I agree with mgkimsal's comments above/below. Let's not muddy the debate with pedantic discussions over the definition of "stealing". You knew what I meant when I used the word.
With regard to your second point, I again argue that there needs to be a separation between the debate over how copyright holders operate and the legalities of piracy. Failure to do that means that the analysis breaks down when we're not talking about the big evil conglomerate music companies that screw artists over and everybody loves to hate. Do you feel comfortable with your assertions above if we're talking about an indie game developer, or TextMate author Allan Odgaard?
I don't really see it as pedantic. It's important to oppose persons who characterize copyright infringement (at least as it relates to filesharing) as "stealing" because that misinformation is the argument that the pushers of SOPA/PIPA and other bad things hide behind. We cannot tolerate the analog because when it promulgates across techie lines into the mass of "normal people", they don't have the context necessary to consider the implications and judge independently whether the event constitutes a legitimate theft or not.
We need to emphasize that filesharing is a form of sampling for most people, and that they would never buy 99% of the content that they fileshare for free, and that they often do buy that 1%, and that even if the consumer doesn't buy your content/distribution, you're still better off for the potential word-of-mouth promotion and other exposure facilitated.
In reality, filesharing operates on the same principles as YouTube, which the studios and record companies also attempted to kill as just another pirate avenue before it was legitimized by Google and entered mainstream acceptance; they now (mostly) see YouTube as a promotional platform with the same understanding that it's about "sampling", that most people won't buy 99% of the stupid videos they watch on YouTube, but that some people will buy that 1%. The RIAA/MPAA members use YouTube in hopes that their content will be that 1% that provokes individuals to go purchase related merchandise.
The only difference is that YouTube makes the "filesharing" piece invisible and people feel that they are sharing videos instead of files, and this makes YouTube tenable for mainstream use. BitTorrent and other filesharing networks operate on the same set of principles, but they are harder to use and control, so they remain targeted when there is essentially no difference from a consumer standpoint other than barrier to entry.
With regard to your second point, I again argue that there needs to be a separation between the debate over how copyright holders operate and the legalities of piracy. Failure to do that means that the analysis breaks down when we're not talking about the big evil conglomerate music companies that screw artists over and everybody loves to hate. Do you feel comfortable with your assertions above if we're talking about an indie game developer, or TextMate author Allan Odgaard?