The Trichordist Random Reader Weekly News & Links Sun Jul 22nd

Grab the coffee!

Recent posts on The Trichordist:
* The DMCA is Broken…
* Artist! : Be The Change, Send A Letter – JULY 25th Deadline <- We’re not Kidding, Do it if you haven’t!

For those who remain confused about the difference between FREEDOM OF EXPRESSION and FREE BEER (er uhm music) please read this report from Amnesty International regarding the band Pussy Riot and do take action. Freedom of Expression is truly a right to be protected and preserved, as ARTISTS RIGHTS ARE HUMAN RIGHTS:
http://www.amnestyusa.org/news/news-item/russia-urged-to-release-pussy-riot-group-as-court-prolongs-detention
SIGN YOUR NAME:
http://amnestyusa.org/pussyriot

We’ve been alerted to a couple of websites (and organizations?) that are fighting against illegal artist exploitation on the front of cyberlockers and payment processors (Visa, Master Card, Pay Pal, Etc). Read more here:
http://coldcopy.com.au/
http://stopfilelockers.com/

Thanks to Copyhype for noticing this one, an epic and essential read “How Free Is Ruining Everything” from Eamonn Forde at qthemusic.com:
http://news.qthemusic.com/2012/07/column_-_how_free_is_ruining_e.html#post

Kim Dotcom is not Robbin Hood. The billionaire and alleged mass scale media pirate is awaiting trial and created a video this week that has been described as a pirates “Triumph of the Will” or even perhaps in it’s absurdity, “A Burns for all Seasons.” Prof Jonathan Taplin from the USC Annenberg School of Innovation muses in this blog post, “The Big Lie”:
http://jontaplin.com/2012/07/22/the-big-lie/

Speaking of Kim Dotcom, Billboard reports that the Judge that ruled the raid on the compound was illegal has now stepped down and out of the case for bias regarding a comment made at an EFF event… wow, just wow… Maybe he should have stepped down before making a ruling?
http://www.billboard.biz/bbbiz/industry/legal-and-management/kim-dotcom-extradition-judge-steps-down-1007605352.story#kYXZKhHOvmTYoFIi.99

Ok, ok, ok… last one… it’s a Kim Dotcom-athon… Indie filmmaker Ellen Seidler writes an open letter to Kim in response to his “Letter To Hollywood”, read more from this guest post at Copyright Alliance:
http://blog.copyrightalliance.org/2012/07/guest-post-dear-kim-dotcom/

So now that Coke A Cola can legally use music from any band on Spotify to sell it’s drinks, doesn’t this imply some kind of endorsement? If for example a playlist by Coldplay is embeded on a Coke A Cola website, the previous cost of licensing that music for that application would have been very expensive. Whereas this could be very good for developing artists, it could also be exploitative of established ones. We’re not really sure what this means, but we’re interested to see how it actually is implemented. Read more on the Coke A Cola website:
http://www.thecoca-colacompany.com/dynamic/press_center/2012/04/spotify-and-coca-cola-partnership.html

Here’s a way to bring attention to the issues of artists rights and illegal online exploitation. Woman strips in public to protest e-book pirates, ZDNet reports:
http://www.zdnet.com/woman-strips-in-public-to-protest-e-book-pirates-nsfw-video-7000001329/

Digital Music News reports on absurdity at it’s best from Richard Stallman. Perhaps a future Nyan Cat Award Winner?
http://www.digitalmusicnews.com/permalink/2012/120716stallman
and a response here from the cynical musician:
http://thecynicalmusician.com/2012/07/two-inane-suggestions-for-compensating-artists-online/

Pirates want to go legit? Well… not so fast, Torrent Freak reports:
http://torrentfreak.com/pirates-want-to-go-legal-but-convenience-choice-availability-come-first-120719/

