Rene Summer gets it Wrong about Piracy and Payment… The Internet Time Machine Strikes Again.

Rene Summer posted the article “Stop treating symptoms and start curing diseases” on The Networked Society Blog where he re-hashed the same incorrect talking points that the internet industry “Merchants Of Doubt” have been trying to pedal for a while. As much as it may have been fair to make these arguments in 2003, it’s a more than a bit silly to propose the same talking points a decade later.

Rene writes:

This reliance on enforcement to protect old technologies (read physical distribution) and old business models is the root cause of the market-supply failure problem. It results in insufficient access to lawful digital content and its symptoms are illegal access. The causation works even the other way around increasing availability of lawful digital content also leads to decreased frequency in accessing illegal content.

The idea that there is a lack of new business models and legal distribution to address consumer habits of all kinds across many platforms is just as ridiculous coming from Rene as it was coming from Kim Dotcom earlier this year where it was also shown to be false.

Of course we also know people pirate simple because they can as witnessed by the piracy of Arrested Development which was native to Netflix and a recent story in the LA Times about San Francisco Chord Cutters.

The one thing that becomes clear is that all legal services have one major disadvantage, payment.

“It’s not that this participant is bad at math,” Juenger wrote. “This person did not want the pay-tv product, plain and simple.”

So let’s get honest about “business models” and recognize that there is a competitive advantage to companies who do not have to pay for the cost of goods and by extension, not pay the creators for their work.

Here’s our complete breakdown as originally posted in our response to Kim Dotcom. That’s some kind of company to keep Rene…

Kim Dotcom’s “End Of Piracy”, that was easy…

In the anticipation of the announcement of the new Mega launch, Pat Pilcher at The New Zealand Herald wrote an article titled “Kim Dotcom on Ending Piracy” in which the journalist listed Mr.Dotcom’s five steps to ending piracy. Pilcher writes,

As ironic as that may sound, Kim Dotcom’s logic is inescapably robust. Here’s what his end to piracy manifesto says:

1. Create great stuff
2. Make it easy to buy
3. Same day worldwide release
4. Fair price
5. Works on any device

Looking at what Kim is saying, the 5 points seem pretty obvious, although each could quickly get bogged down once Hollywood gets involved.

So let’s look at these one by one.

1. Create Great Stuff
Well, that’s a no brainer. The content industries create the most prized and sought after “stuff” in the world including films such as Avatar, The Avengers, and The Dark Night Rises as well as franchises like Iron Man, Transformers, Harry Potter and others. Music artists include the likes of Adele, The Black Keys, Taylor Swift, The Beatles and countless others. Making great stuff has never been a problem.

2. Make It Easy To Buy
Another no brainer. Perhaps a decade plus ago this might have been an argument, but not today. There are over 500 legal and licensed music services alone. For the film industry there are services like Netflix, Vudu and Cinemanow as well as other direct to home video on demand providers that give consumers more access to more content across more platforms than at any time in history.

3. Same Day World Wide Release
For music this is more less the standard now and is also more and more common for feature film releases as well. This is a common practice for the largest and most anticipated releases of music and films, the “stuff” that is the most aggressively pirated. For smaller indie releases this may not always be possible but than again I’m not sure that the problem we are combating is in Nigeria on indie rock albums and movies that are more or less film festival darlings.

4. Fair price
Done. Netflix is $7.99 a month for unlimited access to it’s entire library of films and tv shows. Spotify is $9.99 for unlimited access to it’s entire library which consist of probably 95% of every known recording in print. Add to this the cost of a song download is 99 cents. Less than the cost of a candy bar. Renting a movie from a video on demand service ranges from 3.99 to 5.99. Price is no longer an issue and has not been for years.

5. Works on Any Device
Music is DRM free and has been for at least half a decade. Streaming Services such as Netflix and Spotify are also available on every major platform including not only Mac and PC computers, but also mobile devices such as smart phones and tablets by a variety of manufacturers. Additionally most new video game consoles and blu-ray players also include many of these same apps.

