out there with more lax ratio policies, but before someone can claim that WCD should have followed suit, they'd have to prove that those trackers provide the same level of contribution and length of seeding, which AFAIK is the point of such rules. This website sounded a lot like a big Tower Records or HMV but online!

This opens up an interesting train of thought. North Korea is already counterfeiting US dollars. If the claim that piracy damages the US is true, one might expect NK and other enemies of the west to attempt to undermine US profits by facilitating piracy.

They could do this by allowing bulletproof hosting while at the same time preventing their own citizens from accessing such material. I'm pretty sure North Korea has more respect for artists than your average pirate. I'm sure all that slave labor can buy a few CDs. See what I did there? I linked US pirates to slave owners! They loved what What.cd was: a place for them to get free music subsidized by all the paying consumers.

They're consumerist all the same, they just wanted to leech as well. We're pretending that it was some noble institution made for the betterment of all humanity.

Not some elitist piracy tracker with outdated ideas about ratios and leeching. Although WCD recorded ratios on the site - the site rules changed years ago where attaining a certain upload ratio served no purpose as long as you just left the files to seed indefinitely. There were millions on torrents on there. Unless you were investing significant time and effort to actually contribute to the cause and rip/upload, it was virtually impossible to achieve a significant ratio as a typical user. As if I were intentionally lying.

Wrong on that one bud. Nice try though. I last looked at the site several years ago.

Apparently before this change you speak of. Admittedly that's refreshing to hear. But that doesn't change the fact that this is first and foremost a piracy website primarily made to aid people in stealing music and not some grand noble venture.

And honestly I don't care if people steal their music. But it's getting disgusting hearing all the desperate mental gymnastics going on in this thread to try to paint the site (and by extension their own theft) as anything other than what it actually is. Just a little honesty would be refreshing. You are never going to get a pirate to admit to the fact the reason those tracks aren't available elsewhere is their fault and not the labels.

Let's face it why would a label warehouse a rare CD, or a single with B-Sides past the first pressing. The inventory is there for the moment it's actually charting, no one is going to do even a minimal second printing to bank on sales years down the line anymore.

And even when they do, they'll wait until the very last bit of inventory is gone, and that limits in store availability. And since the record stores are gone, good luck convincing Walmart or BestBuy to pick up any of that shit for the two aisles of CDs they stock. Physical inventories are limited by projected demand. They stock items they are certain will sell fast because they have to.

Amazon Prime Video released, which sees ex- presenters Jeremy Clarkson, James May and Richard Hammond travel to Dubai to host the motoring show. Top gear season 12 episode 8 torrent.

This will always be the case with physical inventories. It's not in their interest to stock music that isn't topping the charts that month in that area- it might not sell any time soon, and thus, might hurt the bottom line. That has nothing to do with piracy, everything to do with being a sustainable business.

Record stores were 'killed' more by iTunes et al and their inevitable inventory cruft. It's the same reason Netflix killed the video store. Also, they're also not all dead. Nevada and Arizona both have Zia Records, to name one.

Digital inventories don't have this problem- one copy must be stored, and it can sire infinite more. To make it even more lucrative, acquiring more inventory space is trivial. No land purchasing, no construction permits. Just a simple hardware purchase and configuration. And if that wasn't good enough, the internet is global- as will be your customer base. If you really want to talk about the issues with availability. Not too long ago, I wanted to watch an anime called Bodacious Space Pirates.

Was actually going to pay Crunchy Roll and do it legally. Only to find out their license for it got pulled. Because of that, if I wanted to watch it, my only choice was to set sail on the Eighth Sea. They've since re-acquired it, sure, but it still stands that there was demand when infinite supply was available, yet said demand could not be met. The availability of content is more severely impacted by arbitrary, asinine copyright restrictions (usually regional) than piracy. But keep towin' that MAFIAA line, kid.

I'm sure they'll keep paying your bills. They loved what What.cd was: a place for them to get free music subsidized by all the paying consumers. They're consumerist all the same, they just wanted to leech as well.

