Andy on the Road

3 October 2009

Mojo Nixon to put entire catalogue online, for free

Filed under: copyleft, huh., intellectual property, music, seriesoftubes — Andy @ 2:40 pm

(Mojo, as captured by Flickr user kathyp.)

Digital Music News is reporting today that psychobilly legend Mojo Nixon is going to release his entire catalogue – over 150 songs – online for free download, alongside the debut of his latest album, Whiskey Rebellion (also free).

DMN:

“I’m just the kind of crazy person to do it,” Mojo told Digital Music News in a phone conversation.  “What do I have to lose?  I’ll make make more money off of this in the long run.” […] The Orchard is now preparing an official release on the matter, pending various executive approvals.  “Getting all 150 tracks, that might be like having a bacon sandwich with sausage on it.  It’s like chocolate ice cream with chocolate syrup,” Mojo shared. [Link added for reference.]

I don’t put this up here suggesting this is the way to go for everybody.  Indeed, Mojo’s 1980s releases on Restless Records might cause The Orchard some trouble during those “executive approvals.” Restless would probably be more into getting their catalogue out there for free before they were bought out by WMG.  Nevertheless, it’s a fascinating step, and something to talk about during the Future of Music Coalition Policy Summit over the next few days.

28 September 2009

An introduction to sampling

Amen_break_sample_image(waveform of the “Amen Break”)

Carleton (and before him James Nord and YouTube user mobius32) brings to my attention this excellent video about the “Amen Break” – one of the most important 6 seconds in recorded music, originally recorded by The Winstons.  Check it out:

This is loosely related to a journal article I am writing on sampling rights.  I don’t think I’ll be getting as abstract as the “cultural public domain” argued here, and my conclusions might cut directly against some of mobius32’s arguments here, but his concern about copyright re-appropriation and the incoming clash between copyright law and digital sampling are certainly right up my article’s alley.  And I’ll certainly be taking up the Bridgeport Music case mentioned in passing towards the end of the clip.  This is a must-watch to understand the foundations of many of our modern discussions on sampling rights.  Check it out.

18 July 2009

Jamba Juice’s new advertising technique is despicable

(Thanks to the eminent Mr. John Hodgman for the TwitterScoop)

There’s a ripoff happening online that’s caught my attention this afternoon.

David Rees is a humorist best known for creating cutting, heady, sarcastic comics using clip art and simple speech bubbles.  Highlights of his work include My New Fighting Technique is Unstoppable, My New Filing Technique is Unstoppable, and the excellent Get Your War On, now available as a complete anthology book.

Get Your War On highlighted the mass hysteria and empty logic surrounding the US “War on Terror,” and ran from the beginning of the Afghanistan invasion through the end of the Bush presidency.  The comic prominently features two characters who are never given a name, but are sometimes referred to as “accounts payable” and “accounts receivable.”  A sample comic:

gywo.greenspan

Apparently GYWO made a lasting impression on an employee or ad agency contractor over at fruit smoothie enterprise Jamba Juice, as the company featured the two characters on a recent advertisement for a “Cubicle Picnic” contest (these are stills from a flash video which runs when the website starts up):

blogjamba

Goes without saying, but Rees was not to happy with his anti-corporate comic being used as a blatant, “viral,” corporate shill.  On his blog he is now asking for a boycott of Jamba Juice, railing on the comic in general, noting the use of the exact same word balloons, insulting Jamba Juice drinkers, and ending with this remark:

Whoever made this ad is probably a 22 year-old “creative” at some ad agency in Tech Valley, CA. Way to think outside the box, sonny. Have fun snorting cocaine at the nightclub you go to with your friends who work at Twitter or wherever. And no, Adult Swim will NOT buy your stupid cartoon you’re developing with your housemates about four guys who work at an ad agency but are secretly lobsters.

Goddamn, I need to get Code Pink on the case about this. I’ll take this shit to the Supreme Court and live-blog my own lawsuit. Judge Sotomayor better side with me.

BOYCOTT JAMBA JUICE!