Who is the internet anyway? We’re always kinda amazed when a singular entity or point of view “speaks for the internet” as if there is no social, economic, geographic or political diversity. Is the “Internet’ a demographic onto it’s own, and if so, what defines that demographic? Which begs the question, does “the internet” speak for you (as an artist, as an individual)? Though this entry is somewhat cute, it is also disturbing to see “the internet” as a single block with a Borg like hive mind… TechDirt reports:
http://www.techdirt.com/articles/20120718/18350719751/internet-wins-again-writer-gets-rapper-pitbull-exiled-to-alaskan-walmart.shtml

The French Supreme Court May Order Google to block unlicensed, infringing, illegal sites, ‘Torrent,’ ‘RapidShare’ and ‘Megaupload’. Again, Torrent Freak reports:
http://torrentfreak.com/court-may-order-google-to-censor-torrent-rapidshare-and-megaupload-120718/

Last but not least, several of our friends report success using Google’s DMCA Search Link De-Listing tool for infringing links, try it for yourself! Up until recently the only way to send infringing link DMCA notices to Google was via MAIL or FAX (not kidding). More on this to follow…
http://support.google.com/bin/static.py?hl=en&ts=1114905&page=ts.cs

The DMCA is Broken…

This post was sent to us by a friend who runs an indie label:

Just about a year after hiring two part time people, to do nothing else but issue DMCA takedown notices we’ve crossed the 50,000 notice milestone. The division of labor requires one person just to monitor YouTube, and another handles all DMCA compliant sites such as CyberLockers, Torrent Search Engines, etc.

The DMCA is BROKEN.

Most of the take downs are for the same title, at the same site, the same day. Day after day during the initial release period of the album (generally the first 60-90 days) it is a constant game of whack-a-mole.

We shouldn’t have to have the same title removed from a site more than once – and each time we issue a notice it takes 24 to 48 hours to remove. But, once it’s removed it is generally back on the site within a few hours.

We should not have to send a notice for the same title more than once, ever – Not to Rapidshare, not Grooveshark, not any one of the probably top 20 offending sites we track, and those are just the ones that even have a DMCA provision (The Pirate Bay for example does not, nor did Limewire to the best of my memory).

If site operators want to hide behind “how do we know what’s infringing”… Well, here’s how, we’ll let you know! If we issue you a notice, you now know… do you think the title will suddenly not be infringing the next day, when re-uploaded by the same offending person? Seriously? Does Billy in Pittsburgh suddenly own the rights to a Radiohead album (for example)?

Internet piracy apologists are quick to accuse labels and artists of wanting the government or others to become piracy police. This is simply not true. Most labels I know of have assumed the responsibility to track and issue takedown notices for themselves and on behalf of their artists (who should be focused on creating, not policing). Ironically, these same people are offended and attempt to diminish the issue when confronted with the overwhelming amount of takedowns being issued.

Keep in mind, we’re issuing DMCA takedown notices for ALBUMS not songs, entire albums are zipped as an archive and now distributed with as much ease as songs once were… let me say that again, our notices are for ALBUMS not songs…

There can be no question why album sales continue to plummet, and why digital album sales have leveled off… meanwhile, I suppose individual songs will continue to grow given the ease, convenience and low cost of a 99 cent purchases from iTunes.

The simple math says that if each of those uploaded ALBUMS was only downloaded ONCE by one other person, that is a loss of revenue of $350,000 dollars wholesale ($7 x 50,000).  If each one we’re downloaded only TWICE that is a loss of $700,000 dollars in revenue a year ($350,000 x 2). This is just for ONE indie label tracking only it’s top five titles at any given time.

Yes, many will exclaim that not every illegal download is a lost sale (to the artist/label/rights holder). But, these numbers illustrate the financial impact of just ONE or TWO illegal downloads per DMCA takedown notice. I think any reasonable person would agree the number of downloads per upload is significantly more than ONE or TWO.

We only have the resources to track 5-10 titles at a time with any effectiveness. Catalog is a free for all.  When adding in current titles that fall below the current top ten best sellers and a catalog that reaches back almost two decades the numbers become truly staggering.

This is why the number one agenda of the recorded music industry must be to address the illegal exploitation of artists work and closing this loophole in the DMCA, which is clearly not the intent of the law.

