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Is Copyright Only For the Big Guys?

Over the last two weeks, two interesting copyright-related stories have appeared in online news reports. Both involve big media companies and small users, but not in the way we usually expect. In both instances, the large media companies “pirated” content instead of the users, and they seem to get away with it. This begs the question; is copyright only for the Big Guys?

When it comes to copyright, we’re constantly hearing how the big companies are spending untold amounts of money to ‘create’ content, only for it to be ‘stolen’ by people downloading it. Less often we hear of the reverse; big companies infringing the copyright of regular people. But it’s more common than you might think.

Let’s take a look at two of these stories that surfaced recently, starting with the BBC.

When the BBC reported on the riots in London, it frequently used pictures that were shared by Twitter users witnessing the events. This wouldn’t be that bad as the BBC would at least credit the people who took the pictures. Yet, in its reporting, the BBC completely failed to attribute any of the images it used, instead attributing them to Twitter.

When a complaint was made, the first response back included the following outrageous statement:

I understand you were unhappy that pictures from Twitter are used on BBC programmes as you feel it may be a breach of copyright. Twitter is a social network platform which is available to most people who have a computer and therefore any content on it is not subject to the same copyright laws as it is already in the public domain.  The BBC is aware of copyright issues and is careful to abide by these laws. (emphasis added)

Everyone reading this knows that to be untrue and the BBC did too, as Chris Hamilton (BBC News Social Media Editor) later admitted.

It’s not the position of BBC News, he said, adding that that the BBC tries to clear photos before using them but if there are time constraints that may not be possible. Unfortunately, UK law doesn’t allow fair dealing exceptions for this at present. So time constraints or not, it’s still a copyright violation.

And the BBC is not the only major news outfit to bend the copyright rules this month, the Daily Mail has been at it as well. This time, though, they probably picked the worst target possible, the wife of OpenRightsGroup founder and noted blogger Cory Doctorow.

In reporting on a story about Gap and their anorexic lines of jeans, the Daily Mail contacted Doctorow’s wife, Alice Taylor, asking for permission to use her work. She then offered the photos in exchange for £250 to a charity of her choice but the Mail declined this offer as ‘too expensive’.

Instead of buying it The Mail simply lifted the picture from the Washington Post, to whom Taylor had licensed it for use on their own site.

Only after numerous emails and an outraged crowd of commenters the newspaper promised to send a £1000 donation to the OpenRightsGroup and another £1000 to a charity dealing with eating disorders. We’ll wait to see if that happens.

This isn’t an isolated incident though. The net is awash with cases of the Daily Mail infringing copyright, and one photo agency is even suing them for more than £1M in damages.

The Digital Economy Act could have made a big difference here. Under the Act, after a certain number of accusations a website could have been taken offline. Thankfully, that’s now been taken out of consideration, but how much of that was down to judicial proportionality and feasibility, and how much was down to pressure from groups like the BBC and the Daily Mail (who belatedly realised that a major aspect of their business could be quite easily curtailed by the legislation) remains unclear.

The BBC is certainly no innocent in this, as it repeatedly pushed for strong punishments for copyright violators, even noting in some consultations that even more needs to be done than is being proposed. And who can forget the piece on a prime time BBC show, where they ‘reported‘ on a study, that we had poked major holes in weeks earlier, and yet had only ‘Industry’ participants. A complaint to the BBC had the response that it was “balanced”.

The issue is that few individuals can afford to pay for lawyers to file a copyright lawsuit, especially against large media companies such as the BBC. In effect, current copyright law is a tool for the rich allowing major companies to infringe frequently for commercial gain, yet face little sanction.

It would seem that in the end, we’re left with one question. Is copyright just for the Big Guys?

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  • 227sretf

    anyone who read the daily mail and believes that is has news stories is a brain dead right wing moron anyway, so they wold not understand copyright from copywrong.

    • Anonymous

      In Australia, most of our MSM and 100% of our cable TV is controlled by News Corp, who are also Fox, who are also the lobby group AFACT (who get personal invites to meet with the Federal Attorney General).

      It’s just one giant corrupt group the average citizen can never hope to take on, with tentacles everywhere. Our Prime Ministers have to meet with Rupert to get his approval once they are elected.

      It’s not a democratic system and the laws it produces remove more privacy rights and impose harsher penalties for file sharing with increasing regularity, always passed straight through the parliament by the two dominant parties with little to no debate.

      What do you do to fight that? Get a VPN? Or something a little more drastic?

      • http://pulse.yahoo.com/_OK7Y7PCSTJ27RCKZ2MGRSAYCTE NEIL

        Thanks to today’s Anonymous – there are so many I can’t tell who is who.

        We have the same situation here in New Zealand – politicians at the mercy of the media giants. Not only that but most of the secretarial staff of the politicians are from the same media stable.

        • Anonymous

          “Not only that but most of the secretarial staff of the politicians are from the same media stable.”

          The invisible movement of media staff into ministers’ offices.

          Ask yaself this – once they work for a politician, why are they always quoted as spokesmen and spokeswomen, instead of the names they were once so proud to wear as a byline?

        • Anonymous

          i cant believe this!! me and my sister just got two i-pads for $42.77 each and a $50 amazon card for $9. the stores want to keep this a secret and they dont tell you.
          go here, EgoWìn.com

        • Anonymous

          … i cant believe this!! me and my sister just got two i-pads for $42.77 each and a $50 amazon card for $9. the stores want to keep this a secret and they dont tell you.
          go here, EgoWin .com

      • Anonymous

        i cant believe this!! me and my sister just got two i-pads for $42.77 each and a $50 amazon card for $9. the stores want to keep this a secret and they dont tell you.
        go here, EgoWìn.com

      • Anonymous

        i cant believe this!! me and my sister just got two i-pads for $42.77 each and a $50 amazon card for $9. the stores want to keep this a secret and they dont tell you.
        go here, EgoWìn.com

        • I am Spock

          FLAGGED……….go sell your bullshit somewhere else!!!!

      • Anonymous

        i cant believe this!! me and my sister just got two i-pads for $42.77 each and a $50 amazon card for $9. the stores want to keep this a secret and they dont tell you.
        go here, EgoWìn.com

      • Anonymous

        i cant believe this!! me and my sister just got two i-pads for $42.77 each and a $50 amazon card for $9. the stores want to keep this a secret and they dont tell you.
        go here, EgoWìn.com

  • Anon

    It would seem that in the end, we’re left with one question. Is copyright just for the Big Guys?

    That’s up there with questions like “Is water wet?”, or “Is the sky blue?”.

    • Trolololol

      Strictly speaking the “sky” isn’t blue *all the time*, so maybe the “colour” of the copyright “sky” will change. One can only hope it’s not for the worse.

      • http://pulse.yahoo.com/_OK7Y7PCSTJ27RCKZ2MGRSAYCTE NEIL

        Sounds like the words from a certain Pink Floyd song coming…..”There is no dark side of the moon really – matter of fact it is all dark……etc. “

      • anon2

        The sky is not blue, we simply perceive it that way, it is actually purple. Our eyes cannot calculate that spectrum of light, so it chooses the next bet thing: blue.

