Band Quiet Company says Internet Has Made Things Worse for Artists “New Boss is Worse Than Old Boss”

A decade into the snake oil and lies of the empowered internet musician the truth bares itself out over and over again. In a recent case study the band Quiet Company said of their promotional experiment with Grooveshark in an interview with Digital Trends,

“I think for years now, as far as back as [Quiet Company] has been together, people have been talking about how different the music industry is and how the Internet has changed everything and how we’re all looking for a new model.”

“After everything, I’m not sure there is a new model. The old model is still the model, it’s just that the Internet made it way worse.”

We’re not surprised in the least as we’ve previously noted how Grooveshark’s infringement based business model could easily be described as “Notice and Shakedown.” Even tech progressive artists such as Zoë Keating have struggled with the service. Zoë could not get her music removed from the site after issuing at least six DMCA notices to Grooveshark.

So it’s strange to us despite there being near universal agreement on just how bad this service is for artists that some people still don’t get it. Of course these always seem to be the same people that defend every other service that rips off musicians and pays them nothing like The Pirate Bay.

One tech blog actually said after the Pirate Bay verdict, “The folks this will hurt the most are those content creators who actually do value The Pirate Bay.” But we doubt that as it’s not like there aren’t tons opportunities for artists to give away their work willing, with consent, should they so chose. What we find most disturbing is why the choice of consent to give away one’s work should be forcefully take from them by companies who are profiting from advertising revenue?

It’s all pretty simple. Artists need to get paid and so many of these so called “new models” seem to be built on the “new model” of not paying artists anything at all, or next to nothing at all. Again, from Digital Trends,

But now the contract is up and not being renewed, because – you guessed it – a monetization strategy couldn’t be found for Grooveshark. “We were the test monkeys,” says Osbon.

Once again we see that The New Boss is Worse Than The Old Boss, indeed. We’re not surprised, we know there’s a lot of money being made on the internet in music distribution, it’s just not being “shared” with musicians. So once again we ask where are all of these self empowered, independent new middle class musicians? The answer is, like most things where the truth is self evident, they just don’t exist.

Two Simple Facts about Technology and Piracy : iTunes Vs. YouTube

Fact number one.

Unlike Google’s YouTube, Apple’s Itunes Store does not have a piracy problem, nor does it have an unmanageable issue with DMCA notices. This is often explained that this is because Apple does not allow user generated content from just anyone, therefore there is a barrier to entry that prevents such issues. But this is simply just not true, anyone can upload an album of music to Itunes using any one of the third party aggregation services such as Tunecore or CDbaby. And yet, there are not (as far as we know) hundreds or thousands of DMCA notices and content take downs on Itunes per day, as there are on YouTube. So why is this? In a word, intent.

If Apple, Spotify, Amazon and virtually every other legal and licensed distributor of digital music can put into place, the checks and balances that are capable of managing these rights effectively why is it so hard for Google to do the same YouTube? Think about it.

Fact number two.

YouTube can effectively filter content if it wants to. Since day one, we have never, ever seen any live porn on YouTube. Not a single live link to porn, ever. In debates in various online forums we have often proposed the challenge to anyone to present an active live link to full fledged porn on YouTube. It has NEVER happened. No one has EVER been able to present a live link to an active porn video on YouTube in the six plus years we and our friends have presented the challenge. Talk about a crowd sourcing FAIL.

What these two facts reveal is that rights management online, the protection of copyrights and the enforcement of Intellectual Property require nothing more than the intent and will to do so. But don’t take our word for it, listen to Google’s own Chief Economist Hal A Varian from his book “Information Rules” where he describes “Bitlegging.”

“Bitlegging” can’t be ignored: there’s no doubt that it can be a significant drag on profits.

Bitleggers have the same problem that any other sellers of contraband material have: they have to pet potential customers know how to find them. But if they advertise their location to potential customers, they also advertise their location to law enforcement authorities. In the contraband business it pays to advertise… but not too much.

This puts a natural limit on the size of for-profit illegal activities: the bigger they get, the more likely they are to get caught. Digital piracy can’t be eliminated, any more than any other kind of illegal activity, but it can be kept under control. All that is required is the political will to enforce intellectual property rights.

So Apple, Amazon, Spotify (and hundreds of others) can effectively manage digital distribution without triggering millions of DMCA notices. YouTube can effectively filter porn, and yet the internet is not broken as best as we can tell.