So there you have it, the end of piracy. Even Pat Pilcher at The New Zealand Herald agrees a referring to a similar response from the New Zealand record industry. He writes,

Well there it is, RIANZ’s response in full. I can’t argue with much that they’ve said, as they’ve pretty much complied with most of Kim’s 5 points.

So Kim Dotcom’s five suggestions have been fulfilled and yet, I don’t think we’ll see an end to piracy anytime soon. There is still one thing piracy offers that legal, licensed and legitimate services do not, and that is compensation to the artists, musicians, filmmakers and creators which requires that consumers actually do pay the fair price asked.

It’s all pretty simple and by Kim Dotcom’s own suggestions and admission it’s pretty clear where the problem is from here on out, and it’s not in his five suggestions…

And, of course, let us not forget this classic… Kim Dotcom Parody Video Appears on YouTube

Blake Morgan on Being a Musician, Pandora and Artists Rights (Video)

Guest post by Blake Morgan (copyright in the author)

Relativity Media and Google asked if I’d sit down and talk about my life in music, my new record, and the current battle being waged between musicians and Pandora that’s been garnering so many headlines. It was a terrific conversation that lasted almost two hours. Of course the piece they were looking to do was only going to be around five to eight minutes, and in the end it still turned out to be over 10 minutes long. But, there were a couple of points I felt were important beyond what was kept for the piece that I’d like to briefly underline here.

The first is that as big as the battle with Pandora is, the battle musicians are now saddled up for across the board is even bigger. Calling out Pandora on its unscrupulous double-talk to Congress and Wall Street, and fighting to get them to change their behavior is necessary and righteous. And I’m optimistic that in the long run that battle will get won. But we also have to keep our eyes on the prize: ending ad-funded piracy.

As long as the music world is bleeding revenue from the theft of our music (which in turn is sponsored by giant corporations that place ads right on the illegal download pages), the real problem won’t get solved. Our work, and our livelihoods will continue to be stolen right out from under us. Again, I’m optimistic, and I trust that we can focus on more than one righteous battle at a time. Both the important smaller one, and the over-reaching larger one.

Second, I wanted to just underline a whiff of good news in all this that I’ve been noticing. For the first time in this struggle, I’m seeing music lovers join music makers in our outrage. I’m getting letters and emails, messages, and tweets from music-loving people who are raising their own voices and saying, “I’m with you! I really understand this now…we want to get the music that matters to us, and we want you to get paid fairly.” I can’t tell you how many times I’ve had people tell me this, and it’s in stark contrast to what I’ve heard over the last ten years.

So I’m not hopeful in a vacuum…I believe the consciousness is changing, and that there’s a great foundation to build on. There’s so much work to do, and little time to do it if we’re going to save the young musicians out there who are hoping in turn to be musicians as their profession.

You can’t wring your hands and roll up your sleeves at the same time.

Let’s win these fights. Let’s get to work.

###

RELATED:
Pandora Tries to Convince a Musician That He Isn’t Getting Screwed…

BREAKING: Pandora Runs to the Government to Screw Songwriters Again

Good news: Pandora is scheduled to come to the stock market with a “secondary offering”, meaning the company is essentially having a second IPO. According to the Wall Street Journal:

The Internet radio company and its venture-capital backer Crosslink Capital Inc. are slated to offer 14 million shares late Thursday[, i.e., tomorrow], a stake that was worth $336 million when it was announced after Monday’s close.

So music is good business, right? It sure is–for everyone but the songwriters and artists.

In case any songwriter wondered, Pandora has more money than you and they intend to use it to screw you as hard as they possibly can to enrich themselves.

Today Pandora won a truly Pandora-style “victory” in the ASCAP rate court by getting a federal judge to rule that Pandora–a monopolist in webcasting–can use the out of date ASCAP consent decree to force songwriters to license to them.

And make no mistake–this is a very important case to Pandora because the one way that songwriters have of getting out of the trap inside Pandora’s house of cards is to say no and refuse to license to Pandora. And “no” is the one thing that Pandora can’t have you say because their only product is music. The government granted them an effective monopoly on webcasting and Pandora intends to keep it that way.