Artists : Be The Change, Send A Letter! July 25th Deadline

Here is something every artist, musician and creator can easily contribute to.

Our U.S. Intellectual Property Enforcement Coordinator Victoria Espinel has asked for your assistance to, “Help Us Shape Our Strategy for Intellectual Property Enforcement.”

DEADLINE For Comments : Wed July 25, 2012 @ 5Pm EDT 

Here is the Direct Link to Post Your Comment:
http://www.regulations.gov/#!submitComment;D=OMB-2012-0004-0002

Read more here:
http://www.whitehouse.gov/sites/default/files/docs/jsp_2013_frn_final.pdf
http://www.whitehouse.gov/blog/2012/06/25/help-us-shape-our-strategy-intellectual-property-enforcement

Example Comment as Submitted by East Bay Ray:

Stop Easy Money to Unethical Businesses

I am an independent musician, my band Dead Kennedys earned a Gold Record while being independent our whole career. But those days are gone, the reality is that internet businessmen now make more money off of our music than we do. And they do it because of a loophole in the current copyright law, a law that is supposed to protect artists from greedy businessmen. It’s analogous to a pawn shop allowing stolen merchandise to be sold and then using the excuse “I didn’t know it was stolen.” (They make money by selling advertising on the internet pawn shop walls.)

The current internet business model:
1. Gather music, video, art, etc files from around the internet
2. Host them on a website
3. Slather them in advertising
4. If someone claims copyright infringement, throw your hands up in
the air and exclaim “It was our users who uploaded your music! We had nothing to do with it! We’re innocent!”
5. Cash six figure advertising checks from other artist’s stolen creations

The reality is that the current DMCA take down notice system does not work.

A solution is that the same technology that websites like Google and Facebook use to track and sell people’s information to advertisers could be used to track and stop payments to sites that make money from distributing illegal files; and to stop search engines from generating advertising income from the search traffic to those illegal sites. Not anything more than what a pawnshop is required to do.

And business websites should be required to show their agreements that they have the right to post and distribute other people’s files for profit to credit systems like Visa, Mastercard, Paypal etc before they are allowed an account.

The distinction needs to be clear that there is a profound moral and legal difference between sharing something with a friend and distributing, without permission, other people’s files for commercial gain.

Please make liberal use of the buttons below to share.

The Trichordist Random Reader Weekly News & Links Sun Jul 15th

Grab the coffee!

This past (two) weeks posts on The Trichordist:
* Declaration Of Free Milk and Cookies
* CopyLike.Org – It’s Not Stealing, Are You Sure?
* Musician’s POV: Five Things Spotify (and others) Could Do Today to Level the Playing Field for Independent Artists
* Second Nyan Cat Award Goes To The Fake Thomas Jefferson And His Copyleft Creators
* PETm : People For The Ethical Treatment Of Musicians
* The Return of Orphan Works: A Review of the 2008 Shawn Bentley Orphan Works Act Part 1

The attempt for another land grab of creators rights is brewing again, this time in the UK. The video below is an introduction and explanation to get you up to speed. More in depth reporting from Music Tech Policy at the link below: http://musictechpolicy.wordpress.com/2012/07/15/history-of-orphan-works-legislation-corporate-theft-video/

DEADLINE FOR COMMENTS : Wednesday July 25 @ 5PM EST
Artists, Musicians, Creators – U.S. Intellectual Property Enforcement Coordinator Victoria Espinel is asking for you to “Help Us Shape Our Strategy for Intellectual Property Enforcement.” You can comment directly at this link:
http://www.regulations.gov/#!submitComment;D=OMB-2012-0004-0002

We’re very encouraged to see ethical practices by some corporate citizens. PayPal puts on the white hat in support of artist and creators right, denies payments to “File Hosting” site operators, Torrent Freak Reports:
http://torrentfreak.com/paypal-bans-major-file-hosting-services-over-piracy-concerns-120710/
Related from Torrent Freak:
http://torrentfreak.com/paypal-bans-bittorrent-friendly-vpn-provider-120622/
Could these policy changes be the result of one man? Torrent Freak Reports:
http://torrentfreak.com/one-man-army-on-a-mission-to-destroy-the-cyberlocker-market-120705/

