142 new of 143 responses total.
Linux/Unix already has a pretty "determined" audio CD reading program called "cdparanoia"; it even tries to find its way around scratches and such. But the official software packages for Windows will probably choke on this sort of format. Anyway, it sounds like Commodore-64 era copy protection at its dumbest.
Hey, I should have read the article first, since they mention cdparanoia having trouble reading one of these CDs. Still, I'm semi-confident that the problem is not insurmountable.
It's amazing how oblivious the music industry seems to be to the crucial issue of user experience.. Intentionally releasing a defective product that violates long-established industry-wide encoding specifications as a response to (so far largely theoretical) revenue loss from piracy is the sort of idea which I have a really hard time imagining coming from any industry except the music and film oligopolies. In the very early days of the personal computer revolution, computer software companies tried very similar tricks to copy-protect their products -- burning "bad sectors" into floppies, storing data in non- standard filesystems, etc.. The practice was a nightmare for legitimate customers, who often found that their "copy protected" disks were unusable if their floppy drives were even the least bit out of alignment (perhaps from being put through one too many gyrations by a poorly thought-out anti-piracy scheme) but presented little real difficulty to those who truly wanted to copy the programs without paying -- as a twelve-year-old I had several specialized copying utilities and dozens of pirated copy- protected games for the Apple II and I didn't even *own* an Apple computer.. There's a reason that copy protection died out in the personal computer software industry and there's a lesson there for the music companies, if only they'd pull their heads out of whatever cavity they're stuck in and have a look..
As somebody who uses the CD ROM drive as a CD player in my office and when traveling, I would be seriously annoyed by CDs designed not to play in the CD ROM drive. I would probably buy fewer CDs as a result.
Besides irritating legitimate customers, this measure would fall way short because a majority of the songs getting traded have been out on CD for quite a while already. It would be effective mainly with new music. Eventually it might be reasonably effective, but it would take a long time and I'm betting people will give up long before then. What about radio broadcasts? There are several web radio stations--there must be a way to record the sound onto your computer and then burn it to a CD. And presumably people will write better CD-reading software to deal with the problem...yep, my prediction is that this idea is going to die a pretty quick death.
Re #1: It'll also affect audio quality on regular CD players that aren't well adjusted or don't have good error correction algorithms, I suspect. This varies widely. My 1986 Sanyo CD player will muddle through scratches that cause my more recent Discman to give up entirely. The audiophiles who don't already hate CDs will really hate this. ;> I seriously doubt it'll take the people who write CD rippers more than a couple months to find a way around this, and meanwhile it'll inconvenience lots of people with poorly designed CD players. Sounds like a really bad idea, to me.
I'd have serious problems if my cd players suddenly didn't play my music cds. My computer is one of the main places I listen to music, and in fact the ability to listen to music on one's computer was one of the early selling points of the cd-rom device in the first place. As lynne said, this will only start having a major impact a ways down the road, when hundreds of loopholes will already have been found. Stupid.
I've already got one CD that seems to be "defective" somehow. The fancy cd-rom burner won't play it, but the old cd-rom drive in the laptop seems to play it just fine. I found one cd ripper that could rip the tracks, so I'm seriously considering ripping and copying the tracks just so I can listen to it on the computer with the burner...
Suppose this kind of protection will work (i do not think so). My hi-fi will read all these new protected cd right? I can plug a cable from my stereo to my computer and do hard-disk recording. Then I could also "treat" the signal. I do not think the quality of the recording will be much worse. Computers are wonderful instruments for this kind of games. About linux/unix paranoia i've got a scratched cd (REM's NAIHF) that failed to do a good job with it. There's a windows program (www.exactaudiocopy.de) that is IMHO better (i succedeed).
"I can plug a cable" -- you just introduced two extra a<->d conversion steps. You'll lose on quality, gain noise, &etc. How bad will depend on what you do next and the quality of your equipment including cables. The recording industry is hoping to discourage that "next" as much as possible. Whether you care is a mark of whether you're a true audiophile of course.
Of course I introduce two a<->d and this is bad. But suppose i've got a DAT. I could digitally copy, and i could digitally extract raw data on pc. Noise on my soundblaster is rather zero (my good shielded cable is less than one meter). Personally I was able to backup and restore many LP and cassettes on cd. Of course is not like having remastered cd. But it's good until i've got enough money to rebuy this (original!) stuff.
<notes that putting an "&" in front of "etc" is redundant>
re #11: I think that massive MP3 trading, with the format's lossy compression, has already proven that a huge consituency of listeners care less about sound quality than about convenience and price.
Stores, retailers, and customers should demand that such CDs come labeled as "may not play in all CD devices" in print as big as the banner across the top. If it does not fit the "CD standard" it is a fraud.
I'd go a step farther and label them "Specifically designed *NOT* to play in many CD devices." After all, that's the point, right?
News articles in many online sources report that the RIAA is going back to court to complain that Napster is not doing enough to block RIAA-controlled songs from being swapped through Napster. The RIAA is demanding that the preliminary injunction be modified in one of two ways. First, they want the Napster filters to become "opt-in" rather than "opt-out;" under this plan, Napster would block all song files except those where the copyright owner had explicitly permitted Napster trading. It's unclear to me if this would satisfy the concern of the appeals court panel that the trading of files not owned by the plaintiffs not be unduly hampered. Second, the RIAA wants Napster to adopt a scheme to filter files based on their checksum (based on the belief that most files traded come from a very small number of original rippings to MP3 format) and their "musical fingerprint" using technology from someone like Cantametrix, which I don't understand much at all. This demand seems to fall afoul of the Appeals Court's direction that Napster was to filter out copyrighted songs to the extent that their technology permitted them to do so. Remember that Napster never sees the actual song files; they only run a directory server, and the song file exchange takes place between the two users' computers. This is why the filtering has focused on file names. The plaintiffs argue that if necessary Napster should be forced to re-design the system. My I-Am-Not-A-Lawyer take on it: I think Napster is complying as best they can with the injunction as modifed under the Court of Appeals direction. The record industry is arguing that the loopholes enacted under the Court of Appeals direction mean the injunction has very little effect, and they want to effectively go back to the trial court judge's original injunction, which was that Napster must halt the trading of their songs, regardless of the effects on non-infringing users or on Napster Inc.
The solution to deliberately buggered CD's is to buy them and then return them as defective. Exchange, and then return the exchanged one as defective. Do this enough and stores will stop carrying buggered CD's, and the record labels will stop producing them. That'll be the end of the problem until some other format comes along that's got an apartheid policy built into the hardware. If players and computers are built differently at a fundamental level so that the computer can't read the audio (except, maybe, to pass it on to a speaker in an encrypted form) then you'll be back to being unable to rip your music. Even if you *can* play the music through your speakers, you'll be unable to re-balance the tone, add reverb, or otherwise play with the material YOU paid for... except as THEY allow you to. I think this situation sucks. Sometime in the future I intend to transfer my entire CD collection to HD storage and put the originals into safekeeping somewhere. I may compress to MP3 for the car or a portable player. That's my right under fair use, and any company that tries to deny me my fair-use rights deserves a kick in the balls.
