stories about: "sony music"

Swedish BitTorrent User Accused Of Sharing Beyonce Album, Hit By $233,000 Lawsuit From Sony

from the that's-justice? dept

Tue, Mar 5th 2013 3:51am — Glyn Moody

Lots of news regarding file-sharing has come out of Sweden over the years, but as TorrentFreak points out, until now, there's never been a prosecution for alleged unauthorized sharing using BitTorrent. The current case is unusual in a number of other respects:

The claim is that on June 8, 2011 a man from Gothenburg shared Beyonce's album '4' in advance of its June 24 commercial release date. The case was made even more interesting following the revelation that the 47-year-old is a music industry worker.

Because the album in question was a pre-release version, the Swedish prosecutor says he believes a heavy punishment could be handed down. As if that weren't enough, the label concerned -- Sony Music Entertainment -- has said that it intends to seek damages in a civil case: In a submission to the Gothenburg District Court, Sony said that its business has been negatively affected by the leak on a number of fronts. The label says it has suffered damage to its marketing strategy, sales revenues and has also incurred additional costs. Sony adds that its relationship with Beyonce has been damaged and the artist's reputation hurt.

For all of the above Sony say they will claim 1.5 million kronor from the man, which is roughly $233,000.
But as various studies have suggested, rather than hurting Sony, it's just as likely that this leak helped make the official launch even more successful than it would have been. Similarly, it's hard to see how Beyonce's reputation was hurt by such a leak, since the more passionate the fan, the more pleased they would be by obtaining early access.

Anyway, the figure of $233,000 seems plucked out of the air, as is so often the case in this evidence-free area. Or perhaps it was inspired by the most famous damages imposed for unauthorized sharing of music, those against Jammie Thomas, who was fined $222,000 in her first trial (which then went up to $1,920,000 in the second trial, and to $1,500,000 in the third trial.) The fact that her sorry saga is still dragging on is an indication that even if Sony wins the current action, there are likely to be appeals against such a disproportionate and blatantly punitive figure.

Follow me @glynmoody on Twitter or identi.ca, and on Google+

Filed Under: bittorrent, copyright, file sharing, lawsuits, pre-release, sweden
Companies: sony music

51 Comments

Sony Issues The 'Bob Dylan Copyright Collection Volume' Solely To Extend Copyright On Dylan's Work

from the copyright-at-work dept

Tue, Jan 8th 2013 7:56am — Mike Masnick

It's almost as if the major labels aren't even trying to hide how they like to abuse the spirit of copyright law in order to keep things locked up as long as possible. Sony Music recently "issued" (and I use the term loosely) a special limited release Bob Dylan collection and didn't even bother to try to hide the real reason for putting it out. It's in the name of the damn release: "Bob Dylan: The Copyright Extension Collection Vol. 1."

Yes, the entire purpose of releasing this is so that Sony Music can keep Bob Dylan songs under copyright in Europe for a longer period of time. As they're all too happy to explain, copyright term extension for recordings happened in Europe recently, bumping it up from 50 years to 70 years -- but there's a "use it or lose it" clause in there:

Two spokesmen for Sony confirmed that the set was legitimate, its bootleglike appearance notwithstanding. They explained that the point of the release was to keep the recordings under copyright protection in Europe, where the laws are in flux. Currently, recordings can be copyrighted in Europe for 50 years, a much shorter term than in the United States, where recordings made since 1978 will remain copyrighted until 70 years after the death of the last surviving author.

In 2011 the European Union revised its copyright laws to extend copyright to 70 years. The change is not yet in effect but will be by 2014. And there’s a catch, a “use it or lose it” provision: recordings cannot benefit from the 20-year extension unless they were published before the 50-year term expired. The recordings on “The 50th Anniversary Collection” were about to fall over that legal precipice.

Of course, since this is all about protectionism rather than actually getting people to hear the music, this collection is somewhat difficult to find (well, unless you go to unauthorized sources for digital downloads -- not that we recommend such things). That's because they only made 100 copies of them and gave them to a few stores in key European countries.

Only about 100 copies of the four-CD set were produced, with sparse packaging and an insert listing the details of the set’s 86 tracks, all previously unreleased studio outtakes and live recordings from 1962 and 1963.

It also comes as a downloadable version, available through the singers’s Web site, bobdylan.com, but only to fans who log on from France or Germany. (Prices for the CD set vary from country to country, from the equivalent of $39 to, in Britain, $138)

American collectors are locked out, although for those desperate to have an original CD set, several have made their way to eBay, where bids have gone as high as about $1,450.