Uh Oh… CNET Is Now Facing Hundreds of Millions In Piracy Infringement Penalties… Digital Music News Reports:
http://www.digitalmusicnews.com/permalink/2012/120714cnet

Why copyright matters. Beginning in 2013 individual artists become illegible to regain ownership of their masters via termination of transfer of copyrights. This issue alone illustrates the value of copyright to all musicians.
http://www.forbes.com/sites/richardbusch/2012/06/12/the-battle-over-copyright-termination-and-the-first-round-goes-to/

Forbes reports on Google’s Piracy Liability. Essential Reading:
http://www.forbes.com/sites/scottcleland/2011/11/09/googles-piracy-liability/

Google misled consumers about their privacy, the FTC’s investigation shows. Google may have to pay $22m fine, Ars Technica Reports:
http://arstechnica.com/tech-policy/2012/07/google-may-pay-22-5-million-penalty-for-ignoring-safari-do-not-track/

Fascinating post from 1709 Blog challenges the ISP “Dumb Pipe” and DMCA qualification as such. Contextual Advertising is based on informed knowledge of user behavior, hardly “dumb pipe.” Read more at 1709 Blog (which should be on your blogroll as well!):
http://the1709blog.blogspot.com/2012/07/mere-conduits-dumb-pipes-think-again.html

David Lowery interviewed by Andrew Orlowski in the UK’s Register, “Lowery: The blue-collar musician at the eye of the copyright storm.”
http://www.theregister.co.uk/2012/07/08/david_lowery_interview/

Copyright Alliance reports on the artists appearing and supporting the Trans Pacific Partnership which protects IP and Artists Rights:
http://blog.copyrightalliance.org/2012/07/no-two-artists-are-alike-2/

The orphan works issue is back and being
jammed through the UK Parliament right now

Music Technology Policy

[Editor Charlie sez:  Given that the Google Party in Europe is jamming a new orphan works on steriods bill through the UK and EU Parliaments, this is a good time to repost this history of orphan works from last year.  See “UK’s Brazen Copyright Landgrab Sneaked Into Enterprise Bill” and Photography Organisations Raise Objections to EU Orphan Works Law]

In the aftermath of the Google Books debacle, we are starting to hear noises that Google will back a new orphan works bill in this Congress.  There are some commentators—truly misguided in my view—who are calling for Congress to bring back the failed legislation from 2008 known as the “Shawn Bentley Orphan Works Act”.  (The late Shawn Bentley was a tech industry lobbyist and former Senate Judiciary staff counsel.)  Let’s review that legislation in light of what we now know.  (For a more detailed account, see Unhand That…

View original post 1,631 more words

Second Nyan Cat Award Goes To The Fake Thomas Jefferson And His Copyleft Creators

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

One of the biggest and most important urban myths that the Copyleft loves to propagate is the one about Thomas Jefferson and copyright. Several times now I’ve had the following Jefferson quote thrown at me when I refer to the founding fathers and the constitutional foundation of copyright.

If nature has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea, which an individual may exclusively possess as long as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of every one, and the receiver cannot dispossess himself of it. Its peculiar character, too, is that no one possesses the less, because every other possesses the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me. – Thomas Jefferson. Letter to Isaac McPherson 1813. 

Wow! It really sounds like Jefferson was the founding member of the Copyleft! This is very similar to the arguments made against copyright by people like Electronic Frontier Foundation’s John Perry Barlow.

The first problem with this? JEFFERSON WAS NOT TALKING ABOUT COPYRIGHT. He was talking about patents and inventions. A very specific one at that. All one has to do to verify this is to  read the two paragraph immediately preceding this quote.  Patents and Copyright are two very different things. Patents protect inventions. Copyright protects expression.  I can not express how important it is that there is a distinction between these two very different kinds of intellectual property.

