CopyLike.Org – Pay Creators Like You Pay Everyone Else

Check out this great organization:
http://copylike.org/
https://www.facebook.com/copylike

It looks like you don’t want to pay
for us to create stuff you like.
Why do you pay everyone else?

Some people think there’s no harm in making illegal copies,
and the price of copies of our work should be zero.

They think only big companies love copyright, using it to do
evil things. That’s only part of the truth.

Copyright begins with the creator. It’s the only weapon
we have to force big companies to negotiate with us, instead of
just ripping us off.

You gave all your money to phone companies, internet service
providers, laptop manufacturers and enormous breweries.

There’s nothing left for us.

Defend Copyright.
It’s All We Have Left.
COPYLIKE.ORG

[ THE 101 ] [NEW BOSS / OLD BOSS ] [ARTISTS KNOW THEY ENEMY] [WALL OF SHAME]

The Wall of Shame Continues: Tell Them If You Do Not Want Your Records and Tours Advertised on Pirate Sites–no @mcdonalds for you

We’ve been posting about advertising on illegal lyric sites and it has become apparent that these sites are pretty clearly direct infringers–meaning they don’t get safe harbors.  This is because all seem to directly copy the lyrics themselves.

It’s also very apparent that the sites are based in China and other locations outside of US law.  Yet–of course–they all prattle on about how they respect the “DMCA” as though US law applied to them wherever they are located and that they are entitled to the “DMCA” safe harbors, which they pretty clearly are not.

Plus, these sites sell a ton of advertising, have referrals for spyware and illegal ring tones, link to artist videos on YouTube,and both the sites and the advertisers free ride off of the brand identity of artists and songwriters whose lyrics are stolen.  This advertising is not only from US companies, but is mostly from Fortune 500 companies like McDonalds, Macy’s, Levi’s and CVS Pharmacies.  Do these companies care so little about artists and songwriters that they are willing to associate their brands with unlicensed lyric sites?

Unfortunately, we have also seen several instances of legitimate artist ads being served to pirate sites such as this Brandi Carlisle ad (below on the right) served to an the Lyrics007.com illegal lyric site.  This ad for Brandi Carlisle’s new album is served next to Maroon 5 lyrics and a click through ad to a spyware toolbar that attracts users with the hope of acquiring more “free” mp3s–and we all know what “free” means.

The Brandi Carlisle ad is served by Google’s “AdChoices” adserving network and we saw many that were served by Doubleclick.  (In case you missed it, “AdChoices” used to be called “Ads by Google” but was changed during the SOPA debate for some unknown reason.)

And the answer to how in the world does a record company’s ad show up on an illegal lyric site probably lies with the adserving network.  That ad network–Google in this case–knows where the ad inventory exists, but won’t tell the advertiser where their brand is being promoted.  So you get these incongruous pairings.

And then there is another legitimate ad for the Warped Tour served next to illegal lyrics for Arcade Fire as well as Google AdChoices sponsored links for Google Chrome and what appears to be a pirate mp3 download application (more likely spyware but we didn’t want to find out) as well as some other bogus looking stuff.

So what can you do as the artist or the artist’s negotiator?  Tell your lawyer or manager that you require in your record deal or tour contract that your name and brand cannot be used in advertising served to illegal sites.  You can even list examples of the sites.  In your tour contract, require that the tour not advertise on pirate sites and give examples.  There may be some advertising networks that are so corrupt that they shouldn’t be used at all.

Don’t stop there–also require that the tour obligate sponsors (or their ad agencies) to not advertise on pirate sites.

Before you throw up your hands and say “forget it, they’ll never agree to that” remember–artists didn’t used to get approval over singles, approval over the use of their music in commercials, or in political ads.   Now it’s pretty routine.

You don’t get if you don’t ask.

[ WHY ARENT MORE MUSICIANS WORKING ] [ ARTISTS FOR AN ETHICAL INTERNET ]

The Trichordist Random Reader News & Links Sun Jun 10

Grab the Coffee!