[ English is redundant. ]
<yes, but you're using French *and* English to say the same thing> :)
[ Sure it ain't latin? ]
Yes, it's Latin, and once you've identified it as Latin you ought to realize that either the "&" or the "et" is redundant.. Sometimes you'll see "&c", but that's not particularly common..
ah, my mistake. however, if you ignore the cetera part, "et" means "and" in French as well as Latin. .
Well, yeah; French ain't nuttin' but gutter Latin.
;)
(*ahem*)
resp:0 :: More information comes from a story in today's USA Today.
Apparently the copy-protected Charley Pride disc isn't supposed
to fail completely in a CD-ROM drive:
"The disc will direct PC user to the Web site of ((the
copy-protection firm))... There users will be offered free
downloadable Windows Media versions of Prides's songs, which
can also be copied to portable players that support the
music industry's copy protection standards."
So that's what they plan to offer anyone who wants to listen to
their Charlie Pride CD on their computer.
So we might drift into a discussion of Microsoft's plans to make the
PC a copy-proof device. There's something called the Secure Audio
Path coming in one of the upcoming versions of Windows, and apparently
Windows Media is locked down, at least in the digital domain.
Remember that, as the court rulings have fallen so far, you do not
have a legal right to watch DVDs on a Linux computer.
(does anyone actually listen to Charlie Pride?)
Used to. And would again, did I buy music with any regularity.
Thanks for mentioning the report in #25 --- I heard a snippet of that on NPR this morning, and meant to research this a little more online. I don't understand how this can be effective. What about all the users of these so-called CD_ROM devices, what will they see to explain why they can't play what should be a standard audio CD? There are many other unknowns in this roadblock the industry is considering. As an aside, does anyone know if the component audio recorders use CD-ROM technology, and will thus be affected by this attempt at copy-protection?
That still screws people like me over who don't have the bandwidth to download songs regularly. I don't even have an MP3 player on this computer.
I read a few days ago that some of the big boys are planning to start some kind of subscription-download service of their own. Anyone know anything about that?
There's a raft of articles and I'm not coming up with a good synthesis. Some time back the Universal and Sony labels announced that they would offer a subscription plan called Duet, and this week it was announced that Yahoo will become a part of this project. Details are scanty, and the articles I've seen indicated that the files will come with "digital rights management" encumbrances to inhibit trading and loading in portable MP3 players. Monday's announcement was that BMG, EMI and AOL-Time-Warner are going to do a partnership with Real Networks to form a subscription service called MusicNet. The article in NewMediaMusic.com said that MusicNet would be offering Mp3 downloads, but I'm not sure that's a reliable report. MusicNet had the air of having been thrown together in a big hurry so that, in last Tuesday's congressional hearings, the industry could claim to be moving forward in offering music on the Internet. But I think the major labels have decided that they need to have something which looks sort of like Napster in place when Napster-as-we-know-it comes to an end this summer. Users with some technical sophistication will probably continue on with underground Napster clones or Gnutella, but millions of Napster users aren't too sophisticated and the record companies need to have something to offer them by, say, July. So, all five of the majors have signed up for one service or another; the indies are so far out in the cold, and also left out in the cold are today's music retailers, who are starting to scream very loudly. Also apparently out in the cold are the holders of the music publishing copyrights; the blurb in Inside.com says the proposed subscription services are not dealing with the concerns of those copyright holders. Unfortunately inside.com isn't offering much content for free any more, so I haven't been able to read the details. There was another story in today's news: MTV has concluded a deal to sell song and album downloads -- priced individually, rather than in a subscription service as described above -- from all five labels. This is the first time anyone has been able to offer "one-stop shopping," and of course the indies are left out again. Things are moving very fast, and my picture of what's happening is murky.
I, for one, would strongly support a "pay-for-download" of high-quality digital recordings of *single songs*, were the price within reason.
They're not exactly Napster stories, but Salon has recently had a couple of interesting stories about the payola-like business of radio promotion and about "indie" promoters' near-stranglehold on American FM playlists. http://www.salon.com/ent/feature/2001/03/14/payola/index.html http://www.salon.com/ent/music/feature/2001/04/03/payola2/index.html
Greg in resp:32 :: but in what format would you pay for these songs? You're not buying a song, at the most basic level; you're buying a computer file. The Cnet story on the MusicNet service to be formed by AOL, BMG, EMI and Real says that the files they sell will come encumbered by digital rights management stuff. This is in contrast to the NewMediaMusic story I quoted earlier, but I think it more accurately reflects the thinking of the major record companies. So far the "digital rights management" copy prevention systems have been generally rejected by consumers.
A good question. I think I'd probably want an uncompressed version, so's I could convert it to whatever format was convenient for me, but I'd probably be willing to pay for good quality mp3's at a lower price.
Unfortunately the record companies have consistently and repeatedly demonstrated that they waren't willing to sell what you say you're willing to buy..
More bunches of articles and I am short of time. There's a Reuters story today which I have from: http://www.latimes.com/wires/20010411/tCB00a2780.html Napster had a compliance hearing in front of trial judge Marilyn Patel yesterday and she was not pleased. "(Napster) was warned by a U.S. judge on Tuesday that it could face closure if it doesn't speed up its efforts (to block copyrighted songs). ... Patel said it was 'disgraceful' that copyrighted material remained on Napster's system." I don't fully grasp this, since the current situation was dictated by the appeals court panel when they told Patel how to revise her injunction. So I don't see how Patel can throw out the directions of the appeals court just because they don't work effectively, when the appeals court for reasons of its own overruled Patel's original effective injunction to close Napster. In the same article, Napster claims to be close to reaching licensing deals with the five majors. Napster says that once the licensing deals are reached, the majors will drop their suits; well, fine, but there are still a large number of independent labels whose claims to infringement damages are as good as the major labels' claims; what's going to keep those claims from pouring out of the woodwork if Napster settles with the five majors? The other articles are more think pieces, less urgent news so I will try to make time for them later this week. (I'm on vacation and we have Leslie's recital and a family visit.)
(Much bigger stories on this at www.inside.com and www.wired.com. The Patel quote above is incomplete; she did acknowledge the controlling authority of the appeals court ruling, though she thinks they should reconsider because the injunction crafted under their guidance is ineffective.)
It's odd how little the professional audio press is paying attention to this. ,
Is it? Why would they care?
Now linked to the cyberpunk conf, your conf of networked society and it's future.
Inside.com and others carry a story that Judge Patel is inclined to let the holders of songwriting copyrights pile on in a class action suit against Napster. zdnet.com and other sources carry a story from the Wall Street Journal about how major software manufacturers such as Microsoft and Real plan to discourage users from making MP3 files and encourage them to use proprietary, copy-controlled formats. "...early testers of beta versions of Windows XP already complain that the most popular MP3 recording applications -- which compete with Microsoft's format -- don't seem to function properly, apparently because of changes Microsoft made to how data are written on CD-ROMs under Windows XP..."