We're pretending that it was some noble institution made for the betterment of all humanity. Not some elitist piracy tracker with outdated ideas about ratios and leeching.

Although WCD recorded ratios on the site - the site rules changed years ago where attaining a certain upload ratio served no purpose as long as you just left the files to seed indefinitely. There were millions on torrents on there. Unless you were investing significant time and effort to actually contribute to the cause and rip/upload, it was virtually impossible to achieve a significant ratio as a typical user. As if I were intentionally lying. Wrong on that one bud. Nice try though. I last looked at the site several years ago.

Apparently before this change you speak of. Admittedly that's refreshing to hear. But that doesn't change the fact that this is first and foremost a piracy website primarily made to aid people in stealing music and not some grand noble venture. And honestly I don't care if people steal their music.

But it's getting disgusting hearing all the desperate mental gymnastics going on in this thread to try to paint the site (and by extension their own theft) as anything other than what it actually is. Just a little honesty would be refreshing. People worked hard for this site.

Users put in work seeding, ripping, finding covers, catalogue numbers, descriptions, answering questions, helping other users, etc. They also gave money. Somebody was paying money to keep that site up and that had to come from somewhere. And that somewhere was users. Donations weren't straightforward, either.

Even donating money was work because sites like Paypal wouldn't do business with them. And then there's the staff.

Volunteer moderators put in a lot of hard work day in and day out moderating millions of torrents. Admins, coders, etc.

Also worked their asses off for free. What people like you will never understand is that sites like What were much more than just a place to get free music. There's plenty of sites all over the internet where you can get free stuff and not have to give a thing back.

What was a community. A place were you took but also gave back. That's what made it so great and that's what made it grow so incredibly huge. And that's what eventually made it the best music site on the internet of any kind. There's a reason it was the Library of Alexandria and not the Bookstore of Alexandria, if you know what I mean. People have been doing stuff like this for millennia and if they can they will continue to do so for as long as mankind stands. At some point, no repository of anything from the past will be sacred.

Everything will be digital, and everything of value will get lost at one stage or another because of those with special interests. Like other's have said, we lost a resource. What was possible with this database is literally not possible anywhere else. This is an aspect of the 'Digital Dark Age' that Vince Cerf rather glosses over.

It's bad enough that the ongoing technological obsolescing of software and data formats are likely to rot so much of our records, without corporate greed and control-freakery chomping away at it wholesale. Physical inventories are limited by projected demand.

They stock items they are certain will sell fast because they have to. This will always be the case with physical inventories. It's not in their interest to stock music that isn't topping the charts that month in that area- it might not sell any time soon, and thus, might hurt the bottom line. That has nothing to do with piracy, everything to do with being a sustainable business. Keep telling yourself your theft isn't causing harm.

Because someone who has never studied economics would tell you there is no supply because there is no demand. Yet the demand does far exceeds the past when the product sells for ZERO dollars as well as you insisting the supply costs ZERO dollars. God forbid we should live in a reality where the MAFIAA actually makes more money so more albums can get made. But yeah it's their fault, how could they not compete with pirates! I mean they need a new business model right?

Where no one makes a dime. People worked hard for this site. Users put in work seeding, ripping, finding covers, catalogue numbers, descriptions, answering questions, helping other users, etc. They also gave money. Somebody was paying money to keep that site up and that had to come from somewhere. And that somewhere was users. Donations weren't straightforward, either.

Even donating money was work because sites like Paypal wouldn't do business with them. And then there's the staff. Volunteer moderators put in a lot of hard work day in and day out moderating millions of torrents.

Admins, coders, etc. Also worked their asses off for free. What people like you will never understand is that sites like What were much more than just a place to get free music. There's plenty of sites all over the internet where you can get free stuff and not have to give a thing back. What was a community.