This past weeks posts on The Trichordist;
* How Copyright Encourages Creativity In Hollywood
* Artists Know They Enemy, Who’s Ripping You Off and How…
* Google Tells Ari Emanuel To Change His Business
* Artist Exploitation Calculator – Internet Edition
* Musicians, What to do when you find your Lyrics on Pirate Lyric Sites
* CopyLike.Org – Evil Corporations, We Don’t Like Them

We discovered two Artists Rights groups this week definitely worthy of support:
http://copylike.org/
http://musikschaffende.ch/
and in English via Google Translate; http://bit.ly/Mx21tg

Electronic Musicians grapple with having their work being Illegally Exploited, Synthtopia reports:
http://www.synthtopia.com/content/2012/06/05/how-should-electronic-musicians-deal-with-file-sharing/

Billy Corgan and Noel Gallagher are quoted in this fantastic piece by the UK’s Guardian about the illegal exploitation of artists work on line and how the next generation of upcoming developing artists are negatively effects, well done;
http://www.guardian.co.uk/music/musicblog/2012/jun/08/behind-music-piracy-pop?CMP=twt_gu

Writer David Newhoff wrote a compelling piece this week for Copyright Alliance addressing the frequent “Copyleft” argument that copyright and free speech can not co-exist;
http://blog.copyrightalliance.org/2012/06/guest-post-is-copyright-a-threat-to-free-speech-by-david-newhoff/

Spotify was the subject of hot debate this week as both Digital Music News and Hypebot picked up and republished the current “Steaming Price Index” from The Trichordist;
http://digitalmusicnews.com/permalink/2012/120604youtube#5ArY3BUTQBtv273GLJ0Ddg
http://www.hypebot.com/hypebot/2012/06/an-indie-labels-shares-what-spotify-streaming-music-services-pay-them.html

Speaking of Spotify more and more artists are realizing the model is unsustainable, artists Hyland and Lewis discuss;
http://christianmusiczine.com/hyland-lewis-spotify/

We found this enlightening and ironic.  A Pirate Party Australia Spokesperson  is opposed to Spotify, guess they don’t like the competition. What does it say about a commercial legal service when the pirate party doesn’t like it for cutting in on their business?
http://olbrychtpalmer.net/2012/02/22/streaming-is-not-an-alternative-to-piracy/

Editor’s note:  Mr Olbrycht-palmer wrote us a very polite note begging to differ on our characterization above. He notes he was speaking for himself not in his official capacity as Press Officer for  PPAU.  We stand corrected! And it is duly noted.   He has written a thoughtful rebuttal to our piece here: http://olbrychtpalmer.net/2012/06/14/trichordist-strawmen/

Not surprising, the same people ripping off artists are also trying to rip off their governments. Once a thief, always a thief, good luck with that, Torrent Freak reports;
http://torrentfreak.com/bittorrent-admin-jailed-for-tax-evasion-on-site-donations-120605/

This one is so over the top it should be eligible for a Nyan Cat Award as presented by The Magic Beaver. TechDirt goes down the rabbit hole thinking about the likelihood of copyright infringement post-Singularity, pure comedy at it’s best;
http://www.techdirt.com/articles/20120523/04341919034/how-copyright-would-make-singularity-infringement-if-it-ever-arrived.shtml

[ THE 101 ] [NEW BOSS / OLD BOSS ] [ SPOTIFY ] [GROOVESHARK ] [ LARRY LESSIG ]
[ JOHN PERRY BARLOW ] [ HUMAN RIGHTS OF ARTISTS ] [ INFRINGEMENT IS THEFT ]
[ THE SKY IS RISING : MAGIC BEAVER EDITION ] [SF GATE BLUNDERS PIRACY FACTS ]
[ WHY ARENT MORE MUSICIANS WORKING ] [ ARTISTS FOR AN ETHICAL INTERNET ]

CopyLike.Org – Evil Corporations, We Don’t Like Them!

Check out this Organization:
http://copylike.org/
https://www.facebook.com/copylike

We know that there are
evil corporations in the world.
We don’t like them.

With copyright laws, we get to decide who can use our work,
and how much that have to pay for it.

If we want, we can give it away for free to our favourite charity,
or as a gift to our fans and supporters.

If a company wants our music, we can tell them yes or no.
If they steal it, we can take them to court.

That’s one of the reasons we like copyright.

Defend Copyright.
It’s All We Have Left.
COPYLIKE.ORG

Musicians POV: Songwriters: How to find yourselves on pirate lyric sites and what to do about it

We’ve all heard about Bit Torrent sites like the Pirate Bay, Isohunt, Megavideos.  One kind of site we haven’t heard much about is lyric sites.  These are often large websites with heavy traffic that are text based and advertising supported.

