In 2018, streaming companies know with precision how many people are listening to what song. Databases of artists and how much they’re being owed are being updated regularly. And yet, in this unprecedented age of information and automation, it’s only become more difficult and more complicated to get money to the people who are owed it. Everywhere else the digital revolution is supposed to be streamlining old processes; when it comes to music, the logistics have only gotten more convoluted.
A Council of the European Union document leaked by Statewatch on 30 August reveals that during the summer months, that Estonia (current EU Presidency) has been pushing the other Member States to strengthen indiscriminate internet surveillance, and to follow in the footsteps of China regarding online censorship.
Whether Fox can do that and legally show the clip in an episode is a matter for the experts to argue but what followed next was patently absurd. Shortly after the Family Guy episode aired, Fox filed a complaint with YouTube and took down the Double Dribble video game clip on copyright grounds. (mirror Daily Motion)
It also used to include useful photos of each statue. Not any more. The Supreme Court of Sweden has ruled that it is illegal to provide free access to a database of art photographs without the artists’ consent. Therefore Offentlig Konst can no longer show you a picture of a work of art, even when the artwork is in public ownership, on public display and sited in a public area,
Playboy, obviously, does not own Mario. It did not create Mario Maker. It did not build the level on display in my video. And yet my video was still flagged. What gives?
This, he reasoned, must be the source of the copyright claim. Because automatic Mario Maker levels play out the exact same way for everyone that experiences them, that segment of footage was identical for both of us—down to the very last frame. YouTube’s automated system seems to have flagged it for that reason, even though my footage was uploaded first. Pretty silly!
In another email in 2011, McCoy told GE lobbyists, “In case your CEO will be at the patent reform bill signing, I wanted to let you know that NZ Trade Minister Tim Groser is planning to attend. It would be a lovely opportunity for a CEO to turn to him and, for example, encourage NZ to support a strong IP chapter in the TPP…”
At another point, Jim DeLisi of Fanwood Chemical said he had just seen the text on rules of origin, and remarked, “Someone owes USTR a royalty payment. These are our rules. … This is a very pleasant surprise.”
Apparently UMG has the rights to an audiobook that uses Lynne’s music track “Kingdom of the Persians” as background music. This isn’t a problem, as his music can be freely used as long as the license fees are paid.
However, UMG have entered the audiobook in YouTube’s Content-ID system, and as a result they’ve hijacked the ads on the original video. Making matters even worse, UMG also rejected Lynne’s dispute through YouTube after he explained the situation.
The “monkey selfie” in question is a diamond in the mud: a truly remarkable portrait, perfectly focused and strategically positioned to capture a mischievous yet vulnerable smile. If that macaque had an Instagram account she’d have, like, a million followers.
But she doesn’t, and the sorry state of our copyright law – as interpreted by the Copyright Office and exploited by Wikipedia – is to blame. Due to the backwards treatment of animal creators everywhere, monkey art (and monkey photography in particular) continues to languish. How is an aspiring monkey photographer supposed to make it if she can’t stop the rampant internet piracy of monkey works?
It is an incontrovertible fact that a society with more monkey selfies is better than a society with none, so, as long as monkeys are denied copyright, we all lose.
At one point Viacom, the cable powerhouse that owns networks such as MTV and Comedy Central, had been seeking $1 billion in damages from Google. But no money traded hands in the settlement, according to people familiar with the transaction.
Projects like Wikipedia, uses such as text and data mining, online access to cultural heritage and educational resources, and transformative use of the Internet do not follow the same logic as the traditional content industry value chains. Here limited user rights and long terms of protection become problematic and increased enforcement translates into chilling effects.
At the same time all of these types of uses are exactly what makes the Internet special and drives its potential to accelerate innovation and to democratize access to knowledge, tools and culture. The Internet is the first mass medium that is simultaneously enabling market driven uses, uses that are driven by public policy objectives (such as education or access to culture), and uses driven by people’s desire to create, collaborate and contribute to the commons.