Maybe, just maybe this isn’t so complicated after all. That is unless one has a specific intent and motive from which they perhaps profit from the mass scale aiding of commercial level infringement.

Google Pro-Artist Policy Changes Challenge Allegations of “Net Censorship”

In the latest in a series of practices Google removes “Pirate Bay” from auto complete. There is a saying that the journey of a thousand miles begins with but one step, and Google has begun to take that journey. These moves should be celebrated by artists, musicians and creators – however we’d suggest some cautious optimism given Google’s history of appearances over actual meaningful change. None the less, this recent move can’t be seen as anything less than positive.

In addition to this latest change, Google has:

1) Created a (relatively) easy to use web form for de-listing up to 10,000 infringing links from Google Search in just one DMCA notice.

2) Begun to drop the rankings of sites identified as predominantly dedicated to infringing activity (as determined by the volume of accurate DMCA notices for de-listing).

3) Providing Content Management System (CMS) tools to individual artists, musicians, filmmakers and creators on YouTube.

The most important thing to take away from all of this is that these policies reinforce what we have always said, reducing online piracy is a question of will not capability. As Google implements more of these policies the shallow talking points of the freehadists become more diminished. Online piracy is about free beer, not free speech and we applaud Google for these early and hopefully meaningful baby steps towards an Ethical and Sustainable Internet for all citizens. And uhm, no Torrent Freak, it’s not censorship… let the screaming begin…

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Originally posted in the Weekly Update for September 16th

Safe Harbor Not Loophole: Five Things We Could Do Right Now to Make the DMCA Notice and Takedown Work Better

By Chris Castle

There has been considerable discussion about how the DMCA notice and takedown procedures are “broken.”  We don’t think that this is quite true—the procedures are manipulated, misunderstood and abused on a grand scale.  That doesn’t mean that the notice and takedown procedure is “broken” any more than the laws against burglary, theft and tax evasion are “broken.”  No statute can control unethical behavior by those who use the law as a flimsy excuse to get away with bad behavior.

Many Internet companies have interpreted the DMCA to permit bad behavior until the victim of the bad behavior notified the bad actor that they were behaving badly—each time they behaved badly.  This “catch me if you can” interpretation of the DMCA was not at all what the Congress had in mind.  We would go further and suggest that not only was it not what the Congress had in mind, it also wasn’t what the participants in the discussions and negotiations and drafting of the statute had in mind, either.

A review of the history suggests that the true purpose of the DMCA notice and takedown procedure was to provide a little latitude to reasonable actors acting reasonably.  There is nothing—nothing—in the legislative history that suggested that key legislative leaders were ever thinking that any one company would receive a million notices in a year, much less a million notices in a week, week after week after week. (Google recently announced that it receives a million notices a week for search alone.)  [Editor note:  Since we first published this post in 2012, Google now receives more like FIVE MILLION NOTICES A WEEK!]

What is in the history is that the purpose of the DMCA was to provide a relatively low cost alternative to litigation for both creators and Internet companies when creators spot an unauthorized use of their work which should be a rare occurrence—and we think should be accorded a little latitude if reasonable people are acting reasonably.  That’s what a safe harbor is for—and the DMCA was intended to create a safe harbor, not a loophole.

There is also a threshold qualification to getting the safe harbor in the first place: The site operators shouldn’t actually know or have reason to know that there is infringement occurring on their premises.  If they find that some users are repeat infringers, the site needs to take them off.  Sounds fair, right?

Actual knowledge is the kind of thing that was documented in the Viacom v. YouTube and Isohunt discovery.  Having reason to know is called “red flag” knowledge, that you have so many indications that infringement is going on that it’s like someone is waiving a red flag in your face that anyone could see.  Like if you got a million notices a week that infringing was going on.

Another problem is that we have heard that some companies take the position that in countries where there is no safe harbor, they “deem” US law to apply.  Aside from the obvious cultural arrogance, if you ask the local courts and lawmakers, we seriously doubt they would be so accepting of US law, so let’s not deem that US law applies.  Also known as “pretending” that US law applies.