READ THE FULL POST HERE AT MUSIC TECH POLICY:
http://musictechpolicy.wordpress.com/2013/09/18/pandora-runs-to-the-government-to-screw-songwriters-again/

MORE HERE AT DIGITAL MUSIC NEWS:
http://www.digitalmusicnews.com/permalink/2013/20130918pandora

Third Nyan Cat Award For Web Based Idiocy: Cathy Caverly of Creative Commons.

Nyan Cat awards are given for outstanding achievement in disinformation, web myths and general web based idiocy.

I just read with some amusement this article in the UK Guardian whereby author Phillip Pullman rightly calls piracy “Moral Squalor”. But that’s not the part that’s funny. It’s the quote that they use for “balance” from Creative Commons Chief Cathy Caverly.

“By default, copyright closes the door on countless ways that people can share, build upon, and remix each other’s work, possibilities that were unimaginable when those laws were established.”

NO IT DOESN”T. IT JUST MEANS THAT YOU HAVE TO ASK PERMISSION OF THE AUTHOR OF THE WORK IF YOU USE IT PUBLICLY AND/OR COMMERCIALLY EXPLOIT IT. HOW CAN ANY DECENT HUMAN BEING BE AGAINST THAT?

Permission is the foundation of civilization or have you forgotten that Ms Caverly?

But it shouldn’t surprise anyone that the Chief of Creative Commons would utter such idiocy. For they claim they offer a license “that lets creators take copyright into their own hands”. WTF? It actually does the opposite. Isn’t this a false statement? False advertising? Fraud? Reading that statement I can’t imagine there are NOT artists out there that unwittingly put their now valuable work into Creative Commons thinking they were gaining more control over their work when in actuality they were doing the opposite. I’m not a lawyer but isn’t there a problem misleading people in this manner?

Plain old normal copyright IS creators right to their works in their own hands.

Creative Commons licenses are a permanent surrendering of some or all of your copyrights as an artist. To use the same analogy these CC licenses take creators’ works from their hands.

Now some people see Creative Commons as a elaborate put up for a particular large Internet corporation that would like nothing better than to monetize every book, film, photograph and song without ever having to ask permission of the author. They often point to Sergey Brin’s (Google) financial support of the organization and the fact that his mother-in-law is the vice chair. Or they point out that their board is completely dominated by people with ties to technology companies and opponents of Copyright. I don’t agree with this. The pseudo-intellectual Creative Commons movement was afoot long before Google existed. Still one can certainly argue that Creative Commons are “useful idiots” and I won’t object.

But here is the question that no one is asking:

“Why are Creative Commons licenses even necessary?”.

For you can do everything you do with Creative Commons that you can do with old-fashioned-non-googly copyright! For instance I allow the non-commercial sharing of recordings of my bands live shows on the non-profit Internet Music Archive. There are thousands of our recordings on the internet music archive. All I had to do was state on our website that we allow this. Voila. Thousands of recordings appeared.

Neither do we object to fans posting ukele cover versions of “Take the Skinheads Bowling” on their facebook pages. And may I remind you that the Grateful Dead enacted their famous taping policy without a Creative Commons license?

Photographers who wish to freely share their photos in any manner commercial or non commercial may state so on their websites without using a Creative Commons license. Plus they have the added advantage of being able to change their minds later. Something that is not possible with a Creative Commons License.

Why is it left to me rather than a real journalist to point out that there is no point to Creative Commons licenses? Where are the grown-ups?

Well perhaps I’m too hasty. There may be ONE point to these Creative Common licenses:

They serve to confuse the public as to the true nature of copyright. And that looks suspiciously like propaganda to me. “Useful idiots” indeed!

Therefore we hereby present our 3rd Nyan Cat Award to Cathy Caverly of Creative Commons. Enjoy.

UnSound : New Film Explores Artists Rights in The Digital Age (Video Clip)

From the forthcoming documentary Unsound: Bad Religion guitarist and Epitaph Records founder Brett Gurewitz talks about how large tech corporations make millions of dollars selling advertising- essentially making people the product, without them even realizing. The promise of free or cheap music is often used to draw eyeballs to websites, apps, and social networking platforms, allowing corporations to make large amounts of money from advertising. The public is generally unaware and happy to have free/cheap music, corporations make tons of money from advertising, but how is the musician benefiting from this?