The second problem with this? When you put this quote back in context you see that Jefferson is not even arguing against patents.  Among other things he seems to be quibbling about whether patents should extend beyond the lifetime of the inventor. If Jefferson was opposed to the entire idea of Intellectual Property (as many in the tech blogosphere argue) why would he serve on the US patent board? And why would he approve patents?

Third. Jefferson had little to say about copyright when compared to others. He didn’t have much to do with the copyright laws. Asking Jefferson instead of Madison about copyright is like asking Ringo instead of John Lennon about Strawberry Fields Forever. Wait, I take that back. It’s like asking Charlie Watts instead of John Lennon about Strawberry Fields Forever. Jefferson was The Patent Guy, and he was in France when much of the discussion occurred.

And why is that important? Well when courts interpret the laws and constitution they often read historical texts that shed light on the author’s thoughts at the time. When it comes to copyright it’s unlikely Jefferson would be consulted. More likely Madison and Pinckney would be consulted. Indeed Madison and Pinckney’s views on Copyright are very similar to the laws we have today and naturally how they are interpreted.

Granted one may use Jefferson’s letters and thoughts in an honest discussion about the length of exclusive rights for patents. You could even by analogy have an honest discussion about the length of copyright terms. But to use a single letter by Jefferson to dispute the legal and ethical basis of constitutional notions of copyright is not just revisionist, it’s dishonest. Do I need to remind our readers the role revisionist histories have played in human tragedies?

That is why we at the Trichordist are proud to give our 2nd Nyan Cat award to The Fake Thomas Jefferson and his Creators! 

There are many people that deserve to be credited as contributors to this dangerous revisionist history. But there are too many to thank by name. However we would be remiss in our duties if we didn’t single out three people that deserve special recognition:

John Perry Barlow. This may be the Ur-blog post when it comes to this fantasy.

The Economy of Ideas

Lawrence Lessig.  Here he clearly uses Jefferson’s out of context quote on the length of patents to begin a discussion about all Intellectual Property rights.  Lessig being the Guru of the copyleft, this has had the effect of inserting Jefferson into the middle of the constitutional debate about copyright when he doesn’t belong there.

Jefferson’s Nature

David Post has written a sort of legal alternate reality historical fiction In Search of Jefferson’s Moose: Notes on the State of Cyberspace. A sort of what WWJD (What would Jefferson do) about cyberspace.  Those on the copyleft often refer me back to his writings when the intention of our founding fathers regarding copyright and intellectual property comes into question. Just as The Singularity Myth partially emerged from science fiction, The Fake Thomas Jefferson has been  birthed by writings like this.

For a fascinating and in depth exploration of The Fake Thomas Jefferson I refer you to these two papers by constitutional scholar Terry Hart.

Who Cares What Jefferson Thought about Copyright

Myths from the Birth of US Copyright

The fact these two articles are often viewed as controversial in cyberspace shows us just how far from historical reality the discussion has drifted.

It should also be noted that David Post  responded to Terry Hart’s “Who cares what Jefferson thought about copyright”:

Why Should We Care What Jefferson Thought About Copyright

And Terry Hart then responded:

Response to David Post, re: Jefferson

Finally if you want the real deal on the founding fathers and intellectual property try The Federalist Papers.  Quote from Madison himself:

1. A power “to promote the progress of science and useful arts, by securing, for a limited time, to authors and inventors, the exclusive right to their respective writings and discoveries.”

The utility of this power will scarcely be questioned. The copyright of authors has been solemnly adjudged, in Great Britain, to be a right of common law. The right to useful inventions seems with equal reason to belong to the inventors. The public good fully coincides in both cases with the claims of individuals. The States cannot separately make effectual provisions for either of the cases, and most of them have anticipated the decision of this point, by laws passed at the instance of Congress.