How do you find these sites?  One good way is to search for yourself and your song title on Google.  Google will helpfully deliver you the top illegal lyric sites so you can move right along.  Or you could set up a Google alert for your songs and Google will deliver directly to you the information that they know about already.  Nice and neat package.

Let’s take Lyrics007.com for example.  This is an illegal site that has the lyrics from 1,000s of songs, allows users to create ringtones for “free” (or so they say, we haven’t clicked on those links because who knows what might happen), and lyrics.com is ad supported.

So search for your song in the search box and see if it comes back.  Even if you are not a rock star, you will probably be in the database if you have ever released your lyrics online (like on your own website for example).  When you find your songs, you will notice that your song lyric will be surrounded by advertising.  In the case of Lyrics007.com, it looks like Google has an exclusive on serving advertising to the site, because advertising for Google Play, Google’s music service that had a hard time launching because the music community believed that Google profits from piracy.

You’ll also see a variety of Google ads (hover over the ad and you will see a web address for the ad which will have the name “google” or “doubleclick” in the URL–Google owns Doublclick thanks to the antitrust authoritites).  There will also be ads for “AdChoices” which is also a Google adserving company.  These ads are generating revenue for the ad publisher (Lyrics007) and for Google.  Presumably also for the advertiser, such as McDonalds, Warped Tour and H2O Festival that we saw.

You can find out who is the registrant of the site by searching the WHOIS database at a registry, such as Network Solutions http://www.networksolutions.com/whois-search/lyrics007.com:

The site is registered to HICHINA ZHICHENG TECHNOLOGY LTD.  In China.  But Lyrics007 is in the top 2500 websites in the US according to Alexa.

So what can you do about this?  Not much.  One thing you can do is take a screen capture of your lyrics and email it to us for the Wall of Shame and we will keep others abreast of what you are finding.  Make sure you get the ads included in the screen shot, but be careful what you click on.

We are particularly interested in screen captures of advertising by big brands (like McDonalds below).  Email them to us and we will post the best ones!

Like this:

Or this:

[ JOHN PERRY BARLOW ] [ HUMAN RIGHTS OF ARTISTS ] [ INFRINGEMENT IS THEFT ]

Artist Exploitation Calculator – Internet Edition

If there is any doubt left in anyone’s mind about the Exploitation Economy ripping off artists, this fantastic website shows the estimated revenue generated for commercial businesses on the backs of artists and creators without paying the artists a single penny.

Stat Show:
http://www.statshow.com/

The Pirate Bay – $14 Million Dollars Annually Estimated
http://www.statshow.com/thepiratebay.se

4 Shared – $11 Million Dollars Annually Estimated
http://www.statshow.com/4shared.com

Iso Hunt – $4 Million Dollars Annually Estimated
http://www.statshow.com/isohunt.com

And that’s just the tip of the iceberg, we also recommend reading:

Artists, Know They Enemy:
https://thetrichordist.wordpress.com/2012/06/05/artists-know-thy-enemy/

Ethical Fan – Wall Off Shame:
http://ethicalfan.com/2012/04/wall-of-shame-april-2012/

[ WHY ARENT MORE MUSICIANS WORKING ] [ ARTISTS FOR AN ETHICAL INTERNET ]
[ THE SKY IS RISING : MAGIC BEAVER EDITION ] [SF GATE BLUNDERS PIRACY FACTS ]
[ THE 101 ] [NEW BOSS / OLD BOSS ] [ SPOTIFY ] [GROOVESHARK ] [ LARRY LESSIG ]
[ JOHN PERRY BARLOW ] [ HUMAN RIGHTS OF ARTISTS ] [ INFRINGEMENT IS THEFT ]

Nothing Says Freedom Like Getting Away With It: Google Tells Ari Emanuel to Change His Business

Americans are freedom loving people, and nothing says “freedom” like getting away with it….
Long Long Time, written by Guy Forsyth

Ari Emanuel spoke at the D10 conference recently which tells you something right there.  He has a far greater tolerance for bull than we do.

It’s probably easier to catch the engrained bias toward piracy amongst the Silicon Valley cognoscenti and the journalists who protect them when you are watching it on playback than when you are on the stage, take this for an example.