Anyway, I'm sure all of this activity is creating incentive for Bob Dylan to make more music from 1962.

Filed Under: bob dylan, copyright, copyright extension
Companies: sony music

138 Comments

No, The Major Labels Didn't Fake 2 Billion YouTube Views

Overhype

from the manipulations... dept

Wed, Jan 2nd 2013 5:24am — Mike Masnick

The record labels have a long history of knowing how to manipulate key numbers to their advantage. Look how labels have manipulated the various charts over the years and you'll find that it's a big part of how they do business. So it probably struck little by surprise to hear that the labels were now being accused of massively manipulating YouTube view counts to make certain songs look a hell of a lot more popular than they really are. The only problem? It's not actually true.

The DailyDot -- who normally does a fantastic job -- broke the story that got most of the attention, reporting:

Google slashed the cumulative view counts on YouTube channels belonging to Universal Music Group, Sony/BMG, and RCA Records by more than 2 billion views Tuesday, a drastic winter cleanup that may be aimed at shutting down black hat view count-building techniques employed by a community of rogue view count manipulators on the video-sharing site.

Universal's channel is the one that took the biggest hit. According to figures compiled by the YouTube statistics analysts at SocialBlade, the record company's YouTube channel lost more than 1 billion views from its preexisting tally of 7 billion views Tuesday.

Lots of other publications then picked up on the Daily Dot version and suddenly the story was everywhere -- in particular claiming that the labels were being punished for faked video views. Only problem? That's not really true. The report suggests that YouTube has begun a big campaign against view inflation by YouTube users across the board. That part is true. But the untrue part is that the major labels were faking so many views. Instead, it turns out that most of the issue was just that the labels had moved their videos from YouTube to Vevo -- the online video site that the labels had started a few years ago (built on top of YouTube technology). As Billboard notes, the "de-spamming" effort did delete about 1.5 million views from Sony and Universal Music videos -- so there may be some funny business, but that's tiny compared to the 2 billion views that disappeared. But the reason those went away was much more mundane:

The answer comes in the second way that YouTube changed its view count. The company recently decided to remove view counts for videos that are no longer live on the channel, or so-called "dead videos." For Universal and Sony, that meant thousands of music videos that over the past three years slowly have migrated to the VEVO channel, which is jointly owned by the two companies. A senior label executive confirmed the migration....

That meant high-profile videos that once lived separately on the Universal and Sony YouTube channels have been relocated to Vevo. As a result, the views that those videos received during their time on the dedicated label channels were taken away in YouTube's latest "clean up" effort.

In other words, those views happened; they weren't "faked" or even double counted when they went on to Vevo. But because the videos are no longer on the channel, YouTube considers them "dead videos." They still live on in YouTube, just under a different channel.

Considering how many people have been sending this story over, I know lots of people would like to believe Sony Music and Universal Music faked 2 billion views and were now being punished for it, but it's just not the case.

Filed Under: fake, major labels, videos, view counts, youtube
Companies: google, sony music, universal music, vevo

12 Comments

Video About Fair Use, Remix & Culture Taken Down Over Copyright Claim (Of Course)

Culture

from the how-nice-of-them dept

Thu, Nov 8th 2012 7:27am — Mike Masnick

A few years back, we had a post highlighting an absolutely fantastic video by Julian Sanchez about the value of remix culture. The video made a key point that often gets lost in these debates: that remix culture is often more about the culture than the remix, but that copyright law makes that difficult. It focused mainly on a viral remix video that took a song from the band Phoenix, called "Lisztomania," but which was put to video clips of people dancing in various John Hughes films (mainly from the classic scene in "The Breakfast Club.") That was interesting enough, but what was even more interesting was how it then followed that lots of others recreated the video in their own image. So groups got together in various hipster locations (Brooklyn, San Francisco) and created their own videos recreating the dance moves on their own to go with the new song. It was really quite interesting, and showed how important remixing and fair use was to culture, and how it could take something and make more with it.

Fast forward to the present, and even though this video has been up for years, Julian discovered that his original video was taken down on a copyright claim. If you go to it now, you see this:

For what it's worth, this does not seem to be targeted at just Sanchez. In looking around, it looks like a bunch of the "original" videos of the Hughes brat pack dancing to Lisztomania videos are all down with the same message. From this, it appears that it's the publishing company, rather than the band or its label. Kobalt has claimed to be a new sort of publishing company, though this seems like a horrifically old school approach, killing off a popular viral video -- and doubly so with the Sanchez video which almost certainly qualifies as fair use. It was completely not commercial, only used a part of the song, included significant commentary, did not limit the market for the song and clearly was not a replacement.