Musician’s POV: Five Things Spotify (and others) Could Do Today to Level the Playing Field for Independent Artists

Guest post by Chris Castle

We’ve talked about piracy, but now let’s change that conversation to talk about the “New Boss” licensed services.  One of the problems for artists selling their music, films or books in the legitimate digital space is getting a fair deal from the New Boss distributors.  And that is exactly what they are–digital distribution requires artists and labels to outsource what are essentially manufacturing and distribution functions.

That’s fine if it creates efficiencies, but what it also has done is create a huge dodge for the “New Boss” who tries to say that any problems that artists have with them is a problem with the “Old Boss” who made the deal the artists don’t like.

That gloss doesn’t work for independent artists, though, because there is no “Old Boss” to point the finger at.  Even if there were, the Old Boss is usually a union signatory under a collective bargaining agreement that allows a negotiation team to air grievances directly with the labels.  That doesn’t happen with the New Boss.  There’s a reason why Senator Rockefeller said that the big tech companies (pretty clearly meaning you know who) were worse than the monopolist Standard Oil (which was run by John D. Rockefeller, Senator Rockefeller’s great grandfather).

As far as we know, there is no New Boss who is a union signatory.  In fact, the old joke goes that tech companies know so little about unions that they think collective bargaining is venture capitalists setting a target’s valuation.   For example–YouTube refuses to be audited by independent publishers.  That would never happen at a record company–they might take an edge in other ways, but if they ever denied an audit right there would be a revolt.  In fact, the New York Attorney General sued major labels over “unclaimed” royalties and California has laws about transparency in record company statements thanks to Don Henley.  The sheer indifference and arrogance from the New Boss companies is startling and leads to one answer–they do it because they can get away with it.  And nothing says Internet Freedom like getting away with it, right?

Nowhere is this indifference to artists more apparent than in subscription services.  (We have some thoughts on a la carte download services, too, but that’s a subject for another day.)

We tried to think of five things that Spotify (and their competitors in the subscription business) could do today to level the playing field for independent artists.  These are things that wouldn’t cost them much, but that would be very helpful to artists making less than say $2500 a year from the service.  Leave a comment if you have other ideas or if you disagree.  (And you’re welcome, Spotify, Rhapsody, Napster, Google this is free market research for you.)

1.  Remember, nobody ever negotiated royalty terms with independent artists, it was just presented as take it or leave it.  Make the royalty rate more fair and transparent in two ways:  First, stop deducting out of pocket costs for advertising sales commissions (and all other advertising-related costs) off the top from independent artists.  Spotify and the others shoud eat those costs out of their revenue share rather than making independent artists bear 50% of these costs.  Second, pay artists a per-stream minimum across all your products.

2.  Spotify can start linking from Spotify’s internal artist profile page to places that actually might help the artist, like artist websites or tour information.  As Zoë Keating said “I wish Spotify would do more to facilitate the connection between listeners and artists — i.e show that the artist is playing nearby, or add links to buy music.”  We think she’s got a great point and we’re sure that most artists would be happy to reciprocate with a link to Spotify.

3.  Promise to pay each independent artist on the service a fixed amount of money as a bonus if Spotify goes public or is sold.  $5,000 each sounds good to us, and if Spotify has a $1 billion valuation now…. They will certainly be able to afford it if their valuation is high enough for a firm commitment underwriting (aka IPO).  This promise will not cost Spotify anything right now and won’t slow down its growth–which seems to be the most important thing to Daniel Ek.   Spotify would only pay it at the liquidity event, i.e., when they have the money.  Remember–sharing is caring.

4.  Let independent artists sign up for Spotify for free.  Either give the artists access to upload their music, or cover the costs of forcing artists to use an aggregator by grossing up their royalty split.  Please don’t charge us to make you rich.

5.  Contribute something to music education foundations, like Instruments A Comin’ (Tipitina’s Foundation) or to a musicians health care organization like the Health Alliance for Austin Musicians.  Would this really be so hard?  Start with 1% of revenue, even 1/2% of revenues.  And please don’t set up your own charity so you can have parties and give yourselves awards every year.  We already have those.  Save the money on the back patting and give it to people who are already doing the good works.  It would make a big difference in the lives of the next generation of artists and to families.  Good PR for Spotify, too, you could use some.