A place were you took but also gave back. That's what made it so great and that's what made it grow so incredibly huge. And that's what eventually made it the best music site on the internet of any kind. There's a reason it was the Library of Alexandria and not the Bookstore of Alexandria, if you know what I mean. People have been doing stuff like this for millennia and if they can they will continue to do so for as long as mankind stands.

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The irony is amazing! A pirate upset at people not appreciating someone else's contribution and hard work! In that massive wall of mental gymnastics, I didn't see a single reference to the Artists. You know those group of people whose hard work What.cd was created to steal. You seem to talk a lot about giving back to the community and paying respects to other peoples work. All well and good I suppose. But why not start with the artists first?

After all, they're the group actually making the work you like, not the other pirates that curate a glorified wiki page. But I wouldn't expect thieves like you to understand that. Your head is so far up your rear end trying to rationalize and ennoble your theft that you lose sight of this. And again, you want to steal music?

I don't really care. Just don't pretend you're Robin Hood, ok? The irony is amazing!

A pirate upset at people not appreciating someone else's contribution and hard work! In that massive wall of mental gymnastics, I didn't see a single reference to the Artists. You know those group of people whose hard work What.cd was created to steal. You seem to talk a lot about giving back to the community and paying respects to other peoples work. All well and good I suppose.

But why not start with the artists first? After all, they're the group actually making the work you like, not the other pirates that curate a glorified wiki page. But I wouldn't expect thieves like you to understand that. Your head is so far up your rear end trying to rationalize and ennoble your theft that you lose sight of this. And again, you want to steal music? I don't really care.

Just don't pretend you're Robin Hood, ok? Actually, being a part of the community helped me find and purchase music from artists I otherwise would not have even heard of. After getting really interested in music I would purchase a lot more CDs than I had in the past. Worse news than the election for me RIP What.cd amazing catalogue and community also: I hope the nuclear button worked I just woke up to learn of Florence Henderson's death.

Then in the same hour, What.CD's fate. Of course human life is more valuable than a torrent site but it's just sad news all around this month. 2016 is ending on such a dark note p.s. I believe in rewarding creators of intellectual property; I've paid for over 1700 games on Steam, countless albums, movies, etc - But I've always had a try-before-I-buy pirate ethic, and much of the content on What.CD is exceptionally rare and hard to find.

I'm just glad I archived so much of it before it was shut down. I only wish I saved more, as I had a feeling it had become too big for it's own good and would have a target on it's back. Now I'm off to focus on backing up my favorite e-learning site, before it suffers a similar fate. People worked hard for this site. Users put in work seeding, ripping, finding covers, catalogue numbers, descriptions, answering questions, helping other users, etc. They also gave money. Somebody was paying money to keep that site up and that had to come from somewhere.

And that somewhere was users. Donations weren't straightforward, either. Even donating money was work because sites like Paypal wouldn't do business with them. And then there's the staff. Volunteer moderators put in a lot of hard work day in and day out moderating millions of torrents. Admins, coders, etc.

Also worked their asses off for free. What people like you will never understand is that sites like What were much more than just a place to get free music. There's plenty of sites all over the internet where you can get free stuff and not have to give a thing back. What was a community.

A place were you took but also gave back. That's what made it so great and that's what made it grow so incredibly huge. And that's what eventually made it the best music site on the internet of any kind. There's a reason it was the Library of Alexandria and not the Bookstore of Alexandria, if you know what I mean. People have been doing stuff like this for millennia and if they can they will continue to do so for as long as mankind stands. The irony is amazing! A pirate upset at people not appreciating someone else's contribution and hard work!

In that massive wall of mental gymnastics, I didn't see a single reference to the Artists. You know those group of people whose hard work What.cd was created to steal. You seem to talk a lot about giving back to the community and paying respects to other peoples work. All well and good I suppose.

But why not start with the artists first? After all, they're the group actually making the work you like, not the other pirates that curate a glorified wiki page. But I wouldn't expect thieves like you to understand that. Your head is so far up your rear end trying to rationalize and ennoble your theft that you lose sight of this. And again, you want to steal music? I don't really care. Just don't pretend you're Robin Hood, ok?