        • Detlef

          Wow fancypants,

          and what is “purple” named after, if we can’t “calculate that spectrum”?

          Do you have any idea at all how color perception works and how the “color of the sky” comes into being?

        • IDIOCRACY

          And my car is not red, we simply perceive it that way…. duh it is actually no color at all, just some molecules in the paint that reflect red light, so if you are in a parking garage with only green light, the car is black hehe

        • IDIOCRACY

          And my car is not red, we simply perceive it that way…. duh it is actually no color at all, just some molecules in the paint that reflect red light, so if you are in a parking garage with only green light, the car is black hehe

        • IDIOCRACY

          And my car is not red, we simply perceive it that way…. duh it is actually no color at all, just some molecules in the paint that reflect red light, so if you are in a parking garage with only green light, the car is black hehe

        • IDIOCRACY

          And my car is not red, we simply perceive it that way…. duh it is actually no color at all, just some molecules in the paint that reflect red light, so if you are in a parking garage with only green light, the car is black hehe

        • Anonymoose

          He probably meant to say ultraviolet. Now I’m off to research whether that is true. Neato if it is. ;)

        • Anonymoose

          Turns out it’s not true, but it is true is that our eyes are less sensitive to violet light than blue. Makes sense. Does that mean our eyes are more sensitive to orange than red (which dips down to infrared)? Hmmm…

        • Detlef

          @anonymoose
          “Does that mean our eyes are more sensitive to orange than red …”

          To my knowledge humans (and primates in general) are most sensitive in the green light range .. which makes sense if you live in green forest areas and also happens to be the portion of the spectrum that reaches earth’s surface with the highest intensity. Aside from the visible spectrum range, the atmosphere increasingly cut’s off the neighboring infrared and (far) UV ranges due to absorption.
          Primates like humans are mostly trichromates (have light sensitive receptors for three different wavelength ranges) and originate from the mostly dichromatic mammals whose common ancestors probably lost most of their color vision capabilities because they were earth-dwelling night-active niche beings during the millions of years of dinosaur reign … Most other animals that didn’t share that fate (Birds, reptiles, insects) are tetrachromates and even can see in the ultraviolett spectrum range with an dedicated UV receptor.

  • Asdf

    Yes, in practise, it is.

  • http://pulse.yahoo.com/_IZ5BM5GNLA54OADSWGSXAMA7SY Jay

    Name any Jamendo artist that believes the older system of going through a label worked for them. Go ahead, I’ll wait.

    • Tom

      Name any Jamendo artist who doesn’t suck.

      • http://pulse.yahoo.com/_IZ5BM5GNLA54OADSWGSXAMA7SY Jay

        Kendra Springer

        Brad Sucks

        KaOS

        But I guess unless it’s mainstream it doesn’t get heard on the internets.

  • An Unwashed Heathen

    Not surprisingly, the loudest bitchers about copyright infringement, RIAA/MPAA, shamelessly pirate from each other and from the little guy all the time.

    Hypocrisy much?

    • An Unwashed Heathen

      Oh yeah, software companies, MS especially, shamelessly pirate too.

      • Unicorn

        How so?

        • Me

          If you want specifics, there was one a while ago where one if there devs used cracked by loki audio software to edit some of the singles audio files, the evidence is there in the properties of files on your local windows box. Our how about windows defender, name originally in use by an independent developer, MS sued, even though they gave no clear rights to the term windows.
          Less specific are the countless patent infringements between them and apple, unix etc.

        • Zzzz

          Which cave on Mars have you been hiding in the last 2 decades?

        • http://goo.gl/bFts Needlez

          Microsoft once copyrighted something from GNU and got sued for it and lost. It had to do with virtual environments. Can’t remember the name of it, but ill look it up on my spare time maybe and get back to you.

        • An Unwashed Heathen

          Seek out and watch the movie “Pirates of Silicon Valley”.
          Google for “Microsoft steals innovation”.

          Then, Grasshopper, you may become wise. :)

      • Unicorn

        How so?

      • Scary Devil Monastery

        It isn’t called “pirating” if you ripped the software off off from a small competitor while grinding said competitor into the dust with protracted legal action and leveraged “competition”.

  • Anonymous

    There needs to be a law about this…Big Corps can’t just get away with it.

    • Skyler Daché

      No, we do NOT need more laws! We need voluntary solutions and peaceful cooperation.

      Besides, there already ARE laws about this, almost every copyright statute applies equally to individuals and corporations. The laws aren’t working. And frankly, I think what we really need is to rethink copyright and intellectual property/monopoly itself.

      • rchoppin

        We have to redefine how social organisms are regulated vis a vie the individual; social organisms should explicitly be denied the rights and privileges of individuals. Else their disproportionate size and wealth will and do produce tyranny.

    • Kropotkin

      A law for the rich, a law for the poor.
      It won’t solve a thing.

    • Kropotkin

      A law for the rich, a law for the poor.
      It won’t solve a thing.

      • Him

        it’s always been that way and will never change! whatever the general public are told, is just a load of BS. we are only ever wanted when someone needs our vote. we are expected to pay through the nose for everything, whether it is taxes or purchases!

    • Perry

      One law for rich and poor.That they not sleep under bridges and steal bread.

      This inequality is not new. If you want to beat the big guns, you will either have to aquire a lot of money, of band together with a lot of other people (i.e. class action suit) to get you right(s).
      Oh, an other alternative is revolution of course.

    • Bob

      we do.

      it’s called copyright.

      • Scary Devil Monastery

        Ah, the law/ruleset which in effect works for big people ripping of small people but which got sold under the idea that it should work the other way around?

        That “copyright”?

    • Tosser

      Look up Orphan Works legislation – a perfect example of big guys making laws for themselves.

      An Orphan Work is one that ‘cannot’ be attributed. Basically – so they can use and profit from anything they find on the internet by passing a signed form and a *small* pile of dollars to their lawyer. Then it’s up to the infringed artist/creator to find out they’ve been ripped off, and get the payment their due – after the fact.

      The same people lobbying for Orphan Works are the same people who lobby against Piracy – strange, no?

  • http://digitalproductions.co.uk Crosbie Fitch

    Why are we still arguing the merits of an 18th century privilege?

    Anyone who has been born in this age of information and instantaneous diffusion should recognise copyright to be an unethical anachronism.

    Abolish copyright.

    It’s the only way to be sure.

    More info if you’re into Questioning Copyright.

    • Momo

      I thought nuking it from orbit was the only way to be sure.

    • http://www.facebook.com/mwonch Michael Wonch

      Obviously written by someone who doesn’t create. Look, man – copyright is specifically for THESE cases (to prevent the big guys from stealing from the little guys). Period.

      I’d be interested to know what “ethical” guidelines you’d suggest as a replacement. Got any ideas how I can keep the big corporations or well-known artists from stealing MY work? What remedies do I have other than the copyright laws?

      Come on, gimme some suggestions.

    • http://www.facebook.com/mwonch Michael Wonch

      Obviously written by someone who doesn’t create. Look, man – copyright is specifically for THESE cases (to prevent the big guys from stealing from the little guys). Period.