RE#41 -- Because eventually we're the ones who have to deal with this bullshit. ;-)
News pointers: http://www.theregister.co.uk has a couple of stories about MP3 raids at a Taiwan university. Dorm rooms have been searched, PCs seized, fourteen students charged. The article, which is rather biased in favor of the students, does point out the irony of raiding students while East Asia is a hotbed of large-scale piracy for cash profit. http://www.newmediamusic.com has another of their mindboggling essays on the Napster case. Sometimes I can't tell if these writers are brilliant or just blowing smoke; in a month it won't matter because they plan to put all the juicy stuff in the for-pay section. Anyway, today's piece discusses why it is that BMG is now running Napster, and the legal implications of BMG sitting on both sides of the Napster lawsuit.
More stories.
1) http://www.theregister.co.uk reports that the Taiwanese government
has rallied to defend the rights of students whose machines were
seized in searches for illegal MP3 files, and it now appears that
the cases will be dropped.
2) Going back two weeks to my resp:31, where I wrote that the major labels
were probably trying to have the Duet and MusicNet systems in place
before the free Napster service was whacked this summer: A Reuters
story from April 4 says no, these systems are still vaporware, and
though the companies involved are promising a summer rollout (for
Duet, through Yahoo) or a fall beta test (for MusicNet, with Real and
Yahoo), other people in the industry think these deadlines are
wildly overoptimistic for services whose basic design parameters
and legal frameworks are still being developed.
And, they will be harder to use than Napster. And the songs will be
copy-prevented.
Another really great story was in the Wall Street Journal last week,
and MSNBC carries it at http://www.msnbc.com/news/558318.asp
"Bertelsmann tries to tune into Web bug finds it to be a jarring
strategy." Bertelsmann thought it would be brilliant to ally with
Napster and hope to pick up its millions of users, but the move has
been controversial within the company and has left the company isolated
with respect to the other four majors, who still seem bent on Napster's
destruction.
Here's an opinion piece I missed when it appeared in early April:
http://www.thestandard.com/article/0,1902,23401,00.html
Author Lawrence Lessig writes:
"As Congress knows, but as the recording industry wants us to forget,
the struggle over Napster is nothing new to copyright law. The past
100 years have been filled with Napsters -- new technologies that
'steal' content. But in every previous Napster-like case, Congress
has struck a very different balnce from the one that the courts are
now establishing with the ((music)) labels. Every time a major new
technology for distributing content was born, Congress has assured
compensation WITHOUT GUARANTEEING CONTROL." ((emphasis KRJ))
"Take cable TV. Like Napster, cable was born as a commercial
enterprise devoted to making tons of money by 'stealing' other
people's content..."
The article says that some sort of compulsory licensing system, similar to
what was deployed at the beginning of the radio era, is what many in
Congress are starting to think about.
For the attention of rcurl and brighn... :)
Cable TV sort of works both ways. There are also "must-carry" rules, forcing cable companies to put local TV stations on their systems that desire to be there. There's been some argument about this lately, actually. With HDTV, TV stations will soon be (or already are) broadcasting two, possibly different, video signals. Even after analog TV is phased out, there's still the possibility that one HDTV channel could carry more than one video stream. The stations wanted to be able to force cable companies to carry *all* their video streams. So far the FCC has ruled that cable companies are only required to carry one of them, and this has been very unpopular with broadcast stations, who feel the FCC is favoring cable TV in their rulemaking. Over-the-air broadcasting of TV is probably in trouble in the US, especially since HDTV is, by most accounts, nearly impossible to receive with an indoor antenna.
Two more interesting Napster pieces, these both from today: http://dailynews.yahoo.com/h/nm/20010420/en/music-napsterudpate1_1.html "Napster to use fingerprinting technology." Napster is licensing technology to recognize songs by their "musical fingerprints" from a company called Relatable. "There are many technological challenges," says the CEO of Relatable in a quote. Yeah, like the issue of where do you put a filter which examines the contents of the file... As I've dicussed before, such filtering would seem to be impossible given current Napster architecture, and the appeals court panel said Napster did not have to redesign its system. I can only assume that Napster got slapped very hard by the court-appointed technical master overseeing Napster's compliance, in the closed and so-far secret hearing last week. #2: http://www.sonicnet.com/news/archive/story.jhtml?id=1442959 "Indie Music Still Thrives on Napster" Indie labels lack the financial and manpower resources to file the notifications required under the injunction to force Napster to attempt to filter their songs off. And many indies, who have to fight for exposure for their artists, think this might work to their favor as more and more major-label music is filtered off Napster.
Re #48: Simple; you put the filter in the client, and only send the checksum to the central server. Then you alter the protocol just enough to break the existing clients, so everyone has to download the new one.
From a design perspective that works. Now, stop the millions of users from hacking the code resident on their computers.
That gets trickier. Much trickier. But there are ways around it. I read an article recently about techniques to keep people from cheating in multiplayer networked games. Some of the same techniques would help here. Basically you'd have to make the program self-checking.
Re #51: But hardly beyond the capabilities of software people, as the successful effort to find out why a certain Windows beta gave a bogus error message when run under DR-DOS proves. The fingerprinting will not be a killer, just one skirmish in the arms race. It will be too easy to work around, either through hacked fingerprinting code or alteration of the fingerprint reported to Napster. It may work for a while. If the visibility of independent music labels and their artists rises in the mean time, so much the better. I would love to see listeners abandon the producers of tripe such as Britney Spears and learn to like real music.
Re #51: But hardly beyond the capabilities of software people, as the successful effort to find out why a certain Windows beta gave a bogus error message when run under DR-DOS proves. The fingerprinting will not be a killer, just one skirmish in the arms race. It will be too easy to work around, either through hacked fingerprinting code or alteration of the fingerprint reported to Napster. It may work for a while. If the visibility of independent music labels and their artists rises in the mean time, so much the better. I would love to see listeners abandon the producers of tripe such as Britney Spears and learn to like real music.
Jeez, russ is such an ass. I might not like Britney Spears either but only a loser like russ would go around calling someone else's musical taste "tripe" while stating that the music *he* likes is "real" [dont worry folks, I am not hurting russ's feelings as he filters me out]
I dunno I think tripe is a pretty accurate assesment of Britney Spears and her ilk. Wy not call the talentless for what they are? Afterall they are making millions due to record company promotion (to tie back into Napster :-)) while more taented muscians have to keep their day jobs. <set drift="off">
oh my fault then. Only a loser like russ or raven would say such things ;) Seriously though. I dont like Britney Spears so I wont argue that she has any great talent but I am sure there are those who think she does. I guess my issue is when some people like to get all high and mighty about thier tastes while dismissing other people's tastes. It is a button with me for some reason, probably because my musical tastes are often put down. boo hoo. hold me!
Well, Britney isn't talentless, just talented in a rather overpopulated area. She's able to dance and sing, and put up with the remarable amount of crap that comes with being a big-time MTV star. However, a fair number of people (myself included) like to see people who can write their own (interesting, natch) material instead of just being the face of a commercial process. Britney is sort of like a pro wrestler; those guys don't really do anything original or even real, but in the process they do some pretty impressive stuff like being thrown onto their back from several feet in the air. Sure the stage is padded and bouncy, but would *you* want to try doing it?