Most of us spend way more on intellectual property than the average consumer. We appreciate sites like WCD because of the community & the hard-to-find media that is no-longer on sale, not for a way to cheat artists who have their work in every record store on the planet. Most of us spend way more on intellectual property than the average consumer. We appreciate sites like WCD because of the community & the hard-to-find media that is no-longer on sale, not for a way to cheat artists who have their work in every record store on the planet. Oh that fun argument, I hear that one a bunch of times too. 1) I believe everyone that says that line overstates their actual purchase amounts to win an internet argument.

2) Even if they're being genuine, what a shitty philosophy. You're essentially saying the ends justify the means.

'Man, I know I stole all your stuff, but I bought some of it afterwards. We kewl, right?'

And the whole pirating music to find other music is BS. Between the countless online forums and social media for word-of-mouth, legal niche online radio stations, and music discovery services like Pandora et al. There are more ways than ever to discover music that also gives just compensation to those involved in making it. So no, your argument is BS and more hand waving to distract from the truth.

So kids, repeat after me: 'I, Mr/Ms Pirate, steal music because I don't want to pay any money for it and for no other reason.' It's so much easier when you're honest with yourself! Only immoral pirates downvote! You are never going to get a pirate to admit to the fact the reason those tracks aren't available elsewhere is their fault and not the labels.

Let's face it why would a label warehouse a rare CD, or a single with B-Sides past the first pressing. The inventory is there for the moment it's actually charting, no one is going to do even a minimal second printing to bank on sales years down the line anymore. And even when they do, they'll wait until the very last bit of inventory is gone, and that limits in store availability. And since the record stores are gone, good luck convincing Walmart or BestBuy to pick up any of that shit for the two aisles of CDs they stock. Physical inventories are limited by projected demand. They stock items they are certain will sell fast because they have to.

This will always be the case with physical inventories. It's not in their interest to stock music that isn't topping the charts that month in that area- it might not sell any time soon, and thus, might hurt the bottom line. That has nothing to do with piracy, everything to do with being a sustainable business. Record stores were 'killed' more by iTunes et al and their inevitable inventory cruft. It's the same reason Netflix killed the video store. Also, they're also not all dead.

Nevada and Arizona both have Zia Records, to name one. Digital inventories don't have this problem- one copy must be stored, and it can sire infinite more. To make it even more lucrative, acquiring more inventory space is trivial. No land purchasing, no construction permits.

Just a simple hardware purchase and configuration. And if that wasn't good enough, the internet is global- as will be your customer base. If you really want to talk about the issues with availability. Not too long ago, I wanted to watch an anime called Bodacious Space Pirates.

Was actually going to pay Crunchy Roll and do it legally. Only to find out their license for it got pulled. Because of that, if I wanted to watch it, my only choice was to set sail on the Eighth Sea. They've since re-acquired it, sure, but it still stands that there was demand when infinite supply was available, yet said demand could not be met. The availability of content is more severely impacted by arbitrary, asinine copyright restrictions (usually regional) than piracy.

But keep towin' that MAFIAA line, kid. I'm sure they'll keep paying your bills. It almost seems noble until you realize we're talking about anime instead of something important like food or medicine. Oh woe to the poor souls who can't get the anime they want to watch. Physical inventories are limited by projected demand.

They stock items they are certain will sell fast because they have to. This will always be the case with physical inventories. It's not in their interest to stock music that isn't topping the charts that month in that area- it might not sell any time soon, and thus, might hurt the bottom line. That has nothing to do with piracy, everything to do with being a sustainable business. Keep telling yourself your theft isn't causing harm. Because someone who has never studied economics would tell you there is no supply because there is no demand. Yet the demand does far exceeds the past when the product sells for ZERO dollars as well as you insisting the supply costs ZERO dollars.