      I’d be interested to know what “ethical” guidelines you’d suggest as a replacement. Got any ideas how I can keep the big corporations or well-known artists from stealing MY work? What remedies do I have other than the copyright laws?

      Come on, gimme some suggestions.

      • Momo

        With a Kickstarter-style business model, where you are compensated before or while your art is made rather than after, it won’t make much difference to you who copies the work when it’s released or for what purpose.

        Actually, if you’ve already been compensated, all subsequent copying of the work is free advertising for your next work and will draw attention and money to you.

        Moreover, and most importantly, even if the work has no copyright protection, it doesn’t make sense for the public to go buy it from a corporation, since it’s already available for free online!

        Just an idea. I’m not saying this specific business model will work; my main point is this: you need to abandon the copyright mindset and think about completely different business models if you want to find something innovative that works.

        • http://www.facebook.com/mwonch Michael Wonch

          That’s a nice, Utopian view, but I am not attached to a corporation (and never will be without full creative control). Kickstarter is a way to fund the beginning or continuance of a project. It has nothing to do with the business itself. IN fact, the site states quite clearly their funding services are NOT for businesses. Are you seriously suggesting that I should take $10,000 to complete a project and then just give the work away afterward? Why? Tell me why…

          Can you also clue me into how your Utopian mindset factors in advertising and distribution for independents? Ya see, we indies have no way to advertise and promote without spending money letting people know we’re out there. Or…do you expect art to go local again?

          The first 1.5 sentences of you last paragraph are poignant: “Just an idea. I’m not saying this specific business model will work…” No shit! We’re already seeing the results of a world run on IDEAS rather than Reality. The rest of that paragraph is as utterly trashy as your previous. Fact is, man, if you want a new business model so badly, why not come up with one, TEST IT, and – if successful – bring it to artists you know. If ti works, it’ll spread. But, geez – you can;t run even a part time business selling creations on the mere IDEA of a new way. It has to actually work, or there’s no point.

          No offense, but it’s these kinds of “ideas” that end up destroying culture and civilization. You can’t run a society or business from merely theories.

        • http://digitalproductions.co.uk Crosbie Fitch

          Michael, if you’ve been paid $10,000 to produce and publish a work of art, then that’s the equitable exchange you’ve agreed to. You could always invite people to pay you $10,000 in exchange for a warm feeling that they’ve enabled you to produce something you want to keep to yourself – you might have to wait some considerable time for such people.

          As for demonstrating such business models that involve fans exchanging money contingent upon the artist publishing their work, I’m waiting for funding to resume work on the Contingency Market.com and a demo 1p2U.com. Trouble is, no-one thinks it’s worth funding such things until they’ve seen them working, i.e. a bit of a catch 22 situation.

        • Momo

          Gee dude, you asked for an idea and then you complain that I haven’t tested the idea. It’s an idea, you muppet. Sounds like you just wanted something to disagree with! If you really cared about an answer, you wouldn’t be dismissing the idea off-hand, you’d be looking for ways to make it work.

          As for utopian views, what is copyright if not somebody’s utopian, quasi-socialist solution for supporting creativity, that eventually got twisted and distorted into something horrible and destructive?

          And all that having been said, I’m not necessarily against all copyright. I’m against copyright infringing personal freedoms, meaning I don’t mind at all if you can use the law to keep the corporations in check, but I do mind if you want to use copyright as a sledgehammer to censor the internet and introduce widespread internet surveillance. If supporting creators means everyone needs to lose their freedoms, then we’ll need to live with fewer creators.

        • http://www.facebook.com/mwonch Michael Wonch

          Crosbie, I haven’t been paid. I was using that as an example. I did run a Kickstarter project ad but quickly realized I would also have to spend the time trolling those I know to spread the word. I would then have to let people I DON’T know about the project. That means printing cards and fliers…and then passing them out. You know…OLD SCHOOL! I was unprepared, but I’ll do it again in a month or so (when I AM prepared to foot the – wait for it – COSTS involved in letting people know (including the fuel used in face to face meets with old friends and business associates. And this is all BEFORE I receive actual funding. So, I begin at a loss without a guarantee to recoup.

          The next one will succeed. That isn’t a hope, it’s a fact. However, it’ll cost to get there AND it’ll only fund the completion of the project. These funds will not go into my pocket, so I will NOT be paid. In order to complete and prepare the project for distribution (which is also NOT funded through the KS campaign), all of the money would go toward the project. It will not pay my bills, feed me, pay child support, or fund the my meager lifestyle in the slightest.

          Again, I WILL NOT BE PAID. I get paid from the end result: if people like my finished project enough to buy it and NOT return it. Why is this so hard for you to grasp? It’s Business 101 (ie, LOGICAL).

          On another, more personal note – good luck with your funding. I really hope you succeed. I like the Contingency Market idea. That’s the one I think you should focus on…my opinion, of course. :)

        • Anonymous

          @Michael Wonch

          I Googled your name, tried +book, tried +writer, typed it into Amazon, and couldn’t find a single piece of writing anywhere with your name on it. Point me to some of your writing if you have any.

          And if you don’t have any, then you’re quite the hypocrite for nagging Momo about not testing his idea; you haven’t tested yours either.

          Good writers sell a ton regardless, but what you are complaining about is how much money it takes to make any writer money. I don’t subscribe to the idea that because you create some art in a given medium, you are immediately entitled to rake in boatloads of cash.

          There are books that have lasted centuries and are still being printed and circulated. Those writers relied on creativity and the love of writing, not a bunch of cash and a team of proof-readers.

        • http://www.facebook.com/mwonch Michael Wonch

          @Crosbie – I agree with you that copyright has been used more as a stick than a carrot; then again, this happens with every law. I would also agree that the laws regarding copyright (perhaps even patents) should be re-written to reflect the vastly different distribution landscape.

          However, I must disagree that it’s the artists that need to change. Corporate command of copyrights was never the real intent. Laws governing corporate uses need to change, not the artists themselves. Fact is, corporations have always had one thing over independents: distribution networks. That’s beginning to change, too… Amazon has it right. They reverse the formula; the artist gets the lion’s share of each sale where they (Amazon) takes a small piece. THAT is the revolutionary thinking (put into proved action) which is being actively opposed by traditional companies.

          @Momo – again, written like someone who has no clue. I write under a pseudonym. The fact that you Googled me is creepy, frankly. I mean, WTF? I have nothing to do with you, your family or your business. Kinda has me wondering about your mental health. Still…

          I tell you what, kid. If you like Crosbie’s theory so much, why not test it yourself? Game for that, are ya? I doubt it, because – guess what? – it’ll cost money. Can YOU afford it? I doubt that, too, Mr. Hides-Behind-A-Nickname, since you spend time Googling people you don’t even know.

          I also find it odd that you call the copyright laws Utopian and quasi-socialist. Nothing is farther from the truth. The attempts at controlling information using those laws is the exact opposite.

