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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Shadow Work, Snowflakes & Starlight, Lying Streak, Magick Comin', Let You Down, What Are You Wishing For?, Alternative Facts, Rising Rising Rising, and 4 more. , and , . Purchasable with gift card Buy Digital Discography $43.35 USD or more (15% OFF) Send as Gift about This is a song about finding the courage to be honest and be yourself in a world that wants to put blame on you for being different. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); lyrics You wanted the conversation to be easier on meYou envisioned a rosier history for me and my familyAnd I didn't want to let you down, noI didn't want to let you down, noI didn't want to let you down by telling you the truthI've not walked the usual path and I have not regretted thatBut just by going differently so many strangers have misread meI do not attack your ways just by choosing my ownI do not eschew company, I just find myself aloneAnd I didn't mean to let you down, noI didn't mean to let you down, no I didn't mean to let you down but don't twist my words aroundDon't say the parts that you don't like are not the real meI am finished shielding you from what you don't wish to seeSo that you can feel more comfortable around me, go aheadAnd be uncomfortable, it never killed anybodyMorning comes and i feel crazy, but I am so over assimilatingYour sarcastic punishments of my and others differencesHave been dismissed, I wish you well but not so wellThat I'll continue to let you put me and others through hellI'm ready now to let you down and I'm ready now to let you down andI'm ready now to let you down, so don't come back aroundPlease enjoy your normalcy, feel free to speak unkindly of me'Cause that says more of you than it will ever say of me $(".lyricsText").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); credits released May 3, 2019 lyrics and music copyright rorie kelly 2019produced by kevin kelly and rorie kellyrorie - vocals, guitarskevin kelly - bass, programming $(".tralbum-credits").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); license all rights reserved tags Tags alternative acoustic avant-garde feminist indie ladybeast lyrical pop rock rock singer-songwriter New York Shopping cart total USD Check out about rorie kelly New York

To recap for those who may have missed the big standoff at the turn of the century, the prevailing story: since 1999 the industry at large has been working to stop the flood started by Napster. Illegal downloading existentially threatened the music business. Labels and responsible consumers alike needed to fight it in all its forms. Downloaders stole from the artists you love and endangered the labels that release their music.

Thanks for reading (or at least clicking on) the first Applied Science of 2020. I\u2019m aiming to publish monthly this year; naturally, I\u2019m starting out on the right foot by skipping January. This edition dives into ways we\u2019ve been misled by the prevailing illegal downloading narrative, revealing missed potential inherent in some acts of music piracy. Before that, a related aside about my December.

For me, this narrative always begged the question: who\u2019s really being hurt and what does that hurt look like? We were told to be sympathetic to big corporations whose bottom line was being undercut; multi-national companies who goaded star artists to be the faces of legal battles against average people in the crusade against illegal downloading; major labels that cried foul about cratering profits, while scarcely acknowledging that many of the artists who generated those profits reaped decidedly little of the return (and sometimes none, depending on the fine print). Ultimately, the financial damage was undoubtable, if difficult to fully measure. The fog of war obscured piracy\u2019s possibilities for positively morphing the music business. Most of those beneficial prospects are yet unrealized and may never blossom, but still merit exploration.

In Free, Witt\u2019s intercontinental story of industrial evolutions eventually lands at Oink\u2019s Pink Palace (or, more succinctly, OiNK), the utopian, invite-only torrenting site founded by young Brit Alan Ellis. It connected a relatively large, diffuse group of music obsessives, united in their quest to illegally download music in a \"safe\" manner. I want to hover on the edenic promise of OiNK.

Dissecting the ins, outs, and legitimacies of copyright law would require a book-length exploration. Suffice to say, my career relies on a certain level of copyright protection and the profit derived from intellectual property. Still, we must interrogate this treatment of copyright and related profit as sacred, inviolable rights. Such a mindset incited the music industry's holy crusade against illegal downloading in all its forms, long term effects be damned. The major labels can hardly be blamed for their approach; they saw their pockets besieged and, like white blood cells sensing a virus, blitzed the threat. Ironically, this obsession with copyright law metastasized into ambulance-chasing lawsuits in which intellectual property laws are pushed to protect \u201Cvibes\u201D and \u201Cfeelings,\u201D as fledgling producers set sights on superstars and major labels. It would be humorous karmic return, if high profile lawsuits against Katy Perry and Pharrell didn\u2019t have such dangerous implications for all creators.

OiNK showed that proper incentive could engage random super fans in the painstaking effort archives require: data entry, research, maintenance, fact-checking, bias-policing. Archives historically appear the domain of librarians, a laborious civil service with little sex appeal whose utility only seems to inspire discussion in moments of loss (such as the fire that destroyed millions of Universal Music Group\u2019s masters). OiNK\u2019s archive could have been the foundation for all of the credit systems on current DSP's; the communal fact-checking body for the Recording Industry Association of America, Recording Academy, BMI, ASCAP, SESAC, and any other administrative or regulatory body in the business; a streamlined database for sample clearance and sync license purposes; a foundational node in music's corner of Wikipedia (or perhaps an autonomous music wiki that functioned better than Discogs or AllMusic.com). It would have given artists and labels alike means to directly communicate with and reward fans, opening a kind of consumer channel that more passive fanclubs have often failed at building.

This labor could have served as payment in kind (or eventual payment after a certain point) for tracked songs and bodies of work. Complete enough metadata over enough time, help enforce community standards, you get free downloads. Share that music illegally, you get banned from the community and charged with a commensurate real-world penalty (not slapped with an injurious criminal case\u2014at least not for small infractions). I\u2019m spitballing, but the idea of gamified work and self-regulating communities takes loose shape on sites like Wikipedia. From here, you can also imagine how streaming platforms and storefronts like Bandcamp could be built atop this \u201Cpirate\u201D foundation. 1e1e36bf2d