JUICE SUCKS, DRINK WINE

Were the two of Rees’ own creation this would be an open and shut copyright case.  The tricky part is, the clip art characters are in the public domain.  (At least according to Rees in his post; I’ve yet to verify that.)   Even so, copyright law does permit one to claim ownership of original creative contributions to existing public domain works – like the layout of an anthology of public domain art or the text Rees adds to the speech bubbles in GYWO.  But is a particular design of a speech bubble enough?  Should it be?  Any IP nerd will quickly tell you an “idea” alone is not protected; but while the idea of doing a comic based on a depressing, stale office environment using public domain clip art cannot be protected under US copyright, has this crossed over from being the “idea” of a GYWO-like comic to a cognizable claim of infringement?  Could you, or should you, be able to claim that while Rees can’t claim copyright infringement from use of a public domain work, he should be able to claim it when Jamba uses the same two public domain works in the same context?

I’m rarely (maybe never) one to advocate an expansion of intellectual property law, and I’m trying very hard to imagine how I would feel if Rees ripped on Jamba Juice instead of the other way around, but I feel as though the law should provide remedy for this sort of shameless ripoff.

Perhaps the best remedy is found under trademark.  Trademark law is a means of helping the public identify the origin of goods, allowing manufacturers to protect their brand identities against other market participants creating stopping confusingly similar products.  In short, trademark law is why I can’t go into my kitchen, develop a new soda, call it “Coca-Cola” (or “Coce-Kola”), and start selling it in stores. Within the field of trademark law is a term of art – trade dress – to reference protections provided over layout, packaging, and other unique characteristics of a product which, if copied, can cause confusion in the marketplace even if the copier didn’t use the name directly.  In other words, trade dress is why I can’t go into my kitchen, develop a new soda, put it in a red can with cursive white script in the same layout as a Coke can, and start selling it in stores.

Trade dress may provide a remedy here.  Perhaps Rees can claim that the layout of the figures and use of the speech bubbles are sufficient design characteristics for a trade dress claim.  As John Hodgman noted, “many will presume [Rees] made these ads and is getting paid. Not True.“  That said, there is no doubt David Rees fans would be upset if he started making ads for a company like Jamba Juice, and to the extent this leads fans to believe that the confusion is causing harm to Rees’s GYWO brand.  This also helps me distinguish this case from others where I might be okay with someone ripping on another company’s design: this is not done for commentary, parody, or other fair uses, and in doing this ripoff Rees will be falsely depicted as endorsing this activity.  If trademark can be said to further the public interest of distinguishing goods, while still providing First Amendment protections critical to a public discourse, a use like this – which confuses the origin of the comic and adds nothing meritorious to the public good – seems a ripe candidate for a trademark claim.

Regardless of whether courts find a cause of action in what Jamba Juice did, whoever came up with this add should be fired.  This is the sort of activity which gets a company on shame-worthy blogs like You Thought We Wouldn’t Notice, and causes people to distrust, boycott, or even sue a company.  I can’t find the agency responsible for this ad, but in digging around I found this YouTube video of Jamba Juice’s ad agent describing the Cubicle Picnic promotion.  Be it him or some other viral marketing lackey, this is plagiarism, and even if the law does not recognize fault with that the creative industry most certainly does.

Update: James Urbaniak, in addition to being the voice of Dr. Venture on the Venture Brothers, has taken up arms in this particular fight.  As his LJ post notes, the organization responsible for this ripoff ad is LA agency Neighbor.  From his post:

Their unintentionally hilarious website positions themselves as paragons of crunchy, earthy, green, do-gooder, one-world decency. According to their manifesto: “You get conscious, inspired, ethical, engaged, genuine, positive and purpose-driven work that grows your business and your people all the while making the world a better place.” Ad man, heal thyself.

Heal thyself indeed.

Update 2 (21 June): Thank you all for the comments, emails, and especially for the budding discourse.  This story has clearly grown beyond this humble little blog.  For much more coverage, see BoingBoing, Consumerist, Fast Company, Brand Flakes for Breakfast, Comics Alliance, and Timothy Buckwalter’s blog. I hope to do some more research into this trademark and copyright question and share what I find, but work keeps me busy during the week.  Until then, I defer to the comments below and the links above for more discussion.

Due to the increased traffic, I should probably quickly (create and) state my commenting policy: I do moderate comments on the blog, but as long as it’s pertinent to the discussion I’ll post it.  If you feel this is unfair let me know.

