Piso, a Ferrari would make my life more enjoyable, does that give me the right to take one for free? I'm not exactly understanding your reasoning there.
You probably don't remember tape recorders. In 1955, if you added an FM tuner and a tape deck to your music system, you could record broadcasted music and your recordings were indistinguishable from the LPs the radio stations played. Sure there was sound degradation, but no one had equipment good enough to hear it.
Of course there was no Digital Rights Management because there was no digital music. But no one thought of Analog Rights Management. The record companies knew we were taping and they were fine with that.
To them it was free advertising. They knew we would learn to love their catalog and their house variety of recorded sound, and then we would want a hard copy, i.e. an LP. Because magnetic tape stretches and breaks, and every time you cut and splice it you lose a chunk of music.
We taped LPs from the public library, and we taped our own LP collections too. LPs degrade a little bit every time they are played, so we taped our LPs and listened to the tapes. No one thought of making LPs that couldn't be taped. I don't think you could have published that as a science fiction story, it would have sounded too ridiculous.
Why can't music publishers use MP3s as advertising? They are degraded copies of musical recordings. Paying for degraded recordings does not appeal to me. I've bought well-worn LPs when I couldn't get the music another way, but I've never paid more than 50¢ for an album with 14 or 15 tracks.
Do you know how fast music is pulled from YouTube when publishers don't want it there? It is a legal industry. And here is DB731, who wants to download some degraded public domain music from YouTube, with people telling him he's an auto thief or a jewelry thief if he can't find someone to pay. I just don't get it.
Who ever heard of 99 year copyrights? Twenty years is enough for creators and producers to be fairly compensated. It is good to be concrete, so here is a concrete example of how our copyright law works and whose interests it serves.
In 1955, violinist David Oistrakh visited the United States. On December 24 he was in Philadelphia, and he recorded Mendelssohn's violin concerto with the Philadelphia Orchestra for Columbia Records. It is a marvelous recording, but Columbia never reissued it on CD because it is monaural. CBS sold Columbia and its catalog to Sony. Sony will not reissue the recording, and they will not license it to anyone who wants to reissue it. They feel it is worth more as a financial asset if it is withheld from the public. Naxos Records hired Mark Obert-Thorn to produce a reissue in the UK, where this recording is in the public domain. He used unplayed collector vinyl and he did a terrific job: Sony's session tapes might sound a little better, but then again they might not. Unfortunately the CD cannot be sold in the USA until 2054. I broke the law when I bought it, and an EU music dealer broke the law selling it to me. Maybe he can get me a price on a Ferrari.