It's not that padded. It *is* quite bouncy. People enjoy watching them do 20 foot drops onto harder surfaces, though.
Padded and bouncy? Are we talking about Ms. Spears or someone/thing else?
Both. :)
It appears that the filters Napster has been required to use might be working. I had an e-mail this morning from a trading friend on the ecto list, and she claims that out of thousands of files she should be sharing, only 132 are showing up in filtered Napster. She states that the new filters block out the names Kate Bush (though not Kate, or Bush [which I find hard to believe], or Bush, Kate), Tori Amos (with similiar exceptions), and any file with the word "Happy" in it. The end of an era, indeed.
from: http://chronicle.com/free/2001/04/2001042601t.htm Pressured by Music Industry, a Researcher Is Expected to Scrub Encryption Speech By ANDREA L. FOSTER A Princeton University computer scientist who had planned to give a speech this morning about unscrambling encrypted digital music is instead expected to talk about why the recording industry won't let him discuss his research publicly. The researcher, Edward W. Felten, was scheduled to address an international conference in Pittsburgh at 10 a.m. and to talk about how he and his colleagues from Princeton and Rice Universities had succeeded in breaking codes, known as "watermarks," that were created to protect digital music from unauthorized copying. His talk was to have been published as part of the conference proceedings. But the Secure Digital Music Initiative, an organization working to prevent the dissemination of copyrighted music, warned Mr. Felten this month not to discuss his research. In an April 9 letter, the organization said that if he did so, he would be "facilitating and encouraging the attack of copyrighted content" and would be violating an agreement that he and other scientists had made with the group. (A version of the letter was published on the Cryptome.org Web site.) The organization, known as S.D.M.I., said that he would be flouting the Digital Millennium Copyright Act and that he and his research team could face "enforcement actions under the D.M.C.A. and possibly other federal laws." The recording industry maintains that the copyright act prohibits the distribution of data designed to circumvent copyright protections. The S.D.M.I. letter noted that Mr. Felten and his colleagues had cracked the digital encryption code because of a challenge offered by the organization. By accepting that challenge, the researchers agreed not to jeopardize the integrity of encryption technologies, the letter said. But the researchers, in an online document labeled "Frequently Asked Questions," say they waived all rights to a cash prize so they could later publish their findings. The also say the Digital Millennium Copyright Act does not apply to the challenge because S.D.M.I. granted researchers "explicit permission to study" the encryption technology. Mr. Felten was on his way to the conference Wednesday afternoon and could not be reached for comment. A Princeton spokesman would not say whether Mr. Felten planned to reveal his research. But a source who asked not to be identified said that the professor was planning to keep mum on his findings, and would probably discuss only the reasons for Princeton's decision. Researchers and lawyers for Princeton and for the Secure Digital Music Initiative have been busy negotiating this week over whether and how Mr. Felten could present his findings. The conference, called the 4th International Information Hiding Workshop, began Wednesday and is set to end Friday. Researchers are discussing technologies designed to keep digital information hidden.
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Obviously the law which prevents the communication of information (speech) which could be used to defeat copyright protection is unconstitutional on its face. The logical choice is to proceed with the address, and make the prosecution a test case to overturn the DMCA. The copyright concept protects the creator's right to profit from their creative efforts, not the means by which the creations are protected. If the means are insufficient, then they should be adapted.
I'm glad you feel that the DMCA is "unconstitutional on its face." I'm sure Eric Corley/Emmanuel Goldstein, the publisher of "2600," will also be glad to know this, since he's lost all legal procedings in the DeCSS case so far. http://www.inside.com had an essay by Roger Parloff yesterday arguing that the RIAA/SDMI attack on an academic was a masterpiece of bad timing, since the Corley/2600 case goes up before an appeals panel next week. Corley is seen as an unsympathetic defendant by the court because of his hacking background -- even though 2600 is a traditional paper publication presumably protected by the first amendment -- but with Leonard Felten the anti-DMCA forces now have a clear case of the law being used to chill speech which should be protected. The link will probably only work for a day or so, inside.com moves stuff to the subscriber-only area pretty fast these days. http://www.inside.com/jcs/Story?article_id=29356&pod_id=13
#64, para 1: the Supreme Court has ruled repeatedly that the "freedom of speech" clause of the First Amendment does not apply to every single act of speech. There are many contexts in which other societal factors play as important a part, and may mitigate freedom of speech. Relevant examples in this case would be encouraging people to engage in illicit activities, although to my knowledge, I believe those are generally protected (IANAL). So, while I agree that the law is unconstitutional, I disagree with its obviousness. Copyright protects the creator's right to decide how their work is presented, as well.
Moving sideways, here's an interview with the CEO of Real Networks about the subscription music plans (Napster replacements) Real is working on with the major labels. http://www.latimes.com/business/20010426/t000035201.html Note the broad hint that users of such services will be expected to keep paying their monthly subscription fees if they want to keep playing the songs they have downloaded. I still expect consumers to reject anything which comes with noticable "Digital Rights Management" packaging.
Until/unless they come up with a "rights management" scheme which looks nothing like the ones introduced up until now, I agree with Ken. Everything proposed so far has been nightmarishly bad from a user-experience standpoint -- inconvenient, confusing, anti-privacy, unreliable, etc.. None of the current schemes have even a remote chance of succeeding in a marketplace where there is any competition at all from unencrypted media and, as much as they might want to at this point, the record companies can't uninvent the CD, nor can they easily stop selling them.
Re #62: The censorship thing came up on Slashdot yesterday or the day before. Anyone want a copy of the paper? It's on cryptome.org. ;-) (When is the RIAA going to learn that you can't obtain security through obscurity? And how many toes are they going to shoot off before they do?)
Re #66: Hasn't the Supreme Court ruled that computer programs are not "speech"? I think people will probably reject any "rights management" system that makes them pay repeatedly for the same piece of content, or that prevents them from using a piece of content on multiple players without paying for each one. People like being able to buy a CD and play it at home, in the car, and at work, for example. It's the sneaky ones that will succeed, like that plan to selectively damage CDs to make them unusable in CD-ROM drives. This has a precident in Macrovision, which is a violation of the NTSC specification and caused problems for some VCRs when it was introduced.
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USA Today has a big piece today trumpeting the commercial arrival of WMA, Windows Media Audio, with players pictured from Rio and Intel. "When you 'rip,' or copy, a song from a CD into the WMA format... copyright-protecting "digital rights management" tools are automatically inserted into the music file." Microsoft and the big music business hope to get you to swallow this with claims that file size is cut by 50%, and sound quality is improved, compared to MP3 files. The USA Today writer encountered issues with downloading the DRM files into the portable players. Sorry I don't have a URL, I'm reading from the dead tree edition.