With this in mind, here are five things that could be done today to preserve the good in the DMCA without having to open up the legislation in a negotiation between artists and Big Tech—a process we think would lead to an extraordinarily mismatched negotiation given the tens—soon to be hundreds–of millions that Big Tech is spending on lobbying in the US alone.  These would apply as appropriate to any of the various companies that take advantage of the DMCA safe harbors.

1.  Stop Playing Games with Red Flag Knowledge:  If you receive a million DMCA notices a week, you look pretty stupid if you deny you have actual knowledge, and you seem incapable of sequential thought if you deny you have red flag knowledge that infringing is occurring.  A more plausible explanation of this extraordinary burden that such a system places on the economy is that the system is defective, like an exploding gas tank.

Just like a car with an exploding gas tank, the car may do a lot of good and may be useful to consumers.  But not with that gas tank.  That gas tank has to go.  And one reason it has to go is that the car with the exploding gas tank creates an unacceptable level of risk and harm to innocent people who randomly come in its path.

What search companies should do when they consistently receive thousands of notices for a particular site is block that site from search results, not just push them down in search results and continue referring customers to them.  The burden would then shift to that blocked site to prove that all those millions of DMCA notices were wrong—even though Google has acknowledged that 97% are accurate.

The reality is that these sites will slither off into the Internet to find something else to do.

2.  Block the File, not the Link to the File:  The point of the DMCA was to stop the infringement, that is, block the infringing material, not to stop one link to the infringement.  It has been interpreted by many, if not all, offending sites or search engines to require a link by link notice, or to require that artists litigate each link to a final nonappealable judgment before the link can be disabled, much less the file can be deleted.

This is a ridiculous interpretation of the law and is solely designed to allow the site to profit from infringement for as long as possible in the hopes that the less-well heeled will simply give up.

Google is particularly well-suited to discover blocked files due to its ContentID system on YouTube.  [Editor Note:  In the years since this post was originally published, it has come to light that Google crawls the hash for most if not all infringing files.  By blocking the hash, a single notice could take down a multiple number of infringing files.  Between the fingerprint or the hash, Google could easily block infringing copies whether the copies appear on YouTube or in the wild on the Internet.]  This is not a burdensome task.

3.  Don’t Treat Sites that Haven’t Registered a DMCA Agent as Though They are Entitled to the Safe Harbor:   You don’t get DMCA protection if you haven’t registered a DMCA agent with the Copyright Office.  This costs about $150.  Other countries have similar laws.  Don’t act as if a site that hasn’t even registered an agent (as a threshold step to claiming the safe harbor) is the same as one that has.  If search engines and ISPs act as if sites like Hotfile are entitled to the safe harbor without going through the required steps, this only protects the bad guys and trivializes the proper safe harbor protection for legitimate actors (like those same search engines and ISPs).

4.  Don’t Support Automatic Reposting:  Don’t support automatic reposting of links you disabled under a DMCA notice.  This turns the entire process on its head because as soon as an artist goes through the expense of taking down an infringing link, the web site allows the link to be reposted automatically and then requires the artist to send the notice all over again.  This is not only outside the intent of the law, it is sadistic.  Another reason why major offenders need to be blocked from search results by search engines that want to be in the business mainstream.

5.  Issue Google-Style Public Transparency Reports:  Google’s “transparency report” is commendable and provides useful information as far as it goes.  Note that the millions of notices Google reports it has received are just from the “premium” web tools it provides to heavy users.  Imagine what the numbers would look like if it included notices that were sent manually and included all Google properties.

If each major search engine prepared these public transparency reports, it would be possible to prepare a list of websites that were major offenders based on the number of accurate DMCA notices received.  That way, the Department of Justice could have better information on which to determine where to allocate its prosecutorial resources.

Since Google is so interested in letting the world know about the DMCA notices it receives by releasing them through Chilling Effects, surely Google will not object to organizing this part of the world’s information as well.

Eyesight to the Willfully Blind: Five Things That ISPs Can Do Today to Stop Ripping Off Artists

We are still waiting for the launch of the vaunted “Copyright Alert System” which was supposed to be up and running this month (July 2012).  Now we are hearing October.  You know what we think?  We think the ISPs have bullshitted their way through another year of profiting from human misery.

We have heard just about enough from ISPs who perpetuate blatant theft online hiding behind a variety of hollow excuses—when ISPs clearly know that they profit more from theft and are in a better position to stop it than anyone else with their snout in the digital trough.  This started with ISPs benefiting from broadband penetration largely stoked by massive digital theft, willfully ignoring repeat infringers and now using the public mobile spectrum to snort down unlicensed works.

