Archive for the 'copyright' Category

Owner of the “Amen Break”

amen break single

I have a blog called Sample Spotters that talks about whose songs have been sampled by whom. With the help of sites like the-breaks.com and datraxer.com, I make a list of an artist’s songs and where they were used: e.g. Roy Ayers, Patrice Rushen or Labi Siffre. I also did it the other way round once (what songs were sampled BY George Michael), and for some pivotal songs, I dedicated a whole blog post to just 1 song: Funky Drummer and the “Amen Break”.

On that last post I just got a comment by someone who seems to be the original copyright owner of the song: Richard L. Spencer:

I am thoroughly disappointed at all of the comments that I read from decent sounding young people who are not appalled that works by artists such as Greg and the rest of us in The Winstons can be ripped off by hundreds of artist and they do not protest.I am the copyright owner of The Amen Drum Break which was created by fellow Winston Greg Coleman and neither of us have ever received a penny for our product.

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Google and Perfect10: DMCA at its best

While searching for something really innocent on Google (honestly!), I got the following warning:
Google DMCA warning: OMG

The Digital Millenium Copyright Act (”DMCA” - 1998) criminalizes production and dissemination of technology that can circumvent measures taken to protect copyright, not merely infringement of copyright itself, and heightens the penalties for copyright infringement on the Internet. OMG, what kind of illegal practices had Google just protected me from? Clicking the ChillingEffects link shows the DMCA complaint in question: the Perfect 10

Google DMCA explanation: WTF
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Google files patents for contextual wifi advertising

registration patent
Google has filed and published the following patent applications:

(1) Method and system to provide wireless access at a reduced rate:
Methods and system for providing wireless access at a reduced rate. In one embodiment, access to a WAP is provided to an end-user at a rate subsidized by a first entity. The first entity includes advertisements in an end-user view.
which sounds like a Google (secure) proxy that modifies passing-though HTML

(2) Method and system to provide advertisements based on wireless access points:
Methods and system to provide advertisements in a view of an end user accessing a wireless access point. The advertisements are related to the WAP based on a predetermined criterion.
aka contextual advertising for Wifi

(3) Method and system for dynamically modifying the appearance of browser screens on a client device:
In one embodiment, a connection of a client device to a wireless access point is identified. Further, the appearance of a screen presented on the client device is modified to reflect the brand associated with a provider of the wireless access point.
aka the ‘captive portal’

on cre8asiteforums.com via seroundtable.com

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The RIAA shoots itself in the foot again


Image by FactoryJoe

Someone at the RIAA decided they hadn’t enough enemies yet. Why not start screwing with the iPod owners?

As part of the on-going DMCA rule-making proceedings, the RIAA and other copyright industry associations submitted a filing that included this gem as part of their argument that space-shifting and format-shifting do not count as noninfringing uses, even when you are talking about making copies of your own CDs
(…)
For those who may not remember, here’s what Don Verrilli said to the Supreme Court last year:
“The record companies, my clients, have said, for some time now, and it’s been on their website for some time now, that it’s perfectly lawful to take a CD that you’ve purchased, upload it onto your computer, put it onto your iPod.”
from EFF via BoingBoing

It’s a struggle for survival: the RIAA sees their old business model disappear, has no clue how to adapt to that and reacts by throwing money at lawyers and lobbyists. The RIAA is like the USS Nimitz in a pond that is drying up and the only reaction they can think of is: “sue the sun”.

What is so special about this is that the music industry has something that most industries would die for: passionate consumers. It’s not as if we buy music because we ran out of them (like toilet paper) or because the old ones aren’t any good anymore (like newspapers). We have developed a taste, we have artists we love and others we hate, we know the names of people behind them, we’re interested in how they live their life. There are groupies, musical subcultures, music magazines, music sites and TV stations with nothing but music. It’s a product any CEO would sell his mother-in-law for. Yet, the only thing the ‘old’ record companies seem to do with that is make their customers passionately hostile.