Sorry this is sort of turning into a weblog, for those who are bored by such things.... http://www.latimes.com/business/20010426/t000035197.html "Napster Filters Cost It 20% Of Its Users In March." One select quote: "Despite the drop ((in usage)), 18% of U.S. Internet users visited Napster's web site or used its music-sharing system in March."
Well they wimped out...
er.... << A group of computer scientists at Princeton and Rice universities has decided to withdraw an academic paper that was to be presented at a conference this week, because the Recording Industry Association of America said that public presentation of the work would violate the Digital Millennium Copyright Act of 1998, because it would describe how to evade the systems used to protect copyrighted music. Princeton computer scientist Edward W. Felton explained the group's decision by saying: "Litigation is costly, time-consuming, and uncertain, regardless of the merits of the other side's case. We remain committed to free speech and to the value of scientific debate to our country and the world." John McHugh of Software Engineering Institute at Carnegie Mellon University commented: "This was an excellent technical paper. This was pure and simple intimidation. This paper didn't do anything that a bright technical person couldn't easily reproduce." (New York Times 27 Apr 2001) http://www.nytimes.com/2001/04/27/technology/27MUSI.html >>
You're right! How dare they... all they had to risk was their careers, and years of litigation with one of the most powerful cartels in the world, and you had so much to gain... the right to "borrow" music with greater ease. SOME people are so selfish. They should be ashamed of themselves.
Some of us see this as much more than "the right to 'borrow' music" To think that's all it is to me is quite presumptious. :-P Note: I make my living in the recording industry.
I'm quite presumptious, and have never denied that. ;} My point was, to call somebody a 'wimp' for not wanting to put their entire life on the line is also presumptious. Some people just don't have the mettle to be that kind of hero.
Yup. Unfortunately, because they aren't willing to do that, we may all lose another little chunk of our first amendment rights. In the same situation, I think my decision would be the same, though. No individual has the kind of deep pockets you need to fight the RIAA.
News story in many sources: I have it here from the Associated Press via http://www.sfgate.com : Trial court judge Marilyn Patel "essentially threw up her hands and appealed for help" regarding the Napster preliminary injunction. She said she cannot do anything to make Napster's filtering process more effective, and she invited the RIAA to return to the appeals court panel to "seek clarification," which probably means to get a ruling with more teeth in it.
How often has it happened in the U.S. that a scientist has withdrawn research results, previously expected to be published, under threat of legal action? Regardless of the fate of copyrighted music, THIS is a very sad event for freedom of speech. Sure, those research results could be used for nefarious purposes. If that's the concern, then I expect the follow-up to include a clean sweep of all murder mysteries from the bookshelves of the land.
If paying consumers are going to be paying additional x for the copy protection, but it is thawrted almost as easily, I would rather the voice come forward to show the system to be not worth it.
Hmm. Good point. If this scheme is easily circumvented, isn't it better for the RIAA to find this out *now* than after they've put a lot of money into distributing stuff on it?
I've been wondering why they haven't caught on to that. I mean really. Haven't they figured out by now (since DeCSS) that they cannot stop the release of information just because they have the law on their side?
Uh, we're talking about people whose lifeblood is controlling the release of information, right?
My response is, get another lifeblood. The rest of us have to from time to time.
Oh, no disagreement there. My response was to the question, "Why haven't they caught on?" That's been their livelihood from time immemorial (for them ;) It's always worked before. *We* know it's doomed to failure, and they may even, but they aren't quite ready to start hunting new prey.
The RIAA declares victory over Napster:
http://www.wired.com/news/mp3/0,1285,43487,00.html
Some quotes:
"In April, Napster use fell by nearly 36 percent from the previous
month... The average number of songs available by individual
users dropped from its all-time high in March of 220 to a paltry
37 by the end of April. That led to nearly 1 billion fewer
downloads."
Hilary Rosen of the RIAA talks up the coming MusicNet and Duet systems
from the major labels, but she says that music purchased through these
systems will cost about the same as CDs, because of marketing costs.
(*wheee!*)
If it's going to cost the same, I sure as heck want the physical disk. Why should I pay the same amount for the privilage of supplying my own media?
If a Napster usage drop of 36% is an RIAA victory, then CD sales - which dropped a barely accurately measurable 5% or so, and only in some localities - were never in danger from Napster. resp:89 - really good point, and one reason I've never bothered to use any of these services, even at less than equal cost. It's also why I bought a CD player for my car: I was tired of making tapes.
To make this a real victory, we would have to hear news of 36% better CD sales in the near future, right?
No, only 5%.
I see this whole thing as a form of suicide on the part of the entertainment industries. Looking about at the world, it seems to me that the popularity of any given entertainment item (and thus the monetary potential thereof) is related fairly directly to how easy it is to copy said item. To be blunt, I am of the opinion that the huge profits in the entertainment business are basically feeding of the backwash of piracy, and actually coming up with a working copy protection system would do more damage to profits than if there were actually any validity to their phantom loss figures. I am now of the habit of not buying into new entertainment technologies until the controls are effectively broken. The fact that I'm off broadcast TV for other reasons (logos) means I won't be aggravated in the least by the delay between deployment and breaking of the copyguards. You did know that the FCC has mandated copyguards be built into all new digital TV equipment, right?
Yup. Videotaping your favorite shows may be a thing of the past, soon.
The move to restrict consumer copying capability rolls on. Here's a CNET story about chip manufacturers looking at building anti-recording functionality in home stereos. http://news.cnet.com/news/0-1005-200-5813283.html?tag=tp_pr Quote: "Also built into chips now rolling off of Cirrus' and other manufacturers' assembly lines are controversial copy protections, or 'digital rights management' technologies. As these chips become more widely used, consumers could find for the first time their own home stereos blocking them from making tapes or other copies.... Analysts say that it's still far from a sure thing that products that limit people's use of their own music will be accepted, even if copy-protection support becomes a basic feature of stereo systems."
The film studios are working very hard to avoid what happened to the record companies. They want to make it IMPOSSIBLE for the consumer (that's you) to get ahold of the raw digital bit stream of video (movies, TV programs, just about anything) so that you can put it in your computer and do what you want with it. The only things they want to have access to video data are gadgets that will keep the raw data away from you; if you want to do something that they've decided is verboten, like taking a 5-second clip of last night's show and mailing it to your mom, tough luck. In other words, every piece of digital video equipment will be part of a conspiracy to let you have access to YOUR data only on the most grudging of terms, and some things will be totally forbidden. You may have to kiss time-shifting and archiving goodbye. They've got a proposal for doing this, encrypting everything that goes across a wire. It was leaked to cryptome.org; read it there: http://cryptome.org/hdcp-v1.htm It's really dry stuff, but it ought to scare you.
How does this relate to fair use law? Is fair use something you only have a right to if you have the means to make a copy, such that the means to make a copy can be regulated separately?
Fair use doctrine is a very complex system of exceptions to copyright protection. It does not guarantee the right of access to materials, but rather protects appropriate free speech rights in context of references to other copyrighted materials. Fair use is an attempt to balance the extremes of first amendment and copyright laws. The whole concept of legal protection of technical schemes which prevent access to original materials is not addressed in fair use. Such laws throw off the balance in favor of copyright but not by compromising fair use, just by going around it.