The most interesting reaction came from Mr. Emanuel’s statement about Google that boils down to what we all know:  Google’s business is in large part built on illegal stuff, including piracy.  (See Google drugs nonprosecution agreement antitrust claims in the US, Europe and South Korea; human trafficking complaints; Wi-Spy scandal in the UK, Germany, US, France, South Korea; major litigation losses in the Google Books and YouTube litigation; attempts to destroy unions; stockholder lawsuits for mismanagement by the 10 votes per share insider group that spent $500,000,000 of company money to stay out of a drug prosecution, etc.)

Mr. Emanuel said that Google filters child pornography with no problem because they can and because it’s the right thing to do–so there are limits to even what Google is willing to profit from.

Mr. Emanuel says that a comparable solution for content from illegal sites is also the right thing to do.  Google fails miserably to do so, to their great profit.  Mr. Emanuel would prefer that they did not.

Google’s answer was the usual “catch me if you can” that we have heard from Google for years as they profit from piracy.  What Google wants the creative community to do is take time–a lot of time–away from making movies, television shows, writing books and songs and making music and chase Google to stop them before they infringe again.

This is essentially the same losing argument that Google made to Judge Denny Chin in the Google Books case last week to try to force authors and photographers to sue Google individually and work by work rather than through their associations.  Judge Chin got it immediately—it’s not that Google wants hundreds of thousands if not millions of claims by authors.  It’s that Google’s bet is that they will only be sued by a handful who can afford it.

It seems clear that this is the same strategy Google has used for years–Google thinks this is the best way to get away with it.

I agree with Judge Chin that Google must hope that few of the authors and photographers  will have the ability to catch Google stealing and sue them for it.  This is the point.  And the argument didn’t work with Judge Chin and it didn’t work with Mr. Emanuel, either.  Nor should it work with any fair minded person.

Which is why Mr. Emanuel suggests that Google do the right thing, as Apple does, as Microsoft does, and as a host of other tech companies do.

According to the Hollywood Reporter, Sergei Brin’s sister-in-law, Google’s Susan Wojcicki responded thusly to Mr. Emanuel’s charge that Google profits from piracy:

Google [Senior Vice President of Advertising] Susan Wojcicki said: “I think he was misinformed, very misinformed,” Wojcicki responded Thursday at the D10 conference. “We do not want to be building a business based on piracy.”

While child pornography is easily spotted, “When I see content, I don’t know if you own the copyright,” she said.

First of all, Mr. Emanuel was not misinformed at all.  As we have seen again and again in many different examples across its advertising business, Google intends to profit from anything that is not nailed down.

As the Wall Street Journal reported earlier this year, senior Google executives aided and abetted the importation of controlled substances from Mexico, China and many other countries, drugs like human growth hormone, steroids and the abortion drug RU 486—and no one was misinformed about that, either:

[A whistleblower] fled to Mexico in 2006 and started an Internet pharmacy, selling steroids and human growth hormone to U.S. consumers through Google ads….”It was very obvious to Google that my website was not a licensed pharmacy,” [the whistleblower] wrote to the Journal. “Understanding this, Google provided me with a very generous credit line and allowed me to set my target advertising directly to American consumers.”

Posing as the fictitious Jason Corriente, an agent for advertisers with lots of money to spend, [the whistleblower worked with federal agents and] bypassed Google’s automated advertising system to reach flesh-and-blood ad executives. Federal agents created http://www.SportsDrugs.net, designed to look “as if a Mexican drug lord had built a website to sell [human growth hormone] and steroids,” [the whistleblower] said in his account of the sting.

Google first rejected it, along with an anti-aging website called http://www.NotGrowingOldEasy.com. But the company’s ad executives worked with [the whistleblower] to find a way around Google rules….Federal agents…[created a] site selling the abortion pill RU-486, which in the U.S. can only be taken in a doctor’s office.

By the end of the operation in mid-2009, agents were buying Google ads for sites purportedly selling such prescription-only narcotics as oxycodone and hydrocodone. Agents also got Google’s sales office in China to approve a site selling Prozac and Valium to U.S. customers without a prescription.

As a tape recorder ran, [the whistleblower] walked Google executives through the illegal parts of the websites. He said he told ad executives that U.S. Customs had seized shipments, for example, and that one client wanted to be “the biggest steroid dealer in the United States.”