Also, a very warm thanks to John Hodgman and David Rees for their kind words and links.

5 May 2009

Welcome Back, Folks

photo-5

After finals effectively destroyed any chance of keeping up with my feeds, I turned on my RSS reader for the first time in a couple weeks. I was met with over 4000 items. There’s no way I’ll be able to give these a full treatment (and to pile these all together makes for pretty scattered reading), but here are a few highlights:

  • Perez Hilton responds to a negative ad by the National Organization for Marriage (of the horrible “Gathering Storm” ad fame) by sending them a near-frivolous DMCA Takedown notice. Sorry, Perez: this isn’t cool even when I agree with your message.
  • My buddy Greg Whitney is featured in an Emerson student’s profile of Boston’s own Louie (better known as The Tricycle Man). Seeing this made me miss Boston more than anything else during finals week.
    Thanks to Bostonist and Ms. RDP for the scoop.
  • Swineophobia hit close to home this week. My Alma Mater Northeastern opted to forgo with handshakes for commencement. I don’t think the Garden counts as a “small confined space” to avoid under VP Biden’s analysis.
  • Early reports from the iTunes Music Store’s new variable pricing system are not favorable. Digital Music News reports that revenues are down, and consumers are increasingly leaving iTunes in favor of other alternatives.
  • The Boston Globe did a nice profile of Justice Souter’s hometown of Weare, NH. I was a little surprised to find that Justice Souter lives relatively close to my house. He lives a few dozen miles due north of me, straight up Rt. 13 (which turns into NH Rt. 77 in Milford). To help understand his (and to an extent, my) upbringing: equidistant from our towns is Peterborough, NH, best known as the town credited as the inspiration for Grover’s Corners in Thornton Wilder’s Our Town. I feel a deep affinity for that play, and the towns in the Monadnock region that it celebrates. I have a feeling he does too. While I’ll miss reading Souter’s opinions, I’m sure he’ll enjoy his return to our figurative neighborhood.
  • On a related SCOTUS note, Justice Scalia’s opinions on the “privacy right” (which GWU Law Professor Dan Solove characterizes here) were tested when Fordham University Professor asked his legal privacy class to create a dossier on Scalia. Scalia responded with gusto.
  • EFF’s Hugh D’Andrade gives the Obama White House partial credit for licensing photos taken by White House photographer Pete Souza under a Creative Commons Attribution license, but suggests the fairly obvious: shouldn’t these, as government works, be in the public domain?
  • Japanese designer surgical face masks. Now I’ve seen everything.
  • Iron & Wine are (is?) going to release a 2CD/3LP collection of rarities and outtakes called Around The Well on May 19th, spanning the entirety of Sam Beam’s career. This week we have new St. Vincent and Akron/Family for your listening pleasure.
  • Wired’s marks for Obama’s first 100 days: Copyright, D; Cyber Security, C; Science, A-; Net Neutrality, B+; Transparency, B-; Privacy, D-. Saddens me to say, but I have to agree on most of these marks. But let’s not forget that he’s getting damn close to an A on virtually everything else.
  • Tripod.com co-founder Ethan Zuckerman wrote a lovely and humorous eulogy for Geocities, which officially closed last week.
  • Is A&R dead? Music Think Tank poses the question, and the comments are generally in favor of the rarified profession. (I for one still prefer my old sensei Dave’s joke on the subject: “How many A&R guys does it take to screw in a lightbulb?” “I don’t know. What do you think?”)
  • A lot of people complained that the  White House photo op of Air Force One over NYC could easily have been done in a matter of an hour or two on Photoshop. Scott Kelby demonstrated, creating a rather lovely shot that could have saved us over $300,000.
  • And for the finale: in March of 2007 WFMU posted 79 versions of Gershon Kingsley’s “Popcorn.” Using the EchoNest API Paul Lemere was stitched them all together into a 12 minute anthem. I’m very glad I didn’t find this until after finals, as I would have listened to only this, and that probably would have done my brain in. Paul Lemere – A Big Kettle of Echo Nest Popcorn

I hope to be back to more regular schedule now that my 1L year is over and the summer has begun. I make my return to Boston tomorrow; can’t wait to see you all. And to my new DC friends: congrats and thanks on a wonderful year, and I hope to see a lot of you up here or down there soon.