One of the best sites I found in some extensive research on fair use is:
http://fairuse.stanford.edu/
The simple answer to scg's question in resp:97 is that the courts are rejecting "fair use" as a principal to invalidate the DMCA's prohibitions on breaking encryption. If the copyright holder encrypts it, they are allowed to do anything they want to control access and the law will back them up. It also appears that the "First Sale Doctrine," which allows a second-hand market in books/cds/videos/whatever, is likely to get tossed out in the new era.
Re #97: To elaborate on Ken's explanation, the push appears to be to make fair use impossible to exercise by outlawing every tool you might use to achieve it. Fair use may entitle you to quote from a work, to make archival copies of a work you own (so long as you do not sell any of them apart from the work itself), to view it as you see fit (e.g. magnifying the text and projecting it on the wall to make it easier for a person with limited vision to read it) and to make any other use of it that does not infringe on the owner's ability to profit from the right to make and sell copies.... if you can do it without breaking the law. The media companies are most definitely trying to make fair use impossible to achieve in practice, via technical means which prohibit you from e.g. quoting a work, making an archive copy, altering how the work is displayed (like skipping the ads they put in your DVD)... The problem with the DMCA is that it backs up the media companies in their attempt to eliminate fair use, and the beknighted courts have been all too willing to throw out the long-established principle of fair use to uphold the DMCA. I'm starting to agree with the WTO protestors, that corporations have achieved far too much power over the laws which are meant to be to the benefit of people in general. They're all take and no give. The current terms and conditions of copy"right" aren't right, they are blatant theft from the public domain.
I'm trying to think of pre-digital attempts to restrict fair use. One that I can come up with from my college days in the '70s: the firm that sold course notes at U.C. Berkeley distributed them dittoed in faint green ink. This was (supposedly) impossible to photocopy.
I remember supposedly non-reproducable blue ink in software manuals from the 1980s. The approach seemed to be that you might be able to copy the disks, but you had to buy the software to get the manual.
The RIAA tried to ban cassette recorders, as a way to restrict fair use.
Weren't 'most all attempts to prevent copying by technical means in the field of PC software defeated by the 100%-legal, low-tech strategy of people not buying the copy-protected software? It the problem that consumers are way too addicted to the music, video, etc. that the mega-media companies are pushing to ever use that strategy?
Re #102: Except that the kind of use frustrated by un-copyable ink is typically wholesale copying, which is not fair use. If you want to look back to attempts to restrict fair use, you should think of the attempts of publishers to prevent the re-sale of used books; this led to the first sale doctrine, which is (not coincidentally) under attack in the new media as well. Richard Stallman has some words that ought to horrify you: And this changing context changes the way copyright law works. You see, copyright law no longer acts as an industrial regulation; it is now a Draconian restriction on a general public. It used to be a restriction on publishers for the sake of authors. Now, for practical purposes, it's a restriction on a public for the sake of publishers. Copyright used to be fairly painless and uncontroversial. It didn't restrict the general public. Now that's not true. If you have a computer, the publishers consider restricting you to be their highest priority. http://media-in-transition.mit.edu/forums/copyright/index_transcript.html
To be fair, it is most likely wholesale copying they are trying to prevent, while the rest is "colateral damage." DIVX certianly appears to have been killed by market pressure. Software copy protection seems more likely to have gotten killed by the growing size of software, and the evolution of PC technology such that people started running programs off hard drives, rather than off the software publisher supplied removable media. If you couldn't copy software off an installation disk, or if you had to keep track of the installation disk so you could occasionally insert it in the disk drive (what disk drive?) to show that you still had it, the software would become pretty useless to modern computer users. I think the big problem with the music industry's current copyright fight is that it's now much easier to get an illegal copy of some music than a legal one. If there's some piece of music I decide I want to listen to right now, I can either walk to a record store a half hour walk away, sit in a traffic jam for half an hour to get to a music store with nearby parking, or sit on a train for half an hour to get to one of the downtown San Francisco music stores. On the other hand, I can go online and find an illegal copy within a couple of minutes. If I want to listen to something a lot, I buy the CD. If I want to listen to something once, it's really not worth it. If there were a legal way to download the music, and maybe even pay for it, I'd gladly do so. I'd probably do so considerably more often than I buy CDs. I get the impression the music industry is finally realizing they need to do something to make money from on-line music downloads. What they don't seem to realize is that people might actually obey they copyright law on their own, if it were easy to do so.
resp: 106, Russ Cage: The green ink, if it prevented photocopying at all, prevented the making of one photocopy just as efficiently as a hundred. Indeed, it was single photocopying, rather than mass copying, that the notes firm said it was concerned to prevent: if you wanted their notes, you had to buy their copies, individual by individual. That was what they said. A hypothetical person trying to go into business by unethically mass-reproducing the notes was not their concern. He would have a heck of a time recouping expenses, epsecially given the notes' time value. The rhetoric may be different, but the digital anti-copying devices would prevent you from making a copy for your own use just as efficiently as preventing you from putting it on Napster.
Re #33: You mistake the issue, sir. De minimis copying of a course pack printed in uncopyable ink is easy. You can copy lines, paragraphs and even a small number of pages by keying them by hand or even writing them longhand. This is the kind of thing you would do for fair use. Dropping the entire course pack into a hopper-feeder and pressing "copy" is not; it would be infringement if you transferred the copy to another person. (It would not infringe if you kept both copies, of course.) The problem with the DMCA and the like is that even de minimis copying, such as quotes of a few seconds from a film for the purpose of criticism or analysis, require tools which are presumptively illegal under the current interpretation of the law. I can only hope that the appeals court will find that the trial court erred in its interpretation, or declares those sections of the DMCA unconstitutional.
Hmm.... Now I'm starting to put my creative hat on with this. What would be the "copy a few lines longhand" version of taking a film clip? How about re-enacting the scene? I could imagine this taking on a life and a style of its own pretty quickly. :)
(Reminds me of a movie I saw once where a guy did on on-stage reenactment of the crop-dusting scene from "North by Northwest".
resp: 109 - typing or handwriting out something is not easy to do. That's why fair use cases of this kind (as opposed to plagiarism, etc.) essentially didn't exist before the photocopier. By creating uncopyable print, the college notes service made a practical stop to copying of this kind. Hand-copying isn't as difficult as the equivalent work-around for uncopyable sound recordings, which is to play the recording while keeping a microphone up near the speaker. That may sound funny, but I audio-recorded a fair number of tv shows that way before the days of the commercial VCR. I wonder if you could use a camcorder that way too. Of course the quality would be seriously degraded. But not as badly as it was in the days I actually did that; and if you think the quality of hand-copied text doesn't degrade, you'd be mistaken.