          As far as my wiritings go, I have one out. Just one. Why? Because without sponsorship or funding, I have to PREPARE to do everything myself. What does this mean? Let’s see… I have to learn how to create and properly edit a professional video to make the KS campaign attractive. THEN, I have to do the same, somehow, with a promotional video for when the project is complete. This is DURING having to increase my editing skills to professional level and AFTER I learned all I needed to know to use InDesign and other software to reformat said writing into downloadable form (add in Adobe’s Acrobat, too). This all has, so far, taken me 5 years…and I haven’t learned enough yet. Why? Well…dude…I have to support myself. Ya see, I don’t live with my parents. As such, I have a job. Sometimes two. And, that’s just for starters. So far, I have had ZERO assistance with my start-up and production costs.

          Skip forward a year or two, and say the book’s ready for release. What then, smart guy? Even if it’s the best book out there, no one will read it if they don’t know about it. Duh…

          Are you getting the point yet?

          Like you, I’m not against copyright and not against file-sharing. I’m not bitching about those who share without supporting said artists. That’s always been the case,f rankly, so I accept that WITHOUT taking it as a loss. My point here is that you need to understand that there are costs related to ANY project well before you ever hear of it. To allow for future projects and those who may want to help bring them about, one must at least break even in the long run. Otherwise, it’s just not worth utilizing natural talent.

          I’m also not looking for boatloads of cash. I’m more realistic than that. What I won’t do, however, is begin releasing novels after spending time, energy, and money, only to have them sit unread because I have no way to distribute without spending more money. After recouping the financial expenditures, it;d be really nice to have a small side income (at least for a little while). Unlike musicians, writers can’t just go out and make money performing their works. That would require a script and a stage, film or not. Maybe I should do that for free, too… *rolls eyes*

          I have no idea how you can possibly connect my opinions and views with the idiocy going on. How is MY view even close to that? Is it because I disagree with your over-aged spoiled brat, still-living-in-mom’s-house attitude? or maybe you’re just arrogant enough to berate those who actually create something over not yet publishing their main works yet?

          I’ll make you a deal, kid. If you can find me a free, QUALITY way to get all I need done so that I can just focus on what I do best, then I’ll start giving public credence and respect to your misguided, non-artist viewpoints. Are you up for that challenge?

          Didn’t think so…

      • StevO

        Beating up momo? Really dude, everything you say sounds just like everyone who has ANY self owned business. You complain that you may need to edit with software and the learning time it takes. Join the rest of the crowd.
        Theres always expenses. With most businesses, only instead of editors its equipment, office management, laborors, etc. Its always a risk and most businesses are in the red for awhile, if not always. That would be the way they know if they are successful or not. Then those businesses close if they are not.
        Your work is just backwards is all. You want to do all the work first, then reap the benifits if it sells. You have no gauge at any point if your doing the right thing or if your in the “red”.
        But at any rate, everyone is at risk and mostly invested into their business, such as yourself. All the money you spend are simply expenses.
        I wish you luck but dont expect a lot of sympathy because your a writer, you just in the same boat as EVERYONE else, only you chose a harder path, but thats your choice.

        • http://www.facebook.com/mwonch Michael Wonch

          I’m not actually complaining, StevO. I’m well aware of the risks involved and fully accepting of them. I’m just trying to point out to Momo that businesses must be run on what works and cannot be run on mere theory. Just because someone thinks a thing doesn’t necessarily mean it will work. While I agree that the business models must be changed and are changing, it’s hard to take someone just mouthing off when they really have nothing more than opinion to contribute. I also have zero tolerance toward those who want to be heard but have no desire to hear an opposing view (or just a different one).

          I’ve learned a lot this past half decade, and I can eventually turn it around to help others do the same (yes, for money). Future projects will go faster, too. I just don;t like it when kids like Momo just can’t fathom that there are those who want to see profit (even a little) from their hard work. The very idea that artists of any kind should only be paid a minimum is ludicrous. When Momo creates something or starts a business and learns real world economics and what it really takes to succeed, I’ll listen to the theories without ripping them apart.

          Aside from all this gibberish that has nothing to do with the subject at hand…I’ll rejoined the crowd by stating I hope the big corporations misusing the copyright laws go down in flames. THEY – not file sharers – are the reason things are so F’ed up.

        • Momo

          I’m not a “kid”, I’m a self-employed software engineer. By copyright standards, I write literary works just like you do (go figure)!

          SHOCKING, ISN’T IT?? Mr Wonch isn’t the only one who has to deal with everyday reality and has to work for a living!! How is that possible? And, you know, he even has to learn new skills to survive… Unthinkable!

          Basically, get off your high horse Mr Wonch. You need to be a few years older to call me a “kid”.

      • Anonymous

        A few suggestions like 100x MORE legal aid for when you have to sue the big corps, and a new law making it a CRIMINAL OFFENSE WORTHY OF JAILTIME for the big corps who drag out these legal cases ’til you run out of money to fund them.. that would be a good start.

      • Guest

        This may be the world’s way of saying that creating content is more of a hobby than an actual full time job, for those who are so truly passionate about their work that they are willing to give up their free time to work on it.

        I’d like to be a game programmer, but I think the world is already supporting far too many game programmers at the moment.

      • Scary Devil Monastery

        You can’t.

        Sorry but here’s the facts. Without copyright you have to try to use your product in order to outcompete the big buys with better flexibility and a smarter market model which they can’t match.

        With copyright they steal your idea then beat you in court so you more or less can’t even use it yourself. And that’s what will happen unless you are as hot a legal eagle as you are a creator/inventor. Odds are if a creation can make a million bucks for a big company then you’ll have to match the half million of legal fees they are willing to spend in order to win that day in court.

        Or you accept a “settlement” purchase, where you accept a pittance to sell your creation permanently for a tenth of what it’s really worth.

        Copyright will never work for the small guy. ever. Not as long as the cost of going to court scales the way it does.

      • Scary Devil Monastery

        And if you were talking literature creation, try googling Paulo Coelho – and tell me this man does not do well out of piracy without copyright.

  • http://pulse.yahoo.com/_IZ5BM5GNLA54OADSWGSXAMA7SY Jay

    Just a side note, how do you make links and bold or italicize?

    Is it the same as html?

    • Momo

      Same as html. I know because I abuse those features. ;)

  • Anonymous

    The Daily Fail again…
    I would recommend the BBC to just credit the username posting it on Twitter…

    • http://torrentfreak.com/ Rob8urcakes

      The Beeb are among the biggest of bunch of Copyright Clinchers on the planet.

      Whenever someone sends their photos to BBC News, or writes an email to a BBC show or comments on a BBC website, etc their “rules” state that all non-copyright material you’ve submitted immediately belongs to them and they can use it as they wish.

      Pretty sneaky of them huh?

      “5.2 If you submit your contribution to the BBC you must allow the BBC to use the material in your contribution in any way it may reasonably choose on a free-of-charge basis in any media throughout the world. Any contributions you make may be moderated by the BBC which means they may be reviewed, edited and/or removed. The BBC reserves the right to remove any of your contributions if the BBC believes that they do not comply with the Terms.”

