The entertainment industry has fought against that kind of user convenience every step of the way.

In the 1970s and 1980s, it was all about trying to ban cassette tapes and VHS so that consumers couldn’t record songs off the radio or movies off of broadcast TV. In the late 1990s, when DVDs and MP3 players first hit the market, the industry made sure to wrap DVDs in layers of copy protection and tried to ban digital music players (ask Apple how that one worked out).

Remember the nearly decade-long, drawn-out battle between the RIAA and the rest of Earth? It sued Napster out of existence, pursued further suits against teenagers and old ladies, and tried its damnedest to thwart Apple’s efforts at digital music distribution. As recently as a few years ago, songs sold on the iTunes Store were still encumbered with DRM restrictions — at the insistence of the major labels and against Apple’s wishes — but those restrictions have since disappeared, and the iTunes Store is now the number one seller of music in several parts of the world.

The film, television, and music industries have fought tooth and nail against technologies and distribution methods that emphasize user convenience over distributor control for the past 50 years, and they’ve funneled millions of dollars into Congress in order to get laws like the DMCA, SOPA, and PROTECT-IP passed. The end result of the DMCA itself has been a confusing, Balkanized landscape as far as online media distribution goes, and it hasn’t affected piracy in the slightest.

For all their intentions, neither SOPA or PROTECT-IP are likely to measurably impact piracy either; instead, they will make it easier for the entertainment industry to abuse its already outlandish influence over the US government, and it will make it easier for the US government to undermine the very foundation of the Internet.

http://i.tuaw.com/2012/01/18/tuaw-on-sopa-and-pipa-what-they-are-and-why-were-against-them/