At the 2000 Olympics in Sydney, the Australian organizing committee distributed 45,000 free condoms in the village. Eight years later in Beijing, 70,000 condoms—labeled with the phrase ‘Faster, Higher, Stronger’—were exhausted and 20,000 more were ordered. This year in London, the Olympic organizing committee is providing 150,000, using special dispensers which contain a message promoting sexual health. Averaged among 10,490 athletes, that’s enough condoms for every athlete to have sex 15 times over the Olympics’ three weeks

Almost 300 enforcement officers will be seen across the country checking firms to ensure they are not staging "ambush marketing" or illegally associating themselves with the Games at the expense of official sponsors such as Adidas, McDonald's, Coca-Cola and BP....

Wearing purple caps and tops, the experts in trading and advertising working for the Olympic Delivery Authority (ODA) are heading the biggest brand protection operation staged in the UK. Under legislation specially introduced for the London Games, they have the right to enter shops and offices and bring court action with fines of up to £20,000.

The 81-year-old grandmother of six from King’s Lynn said the last thing she wanted to do was cause a crisis but attacked the rules as 'absolutely ridiculous.

'I thought that the hoops symbol was universal and I think it is disgusting that they can make rules about such little things, she said.

Instead, the London 2012 organizing committee's obsession with policing brands and controlling what audiences do means that the recently-unveiled motto for this summer's games -- 'Inspire a generation' -- could hardly have been more inappropriate.

The young people that are meant to be inspired by the London games will find themselves forbidden to use properly the very means that would have let them do that: the social networks where they share their most important moments. As a result, London 2012 looks likely to be the most petty-minded and joyless Olympics so far.

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Obviously we'd love for anyone who has our music to buy a copy. But again, we're realistic enough to know that most music can be found online for free. And trying to block people's access to it isn't good for bands or music. If music is going to be free, then musicians will simply have to find alternative methods to make a living in the music business. People are spending money on music, but it's on the technology to play it. They spend hundreds of dollars on Ipods, but then fill it with 80 gigs of free music. That's ok, but it's just a different world now, and bands must learn to adjust.

Our videos have opened up many more opportunities for us to make the things we want to make, and to chase our best and wildest ideas. Yes, we need to figure out how to make a living in a world where people don't buy music anymore. But really, we've been doing that for the last ten years. Things like licensing, touring, merch, and also now making videos through corporate sponsorship have all allowed us to keep the lights on and continue making music.

For a decade, analysts have been hyperventilating about the demise of the music industry. But music isn't going away. We're just moving out of the brief period--a flash in history's pan--when an artist could expect to make a living selling records alone. Music is as old as humanity itself, and just as difficult to define. It's an ephemeral, temporal and subjective experience.

For several decades, though, from about World War II until sometime in the last 10 years, the recording industry managed to successfully and profitably pin it down to a stable, if circular, definition: Music was recordings of music. Records not only made it possible for musicians to connect with listeners anywhere, at any time, but offered a discrete package for commoditization. It was the perfect bottling of lightning: A powerful experience could be packaged in plastic and then bought and sold like any other commercial product.

These days, money coming from a record label often comes with more embedded creative restrictions than the marketing dollars of other industries. A record label typically measures success in number of records sold. Outside sponsors, by contrast, tend to take a broader view of success. The measuring stick could be mentions in the press, traffic to a website, email addresses collected or views of online videos. Artists have meaningful, direct, and emotional access to our fans, and at a time when capturing the public's attention is increasingly difficult for the army of competing marketers, that access is a big asset.

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Now when we need funding for a large project, we look for a sponsor. A couple weeks ago, my band held an eight-mile musical street parade through Los Angeles, courtesy of Range Rover. They brought no cars, signage or branding; they just asked that we credit them in the documentation of it. A few weeks earlier, we released a music video made in partnership with Samsung, and in February, one was underwritten by State Farm.

We had complete creative control in the productions. At the end of each clip we thanked the company involved, and genuinely, because we truly are thankful. We got the money we needed to make what we want, our fans enjoyed our videos for free, and our corporate Medicis got what their marketing departments were after: millions of eyes and goodwill from our fans. While most bands struggle to wrestle modest video budgets from labels that see videos as loss leaders, ours wind up making us a profit.

The unsigned and unmanaged Los Angeles band Killola toured last summer and offered deluxe USB packages that included full albums, live recordings and access to two future private online concerts for $40 per piece. Killola grossed $18,000 and wound up in the black for their tour. Mr. Donnelly says, "I can't imagine they'll be ordering their yacht anytime soon, but traditionally bands at that point in their careers aren't even breaking even on tour."

The old model for compensating journalists is as obsolete as the telegraph. If anyone out there in the blogosphere can tell me what the new model is, I will pronounce him the first genius I've ever encountered on the Internet.