      See some other evil Terms of Use
      http://www.bbc.co.uk/terms/personal.shtml#5

  • Foff

    Reporters and Newspapers are basically lazy sh@ts now. They only regurgitate whatever comes over the wire or what they find on the internet like anyone else. Here is the problem: With so many cameras around when something happens johnny on the spot will snap a photo with his/her cell phone. By the time media arrives all the excitement is over. So what can they do? This is why copyright needs to be changed. It would take way too much time to track down and establish who took a picture that was published on the net.

    Abolish copyright for casual photos that are published. Restrict copyright for all other forms of expression to about 5 years. This would eliminate all artificial monopolies. Almost no creative works make significant money after 5 years and it would allow others to build on that creativity while it is still somewhat relevant.

    • That Guy

      so true

    • Tom

      “Abolish copyright for casual photos that are published. Restrict copyright for all other forms of expression to about 5 years. ”

      Yeah, because collectivisation worked so well last time. Go ask a Chinese or Russian peasant.

      Strengthen individual creators rights.

  • Foff

    Reporters and Newspapers are basically lazy sh@ts now. They only regurgitate whatever comes over the wire or what they find on the internet like anyone else. Here is the problem: With so many cameras around when something happens johnny on the spot will snap a photo with his/her cell phone. By the time media arrives all the excitement is over. So what can they do? This is why copyright needs to be changed. It would take way too much time to track down and establish who took a picture that was published on the net.

    Abolish copyright for casual photos that are published. Restrict copyright for all other forms of expression to about 5 years. This would eliminate all artificial monopolies. Almost no creative works make significant money after 5 years and it would allow others to build on that creativity while it is still somewhat relevant.

  • You

    Genuine question – do you know of any Jamendo artists who’ve been on a label who are in a position to make such a statement?

  • You

    Genuine question – do you know of any Jamendo artists who’ve been on a label who are in a position to make such a statement?

    • http://pulse.yahoo.com/_IZ5BM5GNLA54OADSWGSXAMA7SY Jay

      Depends. I could bring up Dmusic.com (leflaw is a lawyer), Magnatune.com (still going strong with their 50/50 split on licensing, or a number of other platforms used by artists that use CC licensing and no copyright enforcement.

      The statement I made was more an attack on how effective copyright helps artists instead of “copyright holders”, who are not synonymous.

      • You

        That’s a “No” then.

        The statement I made was more an attack on how effective copyright helps artists instead of “copyright holders”, who are not synonymous.

        Actually the “statement” you made – which you have subsequently acknowledged you cannot corroborate – shows how little of the business models of Jamedo, Dmusic and magnatune you understand as far as copyright and licencing is concerned.

        The fact of the matter is that they are built – almost mutually and exclusively – on the models of major labels.

        The primary distinction between these services you advocate (aside from the CC nature of the recorded works) and record labels is that they do not risk or invest capital in the artists whereas labels do.

        That, in itself, is reason enough for a label to seek to protect its investment / copyright.

        If you were to take the time to read up on the copyright notices on any of the services you’ve named you’d see that, on balance, they are a worse deal for artists in the long term.

        That said, the reason why most artists flock to such sites is that they themselves have already acknowledged that they may not garner the interest of / investment from a label.

        It’s simple vanity economics – nothing more.

      • You

        So, the answer is still “no” you can’t name a single specific Jamendo artist who can attest to your original statement – thanks.

        Learn the fact that there is a very distinct difference between something being modelled on a major label business model and copyright splits, wheter notional or not.

        I know all I need to know abourt these services and that is that they, like major labels are “middlemen” – taking a cut without the financial risk / investment at the outset.

        I also know that people like Springsteen, Clinton Eminem et al got good legal advice (from some of the best attorneys in the business) before signing their deals with the publishing houses.

        More are finding individual success at smaller labels that invest more in the artist than the majors do. That’s a well known fact.

        Really? Help me out here…where are these “well known” facts available and documented in the public domain?

        • http://pulse.yahoo.com/_IZ5BM5GNLA54OADSWGSXAMA7SY Jay

          So, the answer is still “no” you can’t name a single specific Jamendo artist who can attest to your original statement – thanks.

          Strange Zero is one. Been doing it since 2005. Imogen Heap uses CC licensing and does it all her way. Wow, was that ever easy.

          Learn the fact that there is a very distinct difference between something being modelled on a major label business model and copyright splits, wheter notional or not.

          The answer to your question is above. You haven’t done your research. And you’ve yet to do anything but make an assertion that somehow being “modeled after a label” means they are doing the exact same thing as a major label.

          I know all I need to know abourt these services and that is that they, like major labels are “middlemen” – taking a cut without the financial risk / investment at the outset.

          So again, “You” move the goalposts to make a strawman argument about how they’re middlemen, when that wasn’t the point in the beginning. Here is the point:

          The idea of copyright, with a limited monopoly, is supposed to help the artist, not the middlemen. The good middlemen find ways to assist the artists and the public. They do not need to bankrupt the artist on a deal and find ways to make smarter business models that work for the artist

          No artist nor label are guaranteed a living. And since “You” have ignored the fact that all of the aforementioned big names have had problems with their labels wanting to use their rights for perpetuity, here’s a few more examples:

          Too much Joy
          Bill Nelson

          Quite frankly, if you’re saying that the new labels that are coming out, that embrace filesharing, torrenting and less copyright enforcement are trying to model after the big labels, who sued for $16M+ to get back $391K, then you’re insulting those bands and labels that want to forge a new path for themselves.

      • You

        Seriously Jay, you need to up your game and try to keep track of the lies / fantasies that you are posting.

        Strange Zero is one. Been doing it since 2005.

        Really Nowhere have they said that being on a label “worked for them” That was your original question – remember?

        Imogen Heap uses CC licensing and does it all her way. Wow, was that ever easy.

        Yes, it’s “easy” but it’s not relevant because I don’t believe that Imogen Heap is on Jamendo, which was the core of your initial question – remember? She is however signed to RCA Victor – a subsidiary of the Sony corporation which kind of blows your theory out of the water.

        The answer to your question is above.

        Quite obviously it’s not.

        You haven’t done your research.

        Kettle, meet pot. You’ve yet to prove anything you’ve stated as fact to be factually correct. In fact everything you posit as fact is easily dismissed as rubbish – see above.

        Additionally, take for example your earlier assertion about Dmusic being the first non RIAA / ASCAP affiliated publisher. Utter rubbish. CDbaby – to name but one – were well ahead of the game in that regard.

        And you’ve yet to do anything but make an assertion that somehow being “modeled after a label” means they are doing the exact same thing as a major label.

        Most adults with even a fundamental grasp of the english language know there is a difference in an assertion of something having been modelled on something and a statement that something is a direct copy (facsimile) of something. You, apparently, don’t.

        I know all I need to know abourt these services and that is that they, like major labels are “middlemen” – taking a cut without the financial risk / investment at the outset.

        So again, “You” move the goalposts to make a strawman argument about how they’re middlemen, when that wasn’t the point in the beginning.

        I didn’t “move the goalposts” or create “a strawman argument”. I pointed out the glaring anomaly which you – and only you – appear unable to see. Jamendo, Dmusic et al & their licencing “services” are mere conduits. They are “middlemen” taking a cut from vulnerable artistes with no discernable benefit (aside from vanity) to the artiste(s).