God forbid we should live in a reality where the MAFIAA actually makes more money so more albums can get made. But yeah it's their fault, how could they not compete with pirates! I mean they need a new business model right? Where no one makes a dime. I first apologize that I am not made of straw. The only point where I implied a consumer cost of 0$ was what it should be was at the very, very top of my post when I implied Piracy was a form of quality control. That has more to do with the Video Game industry, as the demo died due to developers not wanting to fire a gun vaguely in the direction of their feet (and who can blame them?).

The Let's Play industry has risen to try to fill the niche, but is currently dragging around the exact same baggage Video Game Journalism has always had. Comparatively, demos are much less dangerous to the music industry, as a 10-20s clip is generally good enough and doesn't require anywhere near the cautious editing a Video Game demo needs. And completely conversely, trailers for movies and TV shows are an art all their own, and fill the 'try-before-buy' QC slot in a completely propagandic way. I also apologize as I apparently didn't make it completely clear that I was talking about the in-practice result of the laws of supply and demand, not the theoretical ideal you're hung up on. In practice, without operating a strictly by-order business, a physical shop does not operate on actual demand, but projected demand. This is because non-moving inventory eats up space that could have moving inventory, and inventory is an investment to begin with.

Supply of a physical object is both selection and units available. Conversely, a digital shop can operate on actual, world-wide demand. Digital storage is absurdly cheap and distributed, meaning stocking items that sell one, maybe two units a year is not a massive drain on the key physical resource: space. A unit of a digital product can be cloned infinitely, near-instantly, and at an effectively zero cost. This further reduces the space cost and eliminates the time cost of operating by-order.

And if that wasn't enough, a digital store can sell to someone across town as easily as it can sell to someone on a different continent (assuming trade laws allow). The supply of a digital store is merely selection. And that is where the MAFIAA have their stranglehold. Selection is artificially poor, as What.cd proved. It is possible to have a digital entity that has neigh-infinite supply. But instead of lobbying for trade agreements that would make a legal, international, for-profit What.cd possible, they lobby for the ability to treat their paying customers as criminals so they can combat the boogyman that is the Scallywags of the Eighth Sea.

Just because you artificially lowered the supply doesn't mean demand ceased to exist. Of course, if you insist upon acting like you're two years old, you're more than welcome to. It almost seems noble until you realize we're talking about anime instead of something important like food or medicine. Oh woe to the poor souls who can't get the anime they want to watch. Copyright in general is in need of a fix for the digital age. Patent Trolling is practically profession in the tech industry, and it stems from the exact same problem: Copyright and Patent law was designed around physical goods, where duplication and transportation are time-consuming and non-trivial.

The anecdote relating to anime was solely to provide an example of the plight of the consumer: demand is there, digital per-unit supply itself is effectively infinite, yet no digital supply is available. Oh and off of 'medicine'. Epipen's price gouging stems from their branding having a stranglehold on the public. There are generics, the only hard part is getting your kid's school to allow them.

It's like 20-60$ for a decent reusable autoinjector, and under 5$ for the epinephrine. Daraprim (which was originally under 15$ a dose iirc) gouging stems from abuse of an FDC protection combined with a niche-use drug and an iron grip on the current sales of it. The former is more an issue of ignorance, but the latter is almost exactly the same as this one: Turing Pharmaceuticals and the MAFIAA artificially lower supply by abusing law and regulations, solely to screw the consumer out of more money. One product saves the body, the other the soul.

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Guide to Contents: 1. Scope 1.1 We value our users and respect your privacy. This Privacy Policy describes the information we collect about you online, why we collect it, how we use it, and when we share it with third parties. This Privacy Policy also describes the choices you can make about how we collect and use certain of that information.