LEARN MORE HERE:
https://www.facebook.com/unsoundthemovie

Unsound uncovers the dramatic collapse of the music industry and its impact on musicians and creators of all kinds trying to survive in the ‘age of free’.

ALICE IN CHAINS : Illegal Music Downloaders Are ‘Sticking It To Themselves’

“People think they’re sticking it to ‘the man’ by not paying for a record, BitTorrenting and all this stuff. They’re not [sticking it to ‘the man’]. They’re sticking it to their favorite band, they’re sticking it to their favorite artist, and ultimately, they’re sticking it to themselves. Because eventually, those [artists] won’t be able to tour so readily. A lot of bands are gonna break up. A lot of bands already have broken up.
READ THE WHOLE INTERVIEW AT:

How the Internet is Killing Innovation | Venture Beat

It appears that Jaron Lanier is not the only one who is coming to terms with the broken promises of internet hype.

I believed the same lies that you still believe, for a long time. I was in college during the early days of the World Wide Web, and like others, I rejoiced in the incredible access to knowledge it provided, and diversity of thought it promoted. So when I first read in 2008 about how the Internet had a negative impact by narrowing modern scholarship, I didn’t believe it. The Internet was great, and was making us more productive, more creative, and more innovative. That’s what we were promised.

READ THE FULL STORY HERE:
http://venturebeat.com/2013/09/14/how-the-internet-is-killing-innovation/

Announcing The Content Creators Coalition | Brooklyn NYC Meeting Sept 24th

A new Artists Rights collective is forming by Artists & Creators, for Artists & Creators.

There is a group meeting in Brooklyn on Sept. 24th.

Sign up here to get more details about the CCC and request meeting information:
http://contentcreatorscoalition.org

WHO WE ARE
A dedicated group of artists, creators, and stakeholders are forming a new and unprecedented coalition. This coalition will allow the people who create the content that powers the web — recording artists, songwriters, journalists, filmmakers, producers, photographers, visual artists, and performers — to join together and exercise their collective voice in shaping the future of their industries.

If you are a professional artist, manager, or creator of what is often described as ‘content’, please join us. Sign up on our email list and we will contact you soon with details on how you can get involved.

WHY WE ARE ORGANIZING
Creators of all content have the right to a collective voice. We are joining together to represent the interests of participating creators in order to reshape our industries into fair and sustainable environments.

HOW WE FUNCTION
We are presently developing the legal, organizational, and technical infrastructure to create a unique organization for creators: one that harnesses the advantages of a representational and participatory structure and provides a platform for members to suggest actions, provide feedback, and vote directly in coalition campaigns.

CCC MISSION STATEMENT
We believe that individual artists cannot be expected to negotiate with corporations the economic size of nation-states. As professional creators of cultural content we join together to aggregate our power and to represent our interests in discussions and decisions that not only impact our ability to thrive from our work but, also enrich society with the benefits of a flourishing creative economy.

Don’t Cut Funding for the Arts and Arts Education | Americans for the Arts

With a 49% budget cut, the NEA will be forced to drastically scale back their grant-making. These disproportionate cuts of $71 million are short-sighted and will ultimately be devastating when combined with the additional loss of $639 million in potential matching funds for the arts. For every dollar the NEA invests in a nonprofit arts organization, it is matched on average 9-to-1 by additional grants. Communities rely on NEA grants to leverage additional support for the arts, generate local economic activity, and fuel innovation. Through the relatively small investments made by Congress, NEA is making possible extraordinary things all across the country, including seeding new jobs in the creative economy.

Stand with us as we protect this important educational and economic investment in our country, by telling Congress that cutting funding to the NEA is not an option. Now is the time to make sure that they hear our voice and protect the arts in America. Add your name to the online petition and make a difference in the lives of all Americans.

TAKE ACTION:
https://www.votervoice.net/mobile/ARTSUSA/Petitions/263/Respond#/?page=respond