Look, I dunno what planet you guys think you�re on and what legal system is going to end up supporting your stilted worldview, but it doesn�t even matter. Because you�re irrelevant. You�re meaningless. What you�re doing is like a slow train wreck euthanasia; we�re all watching you pen your own demise, over months and months of screwing your best customers. I mean�it�s so painfully clear to us! Why is this not obvious to you?
FactoryJoe

Let’s take another example of a company that has passionate customers: Apple. Would it have been wise of Apple to sell a computer and forbid people to install software on it that was not developed by Apple? What if Apple had built a music player that only played music in its proprietary AAC format? “Yes, we know this MP3 thing is kinda big and stuff, but we feel we have to protect you from yourself. Oh, you want to print stuff? That’s an extra 50 cents per page!”
On the contrary, Steve Jobs is the (only) one who is driving the entertainment industry forward. While record companies were still arguing about “how much can we charge them for each time they listen to a song and how can we control that”, iTunes set the standard: 1$ per song, $10 per album, no limits on listening. While the MPA was busy suing toddlers and grannies with BitTorrent, iTunes came up with a model for TV show distribution: 2$/episode - no bullshit. We can only hope health problems do not keep Steve from setting standards in movie distribution either (like: get rid of the DVD regions or use BitTorrent as distribution mechanism). The content is ready, the bandwidth is ready, the customer is ready, all we need now is someone who wants serve his customers the 21st century way.

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Thought DMCA was bad? Here’s DTCS!

While people were buying Christmas trees and turkeys, the U.S. House of Representatives, and specifically Jim Sensenbrenner (Republican) and John Conyers (Democrat), have prepared a very nice gift to the MPAA:

(…) I’d like to continue by looking at H.R. 4569, the Digital Transition Content Security Act of 2005, which proves the point I’ve made many times over the years, that when it comes to technology, government doesn’t really know what it is doing. H.R. 4569, which was introduced in the U.S. House of Representatives on December 16th, is intended to protect the intellectual property rights of movie studios by MAKING ANALOG-TO-DIGITAL CONVERSION ILLEGAL.

Under the Act as proposed, manufacturers will have one year after passage to stop making devices that convert analog signals like music and video into digital forms unless those forms preserve some original Digital Rights Management technology present in presumably the pre-analog stage.

What this is about, then, isn’t making it illegal to use a digital recorder to record from analog microphone. Heck, that would destroy the music industry. Congress’s thinking (if we dare call it that — I see no flashes of synapses firing) is that media are going digital more and more and the greatest opportunity for snatching content is during the actual performance when, for the sake of driving a screen or a speaker, the digital signal goes analog.

What’s covered by this proposed law are things like TiVO and RePlay Digital Video Recorders, TV tuner cards for your PC, software intended to record audio or video streams, or just about any device or program you might use to actually implement that part of the Digital Millennium Copyright Act that says you have the right (though soon not the equipment) to backup or media-shift your own music and movies.
(from I, Cringely)

And someone had the same reflection as I had and did the research for me:

When I go to opensecrets.org and look who Jim Sensenbrenner’s top contributors are a few names tend to stand out: Broadcast Music Inc. (BMI), News Corp., Comcast Corp., Viacom Inc., Motion Picture Assn of America (MPAA) and the Major League Baseball Commissioner’s Office. It’s also interesting to note on Sensenbrenner’s latest reported personal financial statement that he received two all expense paid trips (including other family members) to Vegas and New Orleans from the National Association of Broadcasters and the National Cable and Telecomm Association. I wonder if he was flying first class and I wonder if these people want you to have your TiVo or not?

And isn’t it ironic when you look up John Conyers’ financial information that you find some of the same and some new names as well. Some of the names that stick out as John Conyers’ largest financial contributors? Comcast Corp., Clear Channel Communications, Major League Baseball Commissioner’s Office and ASCAP.
(from thomashawk.com)

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The MPA and other people’s money

Like the RIAA, the MPA has the logical reaction to disruptive forces: send out the lawyers.

Suing file-sharers is apparently so 18-months-ago that the music industry, in dire need of something new to justify their hefty legal retainers, has taken aim at sites that offer �unauthorized� lyrics and unlicensed song scores. The Music Publishers� Association (MPA), which represents US sheet music companies, said it will launch its first campaign against such sites in 2006. MPA president Lauren Keiser told the BBC that shuttering websites and imposing fines aren�t quite sufficient, saying if authorities can �throw in some jail time I think we�ll be a little more effective.� Ho, ho, ho.
from google.weblogsinc.com

The main issue here seems to be that because of music lovers exchanging/downloading lyrics from websites, there is no market anymore for selling books with lyrics, a market that had already suffered under the evil influence of the Xerox photocopy. I have two words for that: buggy wips!