More weblog stuff... From many sources: a news report that Napster, Inc, is seeking beta testers for the for-pay secure Napster service which is supposed to debut in July. from http://www.zdnet.com : "No Free Ride for MP3Pro," the upgrade to the MP3 format. The holders of the MP3 patents want more money for the use of the new format, but it has to compete with Windows Media Audio which some say is gaining market share even though it includes copy-prevention stuff. http://www.latimes.com/business/20010516/t000041036.html reports that "the majority of TV makers" are prepared to include the new anti-copying stuff in their digital TVs. "Some manufacturers, including Sony Corp. and Mitsubishi Group, have already begun production of the new sets, which are expected to arrive on store shelves later this year. "The technology, known as IEEE 1394, I.Link or FireWire, is a data networking standard with tough security features... The technology gives program producers, rather than consumers, the power to decide what can and cannot be copied digitally..."
Oh dear oh dear oh dear... http://www.mp3newswire.net/stories/2001/expire.html picks up on a NYTimes report where the new MusicNet pay download service was demonstrated for Congress in the last couple of days. The MP3newswire.net story focuses on the plan to make users pay, and pay, and pay... "When a user downloads a song, it remains available for 30 days at which point the user can decide to renew the license for 30 more days, as long as the monthly fee is paid again... ... a typical $10 monthly subscription might include the ability to download or listen to 75 songs." I smell market rejection, but maybe I'm just too optimistic. :)
This all gets irritating. How long before using terms from TV shows is declared copyright infringment and payments asessed? Drift of a sort. All this DMCA stupidity has my brain making odd conncetions. It occurs to me that if the DMCA is not removed fairly soon, then Microsoft has already won thier battle to illegalize open-source software. If the interface to the device is encrypted, it becomes illegal to reverse-engineer it for writing non-vendor drivers even if you are using the interoperability exception that has been used now and then. Drifting back, the copyguards on new technology present the content producers with an interesting dilemma. If they turn on the copyguards too soon, they risk wholesale rejection of the technologies. Do they have the patience to leave the guards turned off for the number of years that saturation of a new technology takes? Most consumers are not aware of any of the nonsense under discussion in this item. It literally falls outside thier world for now. Most people won't know that a device has use-management built in until it bites them, by which time they've likely no chance of returning the device. If the public can find out about the copyguards ahead of time, the question then becomes who can last longer in somethine like digital TV, the manufacturers, who can coast for a while on accumulated money, or consumers, who can use old technology for old recordings but cannot access new programming when analog broadcasts become illegal? There is no possibility of this actually happening, but I'd like to see a truth-in-labeling applied to devices with use-management systems. On the OUTSIDE of the box. Right now, the only warning most people get about region control on DVDs is buried in the back of the instruction book, after they have opened the box and hooked up the player. Imagine how well a digital recorder would sell if the box had to say "This device contains rights-management technology that may prevent you from recording a program, copying it after recording, or playing it back more than once." Neutronium balloons, anyone?
Hmmm.... Didn't the courts find that shrink-wrap licenses were illegal? How is this different?
Wired.com has a couple of entertaining pieces today. http://www.wired.com/news/mp3/0,1285,43894,00.html is essentially a boring press release from InterTrust about their new copy-prevention stuff which is already in use by some customers. But the killer is the last paragraph, quoting an InterTrust executive vice president: ((The record companies)) "...also have to move away from the CD and into a protected medium with a disk with encrypted music on it. Right now, it's like putting out master recordings that can be immediately copied and traded on the Internet." Exactly how the record companies would survive a drastic phaseout of the CD is not explained. :) http://www.wired.com/news/mp3/0,1285,43898,00.html Essentially, the record companies are telling Congress that if there is going to be music on the Internet, then the record companies have to be able to run over the rights of songwriting copyright holders. The record companies have now taken the place of Napster in arguing for a mechanical rights formula, a solution they opposed when Napster wanted it.
Re #116: I think there's a new law in the works that makes them legally binding. Maybe it's already passed. You'd better start reading them more carefully in case they say something like "you agree to give all your worldly belongings to Yoyodyne Software, Inc. in the event the company suffers financial difficulties." ;>
News item: mp3.com has been bought by Vivendi Universal. mp3.com had been the largest source of legitimate music files from independent artists, and Vivendi Universal is the world's largest music company. News item: On the grounds of trademark infringement, Aimster has lost its URL aimster.com to AOL.
(To crib from another analyst's piece, the mp3.com acquisition means that the biggest Internet music operations are now in the hands of the major labels. Can anyone think of any sizable independents that are left?)
Perhaps it is slightly odd that if something called "Vivendi Universal" is the world's largest music company, I have never heard of it before. Or perhaps not.
((You just haven't been following the mergers. Seagrams, the Canadian liquor company, bought MCA -- was that the mid-1990s? At the time most of the music operations were under the MCA name. Seagrams then bought the music operations of the Dutch firm Philips, which were called Polygram. MCA and Polygram were rolled together to create the Universal Music Group. Then in the last year the French media conglomerate Vivendi bought Seagrams to create Vivendi Universal.))
((David, Vivendi Universal might be of particular interest to you because they control the biggest chunk of major-label classical catalog. London/Decca, Angel, Deutsche Gramophon, Philips are just a few of the brand labels & catalogs which Vivendi Universal has ended up with.))
re #118: You're probably talking about UCITA, which has been adopted in several states and is being heavily lobbied in the rest.
http://www.nytimes.com/2001/05/22/technology/22MUSI.html analysis: "Vivendi Deal for MP3.com Highlights Trend" "The upshot, industry analysts say, is that the five major record companies could wind up actually consolidating their power in an Internet age that some analysts thought would shake the labels to their core." We mentioned this before; the major music companies now seem to be on the verge of tightening their stranglehold on the distribution of music. ---------- http://www.latimes.com/business/20010521/t000042593.html "Net Music Services in Royal Bind" Best summary I've seen of the controversy between the music publishers and the online music business. In today's world, music publishers get a "performance" royalty when a song is broadcast on the radio, or else they get a "reproduction" royalty when a physical disc or tape is sold. On the net, these neat categories get blurred, and according to this article the music publishers feel they should get both performance and reproduction royalties for music downloads.
Another story about how the big labels now own most of the online
music cards:
http://www.businessweek.com/bwdaily/dnflash/may2001/nf20010522_934.htm
quote: "As the dust settles on the online-music landscape, there appears
to be little left that the big labels haven't bought -- or broken.
Napster traffic is plummeting as the court-mandated filtering
systems have made it significantly harder to find
music that consumers want. Among the top-10 music sites only two
don't belong to the big labels, according to traffic measurements
by online-research firm Jupiter Media Metrix."
And according to the article, only one of those two is a true independent,
launch.com; the other unnamed site is owned by a unnamed large corporation.
Here's a very interesting review of what looks to be a very interesting book: DIGITAL COPYRIGHT, by Jessica Litman. http://slashdot.org/books/01/03/28/0121209.shtml
News item from everywhere: the RIAA has sued Aimster, the encrypted file exchange system built on top of AOL Instant Message. Aimster has also lost a contest for their domain name; AOL claims "aimster" is a trademark infringement.
From what I've read, Aimster has nothing to do with AOL Instant Messenger, but rather is named after its creator's daughter. That people (including me, before I read an article about it a week or two ago) are confused by the name and think it has something do with AIM is pretty much the legal test for trademark infringement, if I understand trademark law correctly.
