Our soundscape has been drastically altered. There has been a sea of change in the way we collect, create, listen to and share music. A decade ago, the rampant piracy of music descended upon the Internet. With the growth of technology enabling peer-to-peer sharing, as soon as one inspired individual had the audacity to put a song, album or discography on the Internet, all had access to it. The technology was too new for there to be direct moral codes around it; people knew that if they wanted music, they could search, click and it would be theirs — tucked safely in their library. Apple made a bet with the iTunes Store that people would want to pay for their music so long as acquiring it was as frictionless as in the models presented by the pirate giants Napster, KaZaA and Limewire. The iTunes 99 cents per song model worked for a time, then it fell apart. Complaints were lobbied: the sound quality wasn't high enough, the previews weren't long enough, the selection not broad enough. Piracy still ran rampant, and no insular group seemed to have the clout to fight it. To best piracy, an attempt had to be made to out-maneuver the benefits of stealing music while still promoting music, musicians and the music industry.