It feels good to do some good.  If that’s not enough reason, think of it as preserving your supply chain.

The Trichordist Random Reader Weekly News & Links Sun Jul 8

Grab the Coffee!

Here’s how the internet and tech industry are getting one step closer to dismantling copyright. Essential reading for all creators By Andrew Orlowski from The Register UK:
http://www.theregister.co.uk/2012/07/02/govt_copyright_white_paper/

Radiohead would not exist without early major label funding and another band like them may never have the opportunity to ever exist again. Mike Doughty posts:
http://mkdo.co/post/26352263455/radiohead-wouldnt-exist-without-early-major-label

The High Price Of Free Music – How Illegal Downloads are Silencing Artists, Daily Finance Reports:
http://www.dailyfinance.com/2012/07/05/the-high-price-of-free-music-how-illegal-downloads-are-silencin/

TrustMeImAScientist breaks down the math on Amanda Palmer’s Kickstarter:
http://trustmeimascientist.com/2012/06/04/how-to-release-an-album-in-the-21st-century/

UPDATE: A look at how the numbers really look from Spotify, Music Tech Policy Reports:
http://musictechpolicy.wordpress.com/2012/07/01/how-much-do-artists-earn-online/

Why Spotify doesn’t make sense for musicians, The Atlantic Reports:
http://www.theatlantic.com/technology/archive/2012/06/why-spotify-doesnt-make-sense-for-musicians-70-000-listens-earns-less-than-300/259136/

The ongoing saga of The Oatmeal Vs. FunnyJunk continues, we love Matt Innman. Ars Technica reports:
http://arstechnica.com/tech-policy/2012/07/the-oatmeal-fights-backs-snaps-photo-of-cash-sends-money-to-charity/

UPDATE: Grooveshark V Digital Music News, Digital Music News Reports:
http://www.digitalmusicnews.com/permalink/2012/120703grooveshark

Time Magazine reports on the pending Six Strikes Policy for US ISPs and the Center For Copyright Information :
http://business.time.com/2012/06/26/coming-soon-a-softer-approach-to-online-piracy/

Twitter maintains that users “own” their own tweets. Be nice if artists were allowed to own their own songs. Skip to end, The New York Times reports:
http://cityroom.blogs.nytimes.com/2012/07/02/judge-orders-twitter-to-release-protesters-messages/

The Village Voice summarizes “All Of The Arguments About Digital Music”… sorta…
http://blogs.villagevoice.com/music/2012/06/digital_music_arguments.php

Artists Rights are not limited to issues online as Digital Music News reports:
http://www.digitalmusicnews.com/permalink/2012/120703bilking#xLkYNVy-O58Cm-EjK0MCFw

Several artists rights groups responded with links – we’d love to hear from musicians about these Organizations:
http://www.fairtrademusicpdx.org/
http://www.SeattleMusicians.org
http://www.venuology.com/

Declaration Of Free Milk and Cookies

We stand for a Free and Open Milk and Cookies for everyone without artificial limitations imposed by the creators of Milk and Cookies!

We support transparent and participatory processes for making Free Milk and Cookies policy and the establishment of five basic principles:

* Expression: Don’t censor Free Milk and Cookies for Everyone!

* Access: Promote universal access to fast and affordable networks of Free Milk and Cookies!

* Openness: Keep open networks where everyone is free to have Free Milk and Cookies!

* Innovation: Protect the freedom to have Free Milk and Cookies without permission. Don’t block Free Milk and Cookies, and don’t punish Milk and Cookies for their users’ actions!

* Privacy: Protect Free Milk and Cookies and defend everyone’s privacy to have Free Milk and Cookies!

If you don’t defend your right to Free Milk and Cookies, who will!

Satire and commentary adapted from the absurdity that is:
http://www.internetdeclaration.org/freedom