        As The Who said many years ago…”Meet the new boss, same as the old boss”.

        Here is the point:

        The idea of copyright, with a limited monopoly, is supposed to help the artist, not the middlemen. The good middlemen find ways to assist the artists and the public. They do not need to bankrupt the artist on a deal and find ways to make smarter business models that work for the artist

        You clearly have no sense of, knowledge of or factual experience of how copyright “works”. What you have described above is how you “think” it works in your utopian ideal.

        No artist nor label are guaranteed a living.

        Yes, people like you have seen to that. They would stand a far greater chance of making a living if people paid for acces to / use of their music and copyright holders were allowed to exploit their works within the letter of the law.

        And since “You” have ignored the fact that all of the aforementioned big names have had problems with their labels wanting to use their rights for perpetuity, here’s a few more examples:

        Too much Joy
        Bill Nelson

        I haven’t “ignored” it. In fact I pointed to where some of the fault for their predicament lay. You, conversely, are squealing hysterically because you think it somehow validates your position – it doesn’t.

        Quite frankly, if you’re saying that the new labels that are coming out, that embrace filesharing, torrenting and less copyright enforcement are trying to model after the big labels, who sued for $16M+ to get back $391K, then you’re insulting those bands and labels that want to forge a new path for themselves.

        I’m not saying that, I haven’t said that and I haven’t even alluded to that. This is, put simply, another one of your unsubstantiated “facts” that you’ve dreamed up.

        I’ll ask you again – where are these well documemented cases of artists who “are finding individual success at smaller labels that invest more in the artist than the majors do”?

        Where are these Jamendo artists who have been on a label and are qualified to substantiate your earlier assertion? (publically).

        Here is the news Jay – I am not an advocate of or cheerleader for overly restrictive copyright terms and, truth be told, I’ve been party to the negotiation of publishing deals where the copyright terms negotiated were more favourable to the artist than those available through the sources you are advocating.

        I suspect, with good reason, that you are someone not dependant on income from the creative industries to sustain your lifestyle. That being the case it is wholly disrespectful of you to seek to speak on behalf of others or to seek to misrepresent the facts (historically or otherwise) of their activities within the creative industries.

        That said I respect you right to have an opinion but lowering the level of discourse / debate by swearing (your earlier post refers) and relying on factually incorrect info / hypotheticals does you and your “argument” no good.

        .

      • You

        Strange Zero is one. Been doing it since 2005.

        Really?

        Nowhere have they said that being on a label “worked for them” That was your original question – remember?

        Imogen Heap uses CC licensing and does it all her way. Wow, was that ever easy.

        Yes, it’s “easy” but it’s not relevant because I don’t believe that Imogen Heap is on Jamendo, which was the core of your initial question – remember?

        She is however signed to RCA Victor – a subsidiary of the Sony corporation which kind of blows your theory out of the water.

        The answer to your question is above.

        Quite obviously it’s not.

        You haven’t done your research.

        Kettle, meet pot. You’ve yet to prove anything you’ve stated as fact to be factually correct. In fact everything you posit as fact is easily dismissed as rubbish – see above.

        Additionally, take for example your earlier assertion about Dmusic being the first non RIAA / ASCAP affiliated publisher. Utter rubbish. CDbaby – to name but one – were well ahead of the game in that regard.

        And you’ve yet to do anything but make an assertion that somehow being “modeled after a label” means they are doing the exact same thing as a major label.

        Most adults with even a fundamental grasp of the english language know there is a difference in an assertion of something having been modelled on something and a statement that something is a direct copy (facsimile) of something. You, apparently, don’t.

        “I know all I need to know abourt these services and that is that they, like major labels are “middlemen” – taking a cut without the financial risk / investment at the outset.”

        So again, “You” move the goalposts to make a strawman argument about how they’re middlemen, when that wasn’t the point in the beginning.

        I didn’t “move the goalposts” or create “a strawman argument”. I pointed out the glaring anomaly which you – and only you – appear unable to see. Jamendo, Dmusic et al & their licencing “services” are mere conduits. They are “middlemen” taking a cut from vulnerable artistes with no discernable benefit (aside from vanity) to the artiste(s).

        As The Who said many years ago…”Meet the new boss, same as the old boss”.

        Here is the point:

        The idea of copyright, with a limited monopoly, is supposed to help the artist, not the middlemen. The good middlemen find ways to assist the artists and the public. They do not need to bankrupt the artist on a deal and find ways to make smarter business models that work for the artist

        You clearly have no sense of, knowledge of or factual experience of how copyright “works”. What you have described above is how you “think” it works in your utopian ideal.

        No artist nor label are guaranteed a living.

        Yes, people like you have seen to that. They would stand a far greater chance of making a living if people paid for acces to / use of their music and copyright holders were allowed to exploit their works within the letter of the law.

        And since “You” have ignored the fact that all of the aforementioned big names have had problems with their labels wanting to use their rights for perpetuity, here’s a few more examples:

        Too much Joy
        Bill Nelson

        I haven’t “ignored” it. In fact I pointed to where some of the fault for their predicament lay. You, conversely, are squealing hysterically because you think it somehow validates your position – it doesn’t.

        Quite frankly, if you’re saying that the new labels that are coming out, that embrace filesharing, torrenting and less copyright enforcement are trying to model after the big labels, who sued for $16M+ to get back $391K, then you’re insulting those bands and labels that want to forge a new path for themselves.

        I’m not saying that, I haven’t said that and I haven’t even alluded to that. This is, put simply, another one of your unsubstantiated “facts” that you’ve dreamed up.

        I’ll ask you again – where are these well documemented cases of artists who “are finding individual success at smaller labels that invest more in the artist than the majors do”?

        Where are these Jamendo artists who have been on a label and are qualified to substantiate your earlier assertion? (publically).

        Here is the news Jay – I am not an advocate of or cheerleader for overly restrictive copyright terms and, truth be told, I’ve been party to the negotiation of publishing deals where the copyright terms negotiated were more favourable to the artist than those available through the sources you are advocating.

        I suspect, with good reason, that you are someone not dependant on income from the creative industries to sustain your lifestyle. That being the case it is wholly disrespectful of you to seek to speak on behalf of others or to seek to misrepresent the facts (historically or otherwise) of their activities within the creative industries.

        That said I respect you right to have an opinion but lowering the level of discourse / debate by swearing (your earlier post refers) and relying on factually incorrect info / hypotheticals does you and your “argument” no good.

        • http://pulse.yahoo.com/_IZ5BM5GNLA54OADSWGSXAMA7SY Jay

          “I’ll ask you again – where are these well documemented cases of artists who “are finding individual success at smaller labels that invest more in the artist than the majors do”?”

          Open your Eyes records – Embraces Bittorrent, a major step that the RIAA has yet to do

          Asthmatic Kitty label – “What we do – whatever it is that we do – could not happen without you: going to our artists’ shows, buying and listening to their music, writing encouraging emails and letters, and generally sending good vibes our way. It couldn’t happen without our contributing artists, who work hard and are as equally invested in the business as we are. ” Does the RIAA hold the hand of all of their musicians while they’re managing the brokerage fees? Thought so.