Wasn't AIM a single-board computer kit related to the KIM?
Yes. I used to actually used to have an AIM-65. I even had the BASIC interpreter in ROM.
Two items today from http://www.sfgate.com , the website of the
San Francisco Chronicle:
http://sfgate.com/cgi-bin/article.cgi?f=/news/archive/2001/06/05/financial1
539EDT0235.DTL
(sorry about the wrapped URL) is an AP story reporting that Napster is
close to concluding licensing deals with the major labels in the
MusicNet coalition, which are AOL Time Warner, Bertelsmann & EMI.
There are caveats that the labels are still not satisfied with Napster's
protections against copyright infringements.
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2001/06/05/BU111061.DTL
"Battle over digital music moves to recordable CD drives."
EMI has acquired a partial stake in Roxio. Roxio, the maker of the
software program Easy CD Creator, was recently spun off from Adaptec.
"EMI Music, one of the big five record labels, plans to announce
a deal with Roxio Inc. of Milpitas today to develop technology designed
to control the burning ((of CDs by consumers)). Roxio makes CD-burning
software that is shipped with about 70 percent of the estimated 100
million recordable CD units in the marketplace.
"How that technology will work or exactly what it
will do is unclear, although executives at the two companies
said one example might be to program CD burners to prohibit
copying of a song unless the user pays a fee."
An executive of Roxio says the interest is not in controlling what is
done today with CDs, but what will be done in the future with downloaded
music files.
Analysts suggest that consumers will not put up with restrictions on
what they can do with their CD burners, or with downloaded files they have
paid for.
How lucky that we have analysts to tell us that.. :-p
Here's a more detailed article about the EMI/Roxio proposal to put controls into CD burning software: http://www.siliconvalley.com/docs/news/depth/roxio060501.htm Emi's idea is that the consumer would buy a license to burn the downloaded music file; they think one in four CD sales could be done this way in five years. They say they view this as a new channel for sales. And here are two articles on the shape of the new for-pay Napster service: http://www.inside.com/jcs/Story?article_id=32416&pod_id=13 http://www.wired.com/news/mp3/0,1285,44322,00.html The inside.com article, by Charles C. Mann, is better, but unless Salon picks it up, the link will be broken in a day or three. Napster is going to charge for one level of access for downloading music from independent labels, and for another level of access to get to music from their three major-label partners in the RealNet alliance. The publishers are still a huge stumbling block in Napster's path towards a July re-launch as a centralized downloading service; the technical challenges are also seen as formidable, since no one has ever attempted to stream as much music as Napster is expected to dish out from a few central servers. The description of how the two-tier Napster will work -- with two separate pieces of user software, initially -- sound like another flop in the making.
A Cnet story about how ISP's are being pressured into helping copyright holders hunt down their customers: http://news.cnet.com/news/0-1005-200-6221068.html?tag=st.mu.1652424.ncnet.1 005-200-6221068 ISPs argue that the DMCA covers having the ISP remove infringing material from the ISP's machines, but it does not cover terminating customers who are infringing copyrights from their own machines. The ISPs are worried that they will be found liable for their customers' copyright infringements by courts in Europe; ISPs are generally protected from such liability by US law.
That's like prosecuting telcos for their customers' harassing phone calls.
Telcos have clear protection in the law due to their status as "common carriers," who are obligated to carry the traffic of all comers. ISPs have not generally been recognized as "common carriers" since by Internet custom there are some activities of their users which they are expected to police, such as vandalism of other systems and sending lots of spam e-mail. ISPs had considerable & realistic liability worries until the DMCA granted them protection in the early 1990s. However, the protections of the DMCA cover American courts only, and many jurisdictions are now interested in extending extraterritoriality in Internet cases. My understanding of the trend in Europe is that European courts have been much more willing to bring ISPs into cases; at a minimum there are the two cases where Germany prosecuted CompuServe for transmitting pornography, and where France has pursued action against Yahoo over American-based sales of Nazi memorabilia. So if I ran a Napster clone on my PC and offered up copies of material of European origin, or offered them so they could be downloaded in Europe, the European rights holder would want to take action against my American ISP in European courts. (I'm tired and babbling...)
What jurisdiction would an EU court have over an American ISP? Even the French Nazi/Yahoo Auction thing is being reviewed because of jurisdictional concerns.
Another summary article on recent developments with the big record companies seizing control: http://www.economist.com/business/displayStory.cfm?Story_ID=656204 Note that the Universal/Sony "Duet" vaporware online service has now been renamed "pressplay." Quote on how the legitimate download systems may still produce a substantial revenue squeeze for the labels: "Even at $20-$30 a month, for unlimited downloads, the record companies could expect a steep drop in revenues per track: consumers in America now pay over $1 per track on a CD album, which will often contain songs they would never choose to pay for."
As someone mentioned in party recently, Audiogalaxy is where it's at. Here's a Cnet article summarizing recent developments in the music file trading scene for those of us who are technological Luddites: http://news.cnet.com/news/0-1005-200-6282002.html?tag=tp_pr The quick summary: Napster may be fading away but new services are seeing explosive growth.
Yes, making it easy to download tracks probably causes people to download more of them. That's a deceptive measurement, though, since it's the initial production, not each downloaded copy, that costs the record companies significant amounts of money. It seems to me that the real question in terms of whether the record companies would gain or lose revenue from a $30 per month unlimited subscription service is whether the typical customer of that service would otherwise be spending $30 per month on CDs.
Eric in resp:138, on international jurisdiction over American ISPs: http://www.zdnet.com/zdnn/stories/news/0,4586,5093109,00.html?chkpt=zdnn_tp_ This ZDnet story is about The Hague Convention on Jurisdiction and Foreign Judgements, a proposed treaty. "'In a nutshell, it will strangle the Internet with a suffocating blanket of overlapping jurisdictional claims, expose every Web page publisher to liabilities for libel, defamation and other speech offenses from virtually any country, (and) effectively strip Internet service providers of protections from litigation over the content they carry," Jamie Love, director of Ralph Nader's Consumer Project on Technology (CPT), wrote in a report after the meeting." ... "The Hague treaty differs... it is much broader, requiring participants to agree to enforce each others' laws on a variety of topics. As it stands, the treaty would require courts to enforce the commercial laws of the convention's 52 member nations, even if they prohibit actions that are legal under local laws." "Delegates did not soften speech laws to provide for countries that value the exchange of information. In addition, they strengthened some intellectual property provisions--over the objections of consumer groups. "'The bottom line is that it didn't go well,' said Barry Steinhardt, associate director of the American Civil Liberties Union... He said that although American delegates listened to free-speech worries, most others did not. "CPT's Love agreed. "We got our ass kicked," he said. 'It was a bad two weeks for us.' "Free-speech advocates fear US citizens could lose many of their rights if all web sites have to ensure they are following the narrowest laws, such as those of, say, China or Morocco."
I have a suspicion there are a lot of communists in China.
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