And, yet, it's gone. Even worse, when Sanchez appealed the takedown, which was rejected, and there appears to be nothing else Sanchez can do:

Note that in this screen, it's not Kobalt, but Glassnote and SME (which I believe is Sony Music). Glassnote is an indie label who released the song, but in partnership with Sony, who handles the distribution.

It's also odd that there doesn't appear to be any further appeals process. After all, just last month YouTube said it had changed its appeals process to avoid exactly this situation. The "old" model allowed whoever made the claim to "reject" the appeal and there was no further action possible. The "new" situation is supposed to require the claimant to file a DMCA notice, at which point the DMCA process takes over.

Users have always had the ability to dispute Content ID claims on their videos if they believe those claims are invalid. Prior to today, if a content owner rejected that dispute, the user was left with no recourse for certain types of Content ID claims (e.g., monetize claims). Based upon feedback from our community, today we're introducing an appeals process that gives eligible users a new choice when dealing with a rejected dispute. When the user files an appeal, a content owner has two options: release the claim or file a formal DMCA notification.

But, as Sanchez notes, there doesn't appear to be any such appeals process available to him (at least not in an obvious manner).

Either way, Glassnote/Kobalt/SME is playing with fire here. First off, taking down such a popular viral video -- one that clearly only served to help promote the song massively -- just seems stupid and shortsighted. But, going further and taking down Sanchez's video commentary on remix culture, which used part of that song seems doubly questionable, seeing as it's almost certainly fair use. It might not be the same issue as the Lenz case, in which Universal Music may get into trouble for issuing a bogus DMCA without properly considering fair use, since it's unclear that any actual DMCA notice was filed (instead, this looks like it was all a problem via ContentID). However, going around and censoring videos that are clearly fair use isn't going to end well. Though, really, YouTube's broken ContentID system isn't helping either.

Filed Under: contentid, fair use, julian sanchez, lisztomania, phoenix, remix culture, takedowns
Companies: glassnote records, kobalt, sony music, youtube

30 Comments

Epic's 'Music First' Approach: Delay Album Release; Drop Band When They Leak It

Failures

from the uh-what? dept

Tue, Nov 6th 2012 7:44am — Mike Masnick

Last month, we wrote about how the band Death Grips, an indie sensation who had signed with Epic Records (owned by Sony Music), had decided to release their latest album for free all over the internet, after some sort of dispute with Epic over the release date. The band was already considered one of the top authorized downloaded bands on BitTorrent due to earlier releases it had put online for free itself. However, with Epic trying to take a standard "slow down and wait" approach, the band posted its new album to various file lockers and started tweeting out links, noting that "the label will be hearing the album for the first time with you."

Last week, the band posted a screenshot of an irate email from the label about this. Epic notes not only that is it absolutely furious about the leak, but that (1) the release is a breach of contract; (2) since Epic owns the copyright, the label considers the leak to be infringing; (3) the band's decisions have "financially damaged Epic"; (4) even though Epic still intended to release the album, the album would not count towards the recording commitment in the band's contract and (5) while Epic still intended to collect money for the sale of the album (which, again, would not count towards the recording commitment), Epic would not cover the cost of recording the album.

Those last two points are the really interesting ones to me. If it's not counting the album towards the recording commitment, and it now refuses to pay for the cost of the album, it seems wrong to then still consider it something that Epic gets to sell and to keep all the revenue from.

Either way, it appears that won't be an issue, because just a few weeks after that email was sent, Epic officially began the process of dropping Death Grips from the contract. This probably won't surprise many people, though it will be interesting to see if Epic retains "ownership" of the work in question or if Death Grips is able to get back control of its masters. That said, Epic's "statement" about this move is absolutely hilarious for being obviously, blatantly, false:

Epic Records is a music first company that breaks new artists. That is our mission and our mandate. Unfortunately, when marketing and publicity stunts trump the actual music, we must remind ourselves of our core values. To that end, effective immediately, we are working to dissolve our relationship with Death Grips. We wish them well.

First of all, Death Grips had already "broken" without Epic's help. Second, since when has a major label ever really cared about "the actual music" as compared to the ability to make money off of it with marketing and publicity stunts? And, really, if it were just about "the music," then why would it have freaked out so much when the band made "the music" available for free?