          Nettwerk – Fights against the RIAA, abolished DRM, which is already an offense against humanity, and has no DRM
          Artists of note: Barenaked Ladies, Sum 41. Also, just as disclosure, uses WMG’s Alternative Distribution Alliance even though it’s an indie label.

          “I suspect, with good reason, that you are someone not dependant on income from the creative industries to sustain your lifestyle. That being the case it is wholly disrespectful of you to seek to speak on behalf of others or to seek to misrepresent the facts (historically or otherwise) of their activities within the creative industries.”

          So I have to be an artist to comment on being an artist? Nope. Don’t want to be a musician to notice that the labels made some poor decisions both in the past and currently. And you can say whatever you want about my own creative endeavors. I’m not stopping you. It doesn’t make you right, though.

          “They would stand a far greater chance of making a living if people paid for acces[sic] to / use of their music and copyright holders were allowed to exploit their works within the letter of the law.”

          There is nothing that currently says paying for access to music will increase sales. How effective was Rhapsody to Napster? Better yet, why is Spotify lauded so greatly along with Turntable along with Jamendo (where you can download then decide) instead of most of the offers by the majors (which is mainly more iTunes)? Just because you put out a product and want to enforce it being the only alternative does not mean it will make you money.

          “They are “middlemen” taking a cut from vulnerable artistes with no discernable benefit (aside from vanity) to the artiste(s). ”

          And I’ll disagree. Your problem is how you compare these “middlemen” to the likes of the RIAA and the major labels that have a list of problems I’ve shown you in the above links. That’s what I’m criticizing. They aren’t middlemen taking away from the artists. They provide platforms for artists to stand out. Artists have a place to showcase their work. They help the artists by storing their songs and giving guidance. That’s what a smart label should do. Even then, if the artists want to do it themselves, they can as shown by Kickstarter’s success or Rockethub‘s has shown. I’m all for giving artists choices. They can try the conventional labels that seem to believe they are entitled to hold onto everything that they have. They can try smaller labels that cater to them. Or they can try it on their own. What I’m not a fan of is the mitigating damage shown to occur in trying to enforce their copyright choice on consumers of media.

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  • http://profiles.google.com/orfetheo Orfeas Theofanis

    There is a show here in Greece with 4 guys discussing politics and other things, but they also show videos (funny or not), usually from youtube. Of course they only show the video, not the name of the uploader. Is that a copyright violation too?

    • Tosser

      Most large broadcasters have a blanket agreement with Youtube that allows them to use videos.

      Google should then pass a percentage of the rights money to the uploader.

      It’s a bit sneaky not to credit the uploader, but it’s all in the Ts & Cs and almost certainly above board.

  • http://www.mtxm.com Admin

    On another, more personal note – good luck with your funding. I really hope you succeed. I like the Contingency Market idea. That’s the one I think you should focus on…my opinion, of course. :)

    • http://digitalproductions.co.uk Crosbie Fitch

      Thanks. Your encouragement is really helpful. :) I hope to get back to it in a month or so.

  • http://twitter.com/david_boulton David Boulton

    Yes, for sure. Patent law is exactly the same. When I was 18 my friend and I came up with an awesome idea for a sport which we wanted to patent before we went looking for investors. We quickly learnt about the patent process and how it’s really just a game of how much money you can afford to throw and patent lawyers to write your patent in such a way that better patent lawyers can’t work around it. This starts from around two thousand dollars and can end up costing you tens of thousands of dollars as the patent gets rewritten before it’s final – and at any point if you stop paying your idea pretty much becomes public.

    Naturally we both said, “fuck that”.

    Copyright law itself is very weak, and like the article says unless you have loads of financial power to push lawsuits you have very little chance of protecting your rights. At best you might get a small settlement, but with the caveat that whoever took your content now has a license to do what they want with it.

    Free markets + copyright law really doesn’t make sense to me.

    • IDIOCRACY

      Just an example: 25 years ago I thought of chewing gum to use after a meal for the purpose of regaining the natural PH value in your mouth…. now big corporations make xylitol gum exactly for that.
      I just read that sony is going to experiment with another idea of me from 20 years ago, the subtitles projected on (your) glasses for the hearing impaired.
      These are just examples out of the big garbage box with ideas and inventions.
      You simply cannot make it work unless you already have a very big amount of money.
      I have another idea that is cooked up be me 15 years ago which will make our life so much safer,…. but ….. someone else at a big corp will think of it too eventually and decide that safety is not in the interest of the big corporations and governments, they need people to be scared because that gives them power, like misusing copyright to gain control over the internet hehe.

    • Anonymous

      You can’t patent game rules. You can’t even copyright them.

  • Weston

    “As for utopian views, what is copyright if not somebody’s utopian, quasi-socialist solution for supporting creativity, that eventually got twisted and distorted into something horrible and destructive? ”

    I don’t agree with how you see that.

    There’s an easier way to deal with this – and it would use the systems we have in place. Take copyright violation from the grey mushy legal area it is now, and simply redefine it as theft – which is exactly what it is. I see no difference between stealing someone’s paycheck, a bench they made that’s in their yard, or stealing something they wrote, photographed, etc et al.

    All of the above are stealing your work.

    We can’t legislate morality, but we can enforce law.

    In the interim, create a junk email addy on a public computer, create a free website, steal every image you can find from Murdock media, and label the website: All Free Images. ;)

    • rchoppin

      Copyright does not work properly because the law does not work properly. Individuals and social organisms are not equal before the law; the legal system is being used for extortion because of this inequality. Up until the 20th century, large social organism the size of today’s corporations were rare. But now their size and numbers has enabled unprecedented use of the legal system to extort from smaller social organisms and individuals.

    • Anonymous

      Copyright infringement is not theft. If you can’t see the difference between copying and taking, that’s your problem.

      And, sure, if you really want to make it theft: cool. That means it’s not a tort but a crime. Which means, it gets investigated by the police, defendants get free legal representation, the case must be proved beyond a reasonable doubt instead of preponderance of the evidence, and the penalty is limited to actual value of the item stolen. That’s, what, $0.99 per song…?

      • Scary Devil Monastery

        That and for all that pro-copyright advocates like to throw around the word “theft” the MPAA/RIAA lobby would fight tooth and nail not to have copyright infringement classified as a crime – for all the reasons you gave.

        Today as a civil case the sky’s the limit and they can ask 2000 dollars per song they find on a p2p peer swarm from whoever is unlucky enough to get pointed out – right or wrong – as an uploader. Without needing to present real evidence nor impartial expert advice.

        If copyright infringement was a crime no court would touch an ordinary copyright case, ever again. In the rare exception the settlement would be around 100 bucks, give or take, for even the most rampaging seeder.

  • Weston

    “As for utopian views, what is copyright if not somebody’s utopian, quasi-socialist solution for supporting creativity, that eventually got twisted and distorted into something horrible and destructive? ”

    I don’t agree with how you see that.

    There’s an easier way to deal with this – and it would use the systems we have in place. Take copyright violation from the grey mushy legal area it is now, and simply redefine it as theft – which is exactly what it is. I see no difference between stealing someone’s paycheck, a bench they made that’s in their yard, or stealing something they wrote, photographed, etc et al.