“Suffice to say this was not two or three rogue employees at the customer service level doing this on their own,” said Mr. Neronha, the U.S. attorney. “This was corporate decision to engage in this conduct.”  [Mr. Neronha was quoted in a different Journal article saying that the decisions went up to Larry Page.]

Six private shareholder lawsuits have so far been filed against Google’s executives and board members, alleging they damaged the company by not taking earlier action against the illegal pharmacy ads.

Google has other potential legal exposure. Record companies and movie studios say Google willfully profits from illegal Internet piracy—an issue raised last week, when Congress dropped antipiracy legislation after opposition from Internet companies, including Google.

So you understand why Ms. Wojcicki and her brother in law would be very interested in diverting attention away from the many ways Google profits from piracy and other bad acts?   As Santa Clara Law School Professor Eric Goldman told the New York Times, “’How much of Google’s overall revenues are tied to product lines that are questionable?’ he said. ‘For investors, I think they just got a little bit of a jolt [after Google reserved $500,000,000 to pay its forfeiture in the drugs case] that maybe Google’s profits are due to things they can’t ultimately stand behind.’”  (Emphasis mine.)

If Google’s complicity in the drugs case went all the way to Larry Page as Mr. Neronha has stated, you have to wonder if Ms. Wojcicki herself—a senior Google advertising executive–was on those whistleblower tapes.  There’s currently a valiant shareholder lawsuit by a pension fund being heard in Delaware where these outsiders are trying to find out what Google’s insider team is up to–and remember that the insiders shares get 10 votes per share to the outsiders one vote per share–so the only way the outsiders can have a say in the corporation’s governance is to sue Google because the insiders can simply ignore the outsiders.

Exhibit A?  Google’s drug prosecution.  Google’s drug problem resulted in one of the largest forfeitures in US history–$500,000,000 of the stockholders’ money paid in a curious deal to keep executives from being indicted.  And for which Google is currently being sued by its stockholders in six separate cases.

So naturally, Ms. Wojcicki is motivated to divert attention away from Google’s addiction to piracy.

And…

Ms. Wojcicki says that when Google sees content online they don’t know who owns the copyright.  Just like they didn’t know the drugs were illegal?

And the decision—the decision that a human makes—when they see a red flag is to let the drugs be sold or the copyright be duplicated, or the mail order brides to be sold.  Or provide a link to someone who is allowing it to be happen because it profits Google to so do.

Just like the drugs case, it is hard to believe that piracy on a global scale all happens without any human interaction by Google employees.

But this just doesn’t ring true.  Google has acknowledged receiving five million DMCA notices last year alone, and over three million the year before that.   Don’t you think that if someone tells you five million times a year that you are doing something wrong there might be some truth to it?

Imagine if a CD or DVD duplicator decided—decided—not to inquire as to whether someone who wanted to use their services had the right to do so.  They would certainly make a lot more money for a while.  But they would be headed straight to jail in the long run.  This is why duplicators require considerable proof before they allow their facilities to be used to create copies of what are obviously works of copyright.

So all Mr. Emanuel is asking is that Google do the right thing.  Show that they are a reliable business partner, show that they can be trusted with content.

According to Ms. Wojcicki, we are a long, long way from anyone at Google doing the right thing.  Because nothing says freedom like getting away with it.

So let’s all remember that.

[ WHY ARENT MORE MUSICIANS WORKING ] [ ARTISTS FOR AN ETHICAL INTERNET ]
[ THE SKY IS RISING : MAGIC BEAVER EDITION ] [SF GATE BLUNDERS PIRACY FACTS ]
[ THE 101 ] [NEW BOSS / OLD BOSS ] [ SPOTIFY ] [GROOVESHARK ] [ LARRY LESSIG ]
[ JOHN PERRY BARLOW ] [ HUMAN RIGHTS OF ARTISTS ] [ INFRINGEMENT IS THEFT ]

Artists, Know Thy Enemy – Who’s Ripping You Off and How…

Musicians have been getting the short end of the stick for a long time. There are no shortage of stories about the wrong doings of managers, booking agents, etc and of course record labels.

But today we find ourselves in a battle with an enemy few of us understand. If we were to believe the writings and ramblings of the tech blogosphere, than they would have us believe that our enemy is our fans. This is simply not true.