Here’s a few ideas for ISPs—but it starts with a basic suggestion.  Go to the mirror.  However you want to try to slither out of responsibility this time, take a good look at your lying face and ask yourself if you are proud of what you are doing.

1.  Stop marketing your services to encourage theft from artists.  Fast download speeds don’t have to be measured in how many movies or recordings your users can download—they can figure that out, too.

2.  Respond to repeat infringer requests quickly—you know that the DMCA you love so much does not require a full blown federal jury trial on a link by link basis before a track is infringing.

3.  Stop bullying artists who send you notices.  Your lawyers try to scare artists by threatening to bring your big boy litigation budget down on the head of an artist who’s doing good to make the poverty line when they complain about being ripped off.  And you’re surprised that we have a problem with you?

4.  Get serious about piracy.   Stop advertising on pirate sites and commit to reducing piracy by 10% a year on your networks.  We don’t need to follow the money through some black box designed to make it hard.  We know why your ads never seem to appear on porn sites—someone will get fired if they do.  But obviously, no one gets fired when your ads appear on pirate sites because more traffic helps you sell broadband.

5.  We’re going to give you the same advice we give others who profit themselves by screwing artists—give some back.  You could put 1% of your profits into arts education and health services for artists, you’ve definitely made way more than that in the biggest income transfer of all time.  You want our music, movies, books, newspapers, photographs and illustrations for your “legitimate” services?  Do the right thing.

Wall Of Shame : BMW Willing to “Drive” Without License

In our ongoing series the Wall of Shame showing advertising by major brands appearing on sites hosting unlicensed music and illegally exploiting the rights of artists, this one really spoke to us.

BMW advertising appears on the site mp3crank for the unlicensed album download of the critically acclaimed “Drive” Soundtrack. Given that BMW is the maker of “The Ultimate Driving Machine” this really make us wonder about the sophistication of context based advertising.  As such, the DMCA protection for dumb pipes would seem to not apply in this circumstance. Of course it completely makes sense to us why BMW would want to associate itself with an album of music that has entered the pop culture zeitgeist with references coming recently from the front page of the LA Times and in the season premier of the TV show Workaholics.

But we also wonder if the brand and/or its ad agency (or its online advertising affiliates) know that they are supporting the systematic exploitation of artists and creators. It would seem in very poor taste for such a highly respected luxury automobile maker as BMW to do so.

As a point of interest it should be noted that most of the artists on this album are themselves independent or signed to small indie labels. These are not “millionaire rock stars” being exploited. They are regular, hard working musicians who caught a lucky break. That break unfortunately is not for the profit of the artists, but rather this site who is contributing nothing to the artists themselves.

So how does this happen?

Who from these brands is responsible for making sure their ads don’t end up in the wrong places?

Is there any accountability at all with online ad networks?

And here’s where it gets even weirder. The link  to the site above was delisted from Google by the UK’s BPI. We assume they would have also issued a take down notice to mp3crank as well, if the site had a take down policy provision (it appears they don’t).

However the link reappears when Google forwards the DMCA notice to Chilling Effects, which itself then requires a DMCA notice to take down the report of the original DMCA notice. Kinda defeats the purpose of having the link delisted in the first place, huh?  (And notice that Chilling Effects has not registered a DMCA agent, so they may not even qualify for the safe harbor in the first place.)

For those who want to support the artists on the album legally, here’s a link to Apple’s iTunes:
http://itunes.apple.com/us/album/drive-original-motion-picture/id455448129

Artists, ask BMW to stop propping up unlicensed businesses that are illegally exploiting creators! Here’s how you can contact BMW to ask them to stop exploiting artists, include the link to this post in your email.

BMW GROUP CORPORATE COMMUNICATIONS – NORTH AMERICA

Dirk Arnold   Vice President, Corporate Communications   Tel: 201-307-3954   Email: Dirk.Arnold@bmwna.com

Amanda Thomas-Henke   Corporate Communications Coordinator   Tel: 201-307-3724 Email: Amanda.Henke@bmwna.com

 

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.

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/
http://www.youtube.com/watch?v=CqBZd0cP5Yc

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/