    All of the above are stealing your work.

    We can’t legislate morality, but we can enforce law.

    In the interim, create a junk email addy on a public computer, create a free website, steal every image you can find from Murdock media, and label the website: All Free Images. ;)

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  • Danny

    Im going to keep downloading, because i love free stuff hahahaha lol, and knowing that sony,viacom,timewarner,paramount and universal, get 0:00$ of me makes me sleep better at night!! IF THEY CAN PIRATE SO CAN I!!

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  • Otakucode

    The BBC and Daily Mail would never have had anything to fear, and they know that. It’s not so much that copyright is only for the big guys, but that law is only for the little guys. When a large company does wrong, they are penalized far, far less than any individual committing the same crime would be. Accidentally sell a tainted product that kills a couple people? Individual would be in prison for manslaughter. Company gets a couple inspections.

    Look at the case against Newzbin. Newzbin indexes content posted elsewhere, and has never been even accused of hosting copyrighted content themselves. It is explicitly this that was ruled to be illegal. Yet, Google does exactly the same thing, as so all search engines. They index content posted around the Internet, almost all of it is copyrighted. But they have nothing to worry about either, the law will simply never be applied to those large companies.

  • GUEST

    Every thing is only for the big guys aka the corporations and nothing is for the little guys aka us!

    Therefore to survive we have to kill them all.

    LET’S KILL THEM ALL!

    • An Unwashed Heathen

      Dude, you need help. Seriously. Every post you make is screaming for blood.

      While death would surely remove those pains from our collective ass, it’s not a fitting punishment for the suffering they imposed upon the world. I would rather see them rot in gitmo with the rest of the terrorists.

  • J.

    “Twitter is a social network platform which is available to most people who have a computer and therefore any content on it is not subject to the same copyright laws as it is already in the public domain.”

    P2P sites could be considered a social networking site – with the forums, etc…. And they’re avilable to most people who have a computer…. So, by the BBC’s argument… Everything I find on my favorite P2P site should be considered part of public domain, which means I shouldn’t have to worry about being sued for downloading The Expendables or Hurt Locker, since both flicks are part of Public Domain now….

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  • RKS

    “P2P sites could be considered a social networking site – with the forums, etc…. And they’re avilable to most people who have a computer…. So, by the BBC’s argument… Everything I find on my favorite P2P site should be considered part of public domain, which means I shouldn’t have to worry about being sued for downloading The Expendables or Hurt Locker, since both flicks are part of Public Domain now…. ”

    Being put into public domain willingly compared to being put into the public domain illegally are two VERY different things. I think you know that. The point of BBC’s argument is that it is null but even your counter isn’t the same thing as what BBC was trying to claim (invalidly.)

    I don’t even fully understand all of the arguments taking place here. On one hand, the Question Copyright site doesn’t even provide any reasons as to why we shouldn’t allow copyrights.

    Another suggestion mentioned that people should only have copyright for five years since the majority of works don’t make any money after that. So what? You’re saying J.K. Rowling shouldn’t make anymore money off of Harry Potter if someone makes a purchase today. What about a fifteen year old who was five when they all came out. Rowling shouldn’t have the right to make money now because the majority of other books don’t sell the same? Why?

    another suggestion was that someone should be paid before and during the creation, so afterwards they don’t have to worry about infringement. Well, who is going to do the upfront paying? Who is determining the value? How are those paying going to recoup their investment? This idea discounts all new and aspiring creators. Surely, a publisher may pay Stephen King upfront, but who is going to pay Noname Author? Are you suggesting only those already in the business can make money in the business?

    How will we determine the value? Are you saying Rowling should have been paid the sum of $10,000 for Harry Potter the same as Mike’s book above? If that were the case, Rowling would be back to living in her car right now while everyone gets a free copy. She was a nobody before HP was published so she would have been treated the same as any other Noname Author. It makes zero sense.

    Finally, someone mentioned the Internet should be less regulated and doing away the creator rights will ensure this happens. This is simply not true. I worked alongside a computer crimes federal agency and infringement cases were investigated on a complainant basis, meaning they weren’t priority numero uno. This is just one more cog in the wheel to regulate and without that need, the wheels would still be turning. Why? Because 90% of child molestorsare discovered because of Internet surveillance. Before the Internet, there really was no indication of how many of these people were out there. So case after case of people producing this pornography, trafficking children, raping, etc are discovered because of the Internet. Terrorism is another major priority for investigators. Just last week attacks were prevented because of the Internet. Saying regulation would cease if you take away creators rights is just asinine.

    And no one has is given an adequate reason as to why an unregulated Internet is a better Internet. The Internet is a public forum. I don’t get any privacy going into a strip club. I don’t get any privacy taking part in a public debate, so why do I get that on the Internet? Simply because I’m in my home typing away? No. I’m still interacting with other human beings. Are you saying an online college should be anonymous because it’s online? The greatest majority of people arguing for Internet rights are afraid of people seeing their porn and/or they want to steal content. Simple.

    • Scary Devil Monastery

      “The Internet is a public forum. I don’t get any privacy going into a strip club. I don’t get any privacy taking part in a public debate, so why do I get that on the Internet? Simply because I’m in my home typing away? No. I’m still interacting with other human beings. Are you saying an online college should be anonymous because it’s online?”

      A common fallacy. On a public street or in a strip club you do have a right to certain privacy. You aren’t forced to check your id every time you go to macdonalds and certainly aren’t required to identify yourself at the entrance to most clubs.

      “The Internet” as you call it is more comparable to a road net or a power grid in general. Having cops catching speeders with radar traps is quite ok. Having the same cops search every vehicle or checking their intended destination is not. Under any circumstances barring wartime law.

      Now put that in perspective of “internet regulation”. We already have gone far beyond what is either reasonable or constitutional.

      As for catching child porn distributors the major factor here is the same it’s always been – undercover cops in closed forums. It has nothing to do with the recent spate of filter lists, mass surveillance or ISP-level monitoring of customer traffic which is primarily the sort of regulation we do not want and should not have.

      I do not care much for the idea that if I go outside I have to have my picture taken along with a time stamp saying when I left my house and home if I’m not under surveillance for good and solid reason. Neither do I like the idea of the same blanket surveillance as regards the internet.

      Hence I use a VPN from home in order to safeguard myself.
      I lock the door to my toilet as well and it isn’t because I consider what i do there either reprehensible or illegal.

      If you think the internet “regulation” we are opposed to is kosher in your eyes then I can only assume that you wouldn’t mind having a camera in your bedroom either – as long as you could make a case that “Well, sooner or later someone’s going to catch a pedophile that way”.

      Your argument isn’t sound. Tracking child molesters is best done by having cops impersonate teens on shady sites which is what is done, after which a case can be made for surveillance and tracking. That method fits beautifully with real-life jurisprudence and is nothing anyone opposes.

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  • Chris Smith

    Ha, ha. It’s like you only just realised you are a slave. Look, the BBC is part of the NWO machine. They own you. They own all of your output and your content. It’s too late to change this now. Just bend over and smile.

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