The enemy are the for profit businesses making money from our recordings and songwriting illegally. Let’s be clear about this, our battle is with businesses ripping us off by illegally exploiting our work for profit. This is not about our fans. It is about commercial companies in the businesses of profiting from our work, paying us nothing and then telling us to blame our fans. That is the ultimate in cowardice and dishonesty.

Who are these companies? You know some of them, the ones that have been prosecuted and are no longer operating, Napster, Limewire, Grokster and Kazaa to name a few. Some have been convicted of operating illegally and are running from the law, switching servers to jurisdictions outside the reach of justice, such as The Pirate Bay. And, there are other still others who have yet to go to trial like Megaupload who alone made a billion for it’s owner Kim Dotcom who paid artists nothing, nadda, zero, zilch, zippo…

Our friends over at Ethical Fan recently published a Wall of Shame showing not only the sites who are profiting, but also who is paying for the advertising. This is no different than your music being used in a TV Commercial by AT&T, Time Warner, Verizon, State Farm Insurance, etc. Virtually all of these Artist Exploitation sites such as The Pirate Bay, Demonoid, Iso Hunt and others are operating for profit. Again, this is not about fans sharing, this is about illegally operating businesses making millions (and more likely Billions collectively) of dollars a year from the exploitation of artists work and not sharing any of the revenue with artists.

To the uninitiated, it might seem odd that what seems like a simple question of right or wrong is even being debated, but these sites that exploit artists are supported and promoted by faux civil liberty groups opposed to protecting creators rights — and internet giants are happy to throw their support behind them. Together, they have crafted a narrative of creator rights as quaint and outdated, offering artists a brave new online world where they can throw off the shackles of labels (or publishers, or studios, etc.) and give away their work to find fame and fortune. However, after a decade of half baked ideas, faulty business models, and outright lies, we know this is simply untrue. If the internet is working for musicians, why aren’t more musicians working professionally?

We may not always be fans of record labels, but at least the labels negotiate contracts, pay advances, market and promote artists, and are contractually accountable for wrong doing. However, the Artist Exploitation sites who are operating illegally and completely above the law are making 100% of the money from work created by musicians and artists. We would love to see the day when these sites license music legally, governed by fairly negotiated contracts.

Being able to collect 100% of the money from exploiting the work of artists is no doubt profitable when these companies don’t have to share any of that money with the artists themselves. This is expressly why copyright exists, specifically to protect artists and musicians from corporate interests who would illegally exploit the artist for profit. This is why record labels, publishing companies as well as the producers of films and television must negotiate with artists for the use of their work. And the artist has the free agency to decline. The artist has no such enforceable rights online today in the Exploitation Economy.

In other words, artists, creators and musicians have become road kill on the information super highway.

Opponents of the enforcement of Artists Rights online often cite what a powerful tool the internet is for distributing music cheaply. We are encouraged by many new and promising services to musicians that are being developed. But is absolutely false to assert that an artist’s work must be exploited illegally for the artists to enjoy the benefits of the internet.

Nothing is stopping any artist from sharing or giving away their work online through legitimate sites such as Soundcloud and Bandcamp.  Artists have the full right and capability to distribute their work freely, and by choice without having to be exploited illegally to the benefit and profit of an exploitative  company or corporation.

This is not about being for, or against technology or the internet, this is about being opposed to illegally operating businesses on the internet exploiting artists for commercial gain. It’s really just that simple. 

Those attacking Artists Rights also want you to believe that if you want to be paid you must be against technology and for censorship. Nothing could be more wrong. The internet is a amazing tool and most musicians we know are also early adopters of new technology (especially of the musical variety!). More so, it was artists and record labels who have historically fought against censorship and for freedom of expression. No where was this been more evident than in the 90’s battles against the PMRC in regards to record labeling with “Explicit Lyrics” stickers. Many artists have been on the front line of the battle for freedom of expression such as ICE-T, Jane’s Addiction and many others.

Let’s be clear, there is a difference between protecting the right to the freedom of expression, and profiting from the illegal exploitation of that expression itself.

In other words, artists and musicians are champions of freedom of expression and new technology. The only question that we ask is, is the use of the technology legal and does it respect artists rights as expressed in copyright. Copyright serves as the foundation that enables an artist the free agency to make the choices for themselves that are meaningful to them. Without the enforcement of copyright artists are bullied into forced collectivism by the new gate keepers who control the access to distribution revenues of music exploited illegally.