1.2 By accessing the Services, you acknowledge this Privacy Policy and agree to be bound by the terms hereof and the Terms of Service set forth on each of the Services that you visit or utilize. If you have any questions about the content of this Policy, please email 1.3 This Policy applies to our Services as described above as well as the information we collect when you interact with us through social media or other websites and online services. It does not apply to non-TSM Websites and mobile applications that may link to the Services or be linked to or from the Services; please review the privacy policies on those Services and applications directly to understand their privacy practices. 1.4 We reserve the right to change or update this Privacy Policy by posting such changes or updates to the Services.

Amendments to this Privacy Policy will be posted at this URL and will be effective when posted. You can tell if the policy has changed by checking the last modified date that appears at the end of this Privacy Policy. Your continued use of the Services following the posting of any amendment, modification or change shall constitute your acceptance thereof. Information Collected 2.1 We collect information that you provide directly to us. You may provide different types of information to us when you engage in certain activities through the Services, such as creating an account, ordering a product or service, submitting, posting or accessing various content or features, subscribing to mobile push notifications, responding to and submitting a form, participating in our blogs or forums, entering a sweepstakes, contest, promotion or other special initiative, signing up for a special offer, completing a survey, sending feedback, requesting or submitting information, applying for a job, or directly contacting us.

The information we request includes, but is not limited to, your name, email address, mailing address, telephone number, age, and demographic information. It is optional for you to engage in such activity; however, if you choose to do so, we may not be able to permit you to participate in the activity unless certain pieces of information are provided. 2.2 When you interact with the Services, certain information about your use of the Services is automatically collected, regardless of whether you create an account on the Services. This information includes, but is not limited to, your browser type; mobile phone, tablet or other device type; computer or mobile operating system; the domain of the website that referred you to us; name of your Internet service provider; web pages you visit on the Services; IP address; geo-location information; and standard server log information. We also collect information about your interactions with our email messages, such as whether the messages were opened and the links clicked in those emails. Much of this information is collected through cookies, web beacons and other tracking technologies.

Most web browsers automatically accept cookies but, if you prefer, you can usually modify your browser setting to disable or reject cookies. If you delete your cookies or if you set your browser to decline cookies, some features of the Services may not be available, work, or work as designed. 2.3 The cookies described in Section 2.2 may be first or third party. We may also allow our affiliates, service providers, data management providers and advertisers to serve cookies or employ other tracking technologies from the Services.

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These cookies allow us, in conjunction with our partners, to analyze how the Services are accessed, used, or performing, and allow us to serve you with content, including advertising, tailored to your preferences or interests, as well as measure the effectiveness of that advertising. 2.4 Among the third party cookies used for purposes of optimizing the Services is Google Analytics, a web analytics service provided by Google, Inc. Google Analytics uses cookies or other tracking technologies to help us analyze how users interact with and use the Services, compile reports on the Services’ activity, and provide other services related to our Services’ activity and usage. The technologies used by Google may collect information such as your IP address, time of visit, whether you are a return visitor, and any referring website.

The Services do not use Google Analytics to gather information that personally identifies you. The information generated by Google Analytics will be transmitted to and stored by Google and will be subject to Google’s. To learn more about Google’s partner services and to learn how to opt out of tracking of analytics by Google,. 2.5 We currently use a third party for payment processing. We do not receive or store your credit card or bank account information, and we do not want you to send us your credit card or bank account information. Please review the terms of use and privacy policies of the third party payment processor prior to providing your information to them. 2.6 When you interact with us or the Services through a social media platform (such as by clicking on a social media icon linked from our Services), we may collect the personal information that you make available to us on that page, including your account ID or username and other information included in your posts.

If you choose to log in to your account with or through a social networking service, we and that service may share certain information about you and your activities. We partner with third parties to deliver content that may be of interest to you, including advertisers. As described in our, we allow third party partners to serve cookies or set trackers, which may result in the collection of data regarding the visitors to our websites.

Data collected by these third parties is subject to the privacy policies and practices of these companies. TSM has no role in creating these policies or setting practices of third parties. You can learn more about our third party partners and their privacy practices by clicking on the links below.