30 January 2009

Memo weekend – no updates

Filed under: copyleft, gdublaw, music, theroad — Andy @ 6:06 pm

(no “Man-Pris” in Philadelphia, from Flickr user jasmined)

It seems every week I have to sequester myself for the sake of a legal memo will be the week the entire music-IP world shakes apart. There’s the Sony v. Tenenbaum heating up as Rule 37 sanctions fly and various parties begin filing amicus briefs on the courtroom webcasting issue, more information coming out about how bad a year it was for CDs (and from the look of it, almost only CDs) in 2008, and of course Allen Klein continuing to screw artists from beyond the grave (or rather from beyond the day-to-day control of ABKCO) – remember the Verve “Bitter Sweet Symphony” outrage? Klein did it again, this time to Lil’ John.  So much to write about. So little time.

So I leave you to other blogs this weekend. Thanks for sticking around.

Pavement – Cut Your Hair

26 January 2009

Hello, egg. Meet face.

Filed under: copyleft, huh., music, seriesoftubes — Andy @ 8:59 am

I’m trying to confirm the authenticity of the screenshot below (I couldn’t recreate the problem myself). This picture has been bouncing all over the Internet as of last night – over at Reddit, Mashable, The Sly Oyster, etc.. If this is true, someone at Warner Music Group is going to have a hard time explaining this mistake:

dcfc-fail

Here depicts Death Cab For Cutie’s website, which had posted a video of Death Cab For Cutie playing a song, and the video was removed by Death Cab For Cutie’s record label for copyright infringement. While it’s easy to develop a theory as to why this might happen (fan posts a music video of DCFC they recorded off of VH1, DCFC out of laziness links to that instead of posting their own, WMG files copyright claim to YouTube, YouTube complies, DCFC doesn’t change their link), it does serve as a poetic depiction of the ongoing debate artist’s interests versus record company’s interests. It also serves as fairly positive evidence that bands are okay with their songs getting onto YouTube, and it’s the record companies that are trying to squelch these postings. Given the nature of a record contract, that makes a great deal of sense. They would be the ones making royalties off of sales of these videos. And to some extent – perhaps under a labor theory of property (as we’re learning about these days) – they are also the ones that produce, record, and fund these videos. But it’d be a pretty boring video without the Gibbard/Walla love. Shouldn’t they have a say as to where their songs can and cannot be posted?

Perhaps this is an indication of a trend a few of us have been detecting over the past few years. Increasingly, artists are taking issues of production and promotion into their own hands. An action like this shows what kind of problems might arrise when two parties claim ownership to the same property.  As more and more people begin to produce records on their own, and more and more times the artist and the record company’s interest feel at odds, the less relevant record companies feel.

Something to chew on for your morning commute.

24 January 2009

Don’t you dare remix the Colbert/Lessig interview

Filed under: copyleft, music, seriesoftubes, snarkbutter — Andy @ 9:47 pm

Stephen Colbert asked me to pass this along to my readers*:

So, no matter what you do, don’t even think of remixing the interview or adding in recordings from I Am America, And So Can You audiobook. And don’t you dare – dare - upload them onto the Colbert Nation website.

Oh, to have the free time to take this challenge on.

* – he didn’t

23 January 2009

Can you still sell it if you give it away for free?

Filed under: copyleft, hope, laughs, music, seriesoftubes — Andy @ 8:43 am

One of the longstanding debates amongst entertainment industry folks is exactly how releasing content for free online will impact sales. Early in January we learned that Nine Inch Nails’ Ghosts I-IV was the biggest-selling album on Amazon MP3 for 2008, after the first nine tracks were available online for free. Last week a federal judge dismissed the RIAA’s long held “one-download-equals-one-lost-sale” argument, in the context of a restitution action (Daniel Gross of the New York Times held the same in 2004, citing a Wharton School study). And now today BoingBoing and Mashable report that since Monty Python released the overwhelming majority of its back catalog onto their own YouTube channel, sales for Monty Python DVDs have risen by 23,000% (now no. 2 on Amazon’s TV and Movies Bestsellers list).