Filed Under: breach, contracts, death grips, free, music, releases
Companies: epic records, sony music

74 Comments

Copyright Holders Still Sending DMCA Takedowns On Content That's Been Gone For Months

from the dmca-failures dept

Fri, Sep 7th 2012 5:29pm — Mike Masnick

We keep seeing various DMCA takedown failures, and the folks over at TorrentFreak have discovered another common error while going through Google's Copyright Transparency Report and found that big copyright holders are still filing DMCA takedown notices on content hosted on sites like Megaupload and BTJunkie, despite the former being shut down in January and the latter shutting itself down in February.

If you look, you can see a bunch of takedown requests for Megaupload links in the past month.

Some of these are by smaller players, whom you might expect to be confused, but there are some big guys as well. In the screenshot above you can see both BPI and the IFPI (on behalf of Sony Music). There are also DMCA requests from Universal Music, EMI, the Publishers Association and others. All for content that clearly doesn't exist and hasn't existed in months. Kinda makes you wonder if they even check this stuff. Considering that all of these copyright holders seem to think that Google and others can just magically "know" when there's infringing content around, it's pretty telling that even they don't seem to know how to tell if content exists, let alone if it's infringing.

Filed Under: content, dmca, takedowns
Companies: bpi, btjunkie, emi, google, ifpi, megaupload, sony music, universal music

60 Comments

Major Labels Claim Copyright Over Public Domain Songs; YouTube Punishes Musician

Music Industry

from the not-cool dept

Tue, Aug 28th 2012 11:54am — Mike Masnick

We've talked in the past about how YouTube's ContentID system fails at fair use and the public domain -- whereby it is unable to distinguish public domain material. That has resulted in ridiculous situations, often where large companies with huge catalogs end up shutting down perfectly legal content. Sometimes it's crazy stuff like taking down a video because of birds chirping in the background, but other times it can result in public domain music being pulled down.

Musician Dave Colvin appears to be dealing with the latter, as he noted in a frustrated Facebook post about how the publishing arms of the major labels keep claiming copyright on public domain cover songs that he's been recording and posting to YouTube. The end result is that, even though all of these claims are bogus, YouTube is threatening to take away his ability to monetize his account, and have already disabled it on a public domain song.

I am fed up with YouTube. Several times I have provided evidence that my video "O Little Town of Bethlehem" is a Public Domain song and each time I get an email saying the song is owned by either Warner Chappell or UMPG or Sony. Now they have disabled my being able to earn any money for the number of times the video is viewed. We are only talking about pennies but no one "owns" a Public Domain song.

They now have threatened to totally disable my account from monetizing any of my videos because of multiple "false" claims of ownership. Since there is no way to speak to a human being directly, there will never be a way to convince them of the error of their ways....Fed up!

(And just to cut this argument off before it even begins: you can absolutely make money from public domain material, you just can't stop others from doing the same thing). Again, this isn't the first time we've seen this kind of thing, and it's a situation that YouTube really needs to figure out a solution to.

Filed Under: business models, contentid, copyfraud, dave colvin, monetization, music, public domain
Companies: google, sony music, universal music, warner chappell

119 Comments

Google Lifts The Veil On Copyright Takedowns: Reveals Detailed Data On Who Requests Link Removals

from the data-data-data dept

Thu, May 24th 2012 12:03pm — Mike Masnick

As part of Google's ongoing Transparency Report efforts, today the company has released a whole new section on copyright takedowns, containing a huge amount of information on the many takedown requests Google receives. It focuses specifically on the takedowns for search links, but I wouldn't be surprised to see them add other areas later. As you may recall, we were among those who were victimized by a bogus takedown, and a key post about SOPA that we had written was missing from Google search for about a month.

The new transparency platform lets you dig in and see quite a few details about exactly who is issuing takedowns and what they're removing from search. It's using data since last July (when Google set up an organized web-form, so the data is consistent). It may be a bit surprising, but at the top of the list? Microsoft, who has apparently taken down over 2.5 million URLs from Google's search results. Most of the the others in the top 10 aren't too surprising. There's NBC Universal at number two. The RIAA at number three (representing all its member companies). BPI at number five. Universal Music at number seven. Sony Music at number eight. Warner Music doesn't clock in until number 12.

There's also data on which sites are most frequently targeted, which (not surprisingly) lists out a bunch of torrent search sites and file lockers and such. Don't be surprised to see some try to claim that this is an accurate list of "rogue sites" that Google should block entirely. However, if you look carefully at the data, Google also highlights the percentage of pages on those sites for which they've received takedowns, and the vast majority of them are well below 1%. In other words, no one has complained about well over 99% of the pages on these sites. It seems pretty drastic to suggest that these sites are obviously nothing but evil, when so many of their pages don