Lawrence Garfield: You know, at one time there must’ve been dozens of companies making buggy whips. And I’ll bet the last company around was the one that made the best goddamn buggy whip you ever saw. Now how would you have liked to have been a stockholder in that company? You invested in a business and this business is dead. Lets have the intelligence, lets have the DECENCY to sign the death certificate, collect the insurance, and invest in something with a future.
from Other People’s Money, by Danny DeVito

Again we have to look at the Electronic Frontier Foundation to talk some sense into the big guys with piles of money but no clue how to adapt.

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Consumers digital rights

Consumer Digital Rights
The BEUC (”Bureau Européen des Unions de consommateurs” or European Consumers Organisation) has set up a web site to inform consumers on which rights they still DO have on their digital content:
www.consumersdigitalrights.org

Consumers are not pirates!
P2P is like stealing a CD in a shop!“, “We have to protect artists who are being robbed by consumers on the Internet!“.
We are being fed this type of “truth” thanks to the efforts of certain major music and film industry interests.
For this reason, we are launching today with a press conference in the European Parliament and with the support of Mrs Zuzana Roithová MEP, a Campaign supported by a “Declaration of Consumers’ Digital Rights“.
from consumersdigitalrights.org

They put the following 6 basic consumer rights forward:

The BEUC tries to give a voice to a large group of consumers and individuals that have a hard time to counter the lobbying power of record and movie companies. If you want to support the action, put a logo on your own page!

  • 240 x 61 pixels:
    <a href="http://www.consumersdigitalrights.org" target="_blank"><img src="http://static.flickr.com/32/63355147_3827f27158_m.jpg" title="BEUC Consumer Digital Rights" border="0" /></a>
  • 500 x 127 pixels:
    <a href="http://www.consumersdigitalrights.org" target="_blank"><img src="http://static.flickr.com/32/63355147_3827f27158.jpg" title="BEUC Consumer Digital Rights" border="0" /></a>

And, yes, that’s me on the interview page.

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Adam Curry goes 100% podsafe


Adam Curry, godfather of podcasting, has had an epiphany:

I was told - maybe I should say … threatened is not the right word - but ‘promised’ that they (the music/broadcasting companies) are gonna come after podcasters, and they’re gonna shut them down. What was implied, is that they were going to shut podcasting down.
(at 9:58 in DSC-275-2005-11-07.mp3)

So he did not take this ‘promise’ lightly and got rid of all his licensed music.

11:10 Wondering why certain episodes of DSC are not in the archives? Adam has been contacted by several Dutch representatives of international music services tell him “hey, this file’s on your server, it’s licensed music, get it off there.” Adam has removed episodes with such songs on there. Adam has even “cleaned” his computers at home of every possible mp3, and now has only podsafe tunes on there. Adam will not play any non-podsafe song on the DSC. No more Mashups. If it’s not on PMN, it doesn’t get played.
from Daily Sourcecode Show Notes

Adam was actually in Brussels while doing that podcast, visiting some European Parliament contacts. He is concerned that the music industry could get a European directive passed, making sure that there will be no way for podcasters to play licensed music, no reasonable priced yearly/monthly license. Playing commercial music is only for the big boys.

So Adam’s reaction is: “Scr*w you, we’ll make you irrelevant”. Don’t know if it’ll work, but it’s a big step.

Once they get to know new artists in the free-and-legal bag they aren’t reliant on music which can only be shared in the underground, but getting them over the hump is not so easy: they have to hang around long enough to absorb new sounds and stop being disappointed that they can’t have the old ones. With Adam and the many podcasters he influences on board, we have a good shot at breaking through.
from Lucas Gonze’s blog via beatmixed

I am still before that hump, I’m not ready yet to throw out all my RIAA/IFPI licensed music. There’s just to many memories linked to music I have. Long Hot Summer, I Keep Forgettin’, Knocks me off my feet, That Night, these songs mean something for me, I cannot switch completely to podsafe music. Yet.

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