Will this work for everyone? To an extent, every band does this (I challenge you to find me a band that doesn’t stream a song on MySpace or somewhere else online), but it’s unclear whether or not giving away large sections of your content will boost sales for all acts. We need more brave bands to try this to see how it works when the band wasn’t famous already.

That said, congrats, Pythons.

6 January 2009

iTunes goes DRM free and variable pricing

Filed under: copyleft, music, northeastern — Andy @ 2:44 pm

So, as you might have read if you’ve seen Ars Technica, Wired, Lifehacker, or a million other sites today – Apple announced that they are phasing out digital rights management on the files they sell on the iTunes music store. As part of their negotiation to retain the catalogs of some of the more uppity labels, they agreed to allow variable pricing on the service for the first time.

I think this is a good thing. I know Northeastern Music Industry majors have been predicting this for about 3 or 4 years now. I do worry about variable pricing, and wonder how those outside the industry will view this pricing change. Also, while Apple suggests that older tracks will be sold cheaper while “hits” will be more expensive, I wonder if people will do just the opposite to move units during the first week or two of sales, as we see from time to time on Amazon MP3.

My fear is that the industry will squander this. I hope those in power will recognize that selling songs at 69 cents, instead of 99 cents or a $1.29, will help secure people still legally purchase music, and at least some money will trickle back to the artists. As Hitsville so keenly notes, on filesharing sites, the DRM is still gone and the price is still zero when you download off torrents of p2p, and, like it or not (regardless of the law), people are still going to go there if they feel dissuaded from getting music legally.

I also think about labels who already “bury the single” as making the track album only on digital download sites. What if they start varying the price between songs on the same album? That raises some intersting questions about the value of music (e.g. – is song A really 30 cents a better song than song B? Can we say that about music?).

Interesting food for thought, but not part of my law school syllabus, so I’ll leave it at that for now. At times I wish I was still in Northeastern Music Industry seminars, given loads of time to think about these sorts of problems.

5 January 2009

Works Entering the Public Domain in 2009

Filed under: copyleft, lawsandsausages — Andy @ 2:19 pm

In a large slice of the world outside of the US and EU, the exclusive rights vested by Copyright for works by individual authors expire the beginning of the year 50 years after the death of the author. For many other parts of Europe, including all of the EU, the rights expire 70 years after an author’s death. So, for those of you who need help with math, works from authors who died in 1958 and 1938 are entering the public domain this year.

As a reminder, different rules apply for works made for hire (usually a flat rate of years, varying country to country). So while the personal works of film composer Edward H. Plum (Academy Award winning composer from Bambi, The Three Caballeros, and many other Disney films) enter the public domain in Canada this year, you’ll have to check the publication dates, and international treaties regarding cross-protection, before you start wantonly copying the soundtrack to Bambi. Sorry if I just ruined your weekend plans.

Living inside the US like me? Sorry. Nothing outside of unpublished, unregistered works from before 1938 will enter the public domain (except through deliberate injection) until about 2019, with a much wider range entering in the year 2045 or so (“if man is still alive…”), with variances based on the nature of the work (See Wikipedia, here and this great chart from Cornell for more).

And for another puzzle, what does it mean when a work is in the Public Domain in one country (even the “mother country” for the work, if you will), but not in another? How does international trade of intellectual property reconcile this little problem? There are ample conventions and treaties to look at, and as more and more prolific works slip into the public domain, I’m sure this will be a hot-button issue. For major musical works, like Elvis and the early Beatles, public domain injection is right around the corner in most of the EU. On that front, I may spend part of this summer in Munich, the IP capital of Europe, working on this exact quandary through my school.

But with those complications aside, here are some artists and authors whose work enter the Public Domain in the majority of the world, including Canada:

…and many, many others.

Authors and artists who died in 1938, thus their personal works entering the public domain in the EU and elsewhere, include:

…and many more.

For more, head over to BoingBoing, Free Culture News, /., “Public Domain” on Xanga, and the Creative Commons blog. I am especially fond of the librarian’s perspective on John Mark Ockerbloom’s blog (even if he and I use the same WordPress skin). On my self-imposed, mandatory reading list right now is James Boyle’s The Public Domain. If you are unlike me and not in law school with plenty of your own reading right now, may I suggest you pick it up and give it a read.

Happy belated Public Domain Day, rest of the world!

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