Also, back when Napster was really rolling, and the RIAA was freaking out, I recall reading an article by Janice Ian (a 70's 3-hit wonder) saying that she never got a statement from her record company that didn't say that she owed them money.
If you watch the RIAA's behavior carefully, you'll see that they're not really about attacking "piracy". They're trying to prevent any kind of delivery mechanism which takes them out of the loop... that connects the artist directly with the listener. "Disintermediation" is the big word for it.
Yes, I read Janis' article too. Search for "The Internet Debacle" to find it. She now sells CDs direct from her web site, and tours.
Fifteen years ago I lived upstairs from a guy who managed a jazz orchestra (and played drums). He put it in a nutshell for me. "There's a minimal price people will pay for just good music. If you want to make more than that, you have to be famous." He knew the big labels had the power to make his band famous, and that there were other bands out there who could play good music too. But he had more of a business head on his shoulders than 99% of musicians, so he didn't sell his band down the river in the hope of being made famous. And I learned that a band that doesn't have a big contract and isn't famous can sound just as good as one that has and is.
The fundamental problem was pointed out two or three years ago by some big dude from Yahoo!. As he put it to a room full of RIAA suits, the physics have changed. Disintermediation can no longer be prevented. Bands can get famous on YouTube. The artificial scarcity that RIAA exploited no longer exists, because it was a scarcity of information: there were ten thousand bands out there and the only way for me to learn which ones I would like was via some channel that RIAA controlled. Now there are more channels for information than anyone can control, this side of Beijing.
All the more reason for RIAA to screw even more out of the few artists they still have a legal clamp on. They now try to get artists to sign a so-called 360 contract, where the company takes the revenues from touring and gives the artist a few crumbs of those. And of course some artists fall for it.
What's left for the RIAA? People who don't care whether the music they're listening to is good music as long it's famous, as long as it's what the people around them are listening to. In a word: teenagers.