An economy built on the illegal exploitation of artists, is very simply an Exploitation Economy.

Any wrong doing of illegally operating businesses ripping off artists and illegally exploiting their work should be held accountable, even if they are on the internet.

How Copyright Encourages Creativity and Opportunity in Hollywood

We hear a lot from the copyleft and opponents of Artist’s Rights that copyright stifles creativity, but this is simply not true. We’re not going to go down the tired road of the arguments about remixing, which can be read in this excellent article at Copyhype titled, “Remix Without Romance.

The truth is, the best ecosystem for creativity is the one where all stakeholders are compensated. This is why in the early 90s sample clearance statutes were defined, and as a result we’ve seen some of the most innovative music, in the history of recorded music. This creativity has been achieved legally by creating fair and balanced policy. Historically, that is how policy evolves, such as it did with phonographs and radio — when both were getting off the ground, the law eventually recognized that artists have a right to be compensated, and both eventually flourished, also benefiting all stakeholders.

There are also other areas where copyright encourages creativity and innovation, as opposed to the illegal exploitation of previously existing works. We had an interesting conversation recently with one of our friends who is a music supervisor working on major feature films.

What they noted as being interesting is that many of the people opposed to Artist’s Rights and fair compensation on the internet often cite the use of licensing music to films as a potential revenue stream for developing artists. This is one thing we can agree with them on, but the revenue is only possible because of the very copyright laws that the copyleft are opposed to.

What if “sharing” extended to all uses of the artists work? What if Hollywood producers were able to illegal exploit artists work with impunity the same way The Pirate Bay and other illegally operating businesses do? How does it work when no one ever has to compensate artists for the commercial exploitation of their work? And yet, this is essentially what is proposed by those on the copyleft  who are opposed to Artists Rights!

Proposing that the rules of fairness and ethics applied respectfully and legally in Hollywood for music licensing do not apply to companies online is a self-serving double standard promoted by the illegally operating internet businesses to serve their own agenda and profits. The irony of course is that these same people often attack Hollywood as being unfair to artists.

It is the very Right of the artist to choose how their work is used and distributed that allows for new creativity and opportunities. We’ve been told that there are many times when working on a major motion picture there will be the desire to use a song by a very well known artist. Sometimes this song may be a massive current hit, or perhaps an iconic older song that has a deep nostalgic value. In either case, the production can not simply use the first and perhaps most obvious choice for the film.

The creators of the song, that is the songwriters and the performers of the recording, must first be consulted and approve of the use. Once the use is approved, the songwriters and performers (or their respective representatives) also get to negotiate the fee and terms of the use.

As creators who respect the Rights of others, and the law which protects creators, those who work in film music are often faced with situations, where for whatever reason, the song first selected for the use in a film is not approved. We don’t see these people going around whining about how unfair it is that they can’t use something against the artist’s wishes. They don’t go around whining about how the law is unfair because it protects the artist’s choice to participate or not.

Perhaps the artist does not feel the film represents them in a way that they want to be represented. Perhaps the artist feels they bring more value to the proposed use than the film’s producers do. It’s all about respecting the Artist’s Right to chose.

Whatever the case, those in Hollywood do not just exploit the artist’s song illegally and then complain that those who disagree with them are dinosaurs and “don’t get it.” Instead what they do in Hollywood is, they get creative.

Hollywood respects the artist and innovates! True creativity and innovation is working within the limitations presented and seeking new opportunities that would not have been discovered from constant unlimited access to the low hanging fruit and the path of least resistance. It’s always exciting to see the prospect of discovering new talent that can create fantastic new music to compliment a cinematic expression. This is not something to complain about, it’s something to be celebrated. A film like Drive,  illustrates this concept very well by featuring what were, largely unknown indie and DIY artists.

So when an artist of major stature or iconic acclaim disagrees with the vision of filmmakers for the use of their song, it just means that an opportunity has been created for another artist! This is the way it should be.

When we hear people talking about how copyright stifles creativity and opportunity, we have to wonder what their actual experience is working with artists and respecting their Rights?

There is nothing respectful about the state of the online exploitation economy that takes from artists without consent or compensation. Artists Rights are expressed in copyright to protect creators from being taken advantage of by companies and corporations who otherwise would illegally profit from the artists work with impunity. This is the sad truth of how artists are being treated by illegally operating businesses online.

So the next time some tech blogger wants to point to Hollywood as exploiting artists, I think they should be looking in the mirror. Thus far, at a little over a decade in, there has been no greater disrespect to artists rights than the rampant illegal exploitation of artists online, and for profit.

As illustrated above, there’s no reason why companies, corporations and commercial business online should be able to exploit artists work without consent or compensation.

 

[ THE 101 ] [NEW BOSS / OLD BOSS ] [ SPOTIFY ] [GROOVESHARK ] [ LARRY LESSIG ]
[ JOHN PERRY BARLOW ] [ HUMAN RIGHTS OF ARTISTS ] [ INFRINGEMENT IS THEFT ]
[ THE SKY IS RISING : MAGIC BEAVER EDITION ] [SF GATE BLUNDERS PIRACY FACTS ]
[ WHY ARENT MORE MUSICIANS WORKING ] [ ARTISTS FOR AN ETHICAL INTERNET ]

The Trichordist Random Reader News & Links Sun Jun 3

Grab the Coffee!

Always insightful and entertaining Ari Emanuel appeared at All things Digital’s D10 Conference this week;
http://allthingsd.com/20120530/piracy-google-and-facebook-crowdfunding-ari-emanuel-lets-loose-at-d10-video/

That didn’t take long, Google’s “Transparency Report” on DMCA take downs shown to be anything but, Digital Music News Reports;
http://digitalmusicnews.com/permalink/2012/120530google#fUlcabN7GvqiQpWr0W4oqQ

And, another look at Google’s Transparency Masquerade, Ethical Fan reports;
http://ethicalfan.com/2012/05/googles-transparency-masquerade/

A fantastic piece about how the EFF has lost it’s way, TechCrunch Reports;
http://techcrunch.com/2010/01/16/how-the-eff-lost-its-way-by-defending-hate-mongers-and-tunnel-rats/

Andrew Keen has a new book, Digital Vertigo;
http://www.amazon.com/Digital-Vertigo-Revolution-Diminishing-Disorienting/dp/0312624980

The US Chamber of Congress released a new report this week, “IP Creates Jobs For America.”;
http://www.theglobalipcenter.com/ipcreatesjobs

Digital Music News reports that despite the “internet hype” traditional media still dominates;
http://digitalmusicnews.com/permalink/2012/120530mtv#OWeHeQ8_oNVQJi7JOPaSGA

Sean Parker & Daniel Ek Dance Around What Artists Get Paid On Spotify, Hypebot reports;
http://www.hypebot.com/hypebot/2012/05/watch-sean-parker-daniel-ek-dance-around-what-artists-get-paid-on-spotify-video.html

An interesting look at the growing pains of YouTube Celebrities, Gigaom reports;
http://gigaom.com/video/how-phil-defranco-plans-to-save-youtube/

Corante picks up David Lowery’s “New Boss, Old Boss” and writer Alan Wexelblat largely agrees with him, “he [Lowery] also hits on a couple of points I’ve made in other Copyfight posts: artists need to get paid, and that includes the large and often invisible team behind the guy in the spotlight. Digital downloads are not returning large amounts to artists. Gatekeeper companies, particularly Apple, are taking a big chunk of the dollars spent through them – in some cases a bigger chunk than a standard label would have taken. Tech companies are astonishingly hypocritical in the cavalier way they treat copyrights and the covetous way they treat their own patents. “
http://copyfight.corante.com/archives/2012/05/29/freehadists_the_new_boss_and_another_point_of_view.php

Ari Emanuel at D10;

Sean Parker and Daniel Ek at D10;

[ THE 101 ] [NEW BOSS / OLD BOSS ] [ SPOTIFY ] [GROOVESHARK ] [ LARRY LESSIG ]
[ JOHN PERRY BARLOW ] [ HUMAN RIGHTS OF ARTISTS ] [ INFRINGEMENT IS THEFT ]
[ THE SKY IS RISING : MAGIC BEAVER EDITION ] [SF GATE BLUNDERS PIRACY FACTS ]
[ WHY ARENT MORE MUSICIANS WORKING ] [ ARTISTS FOR AN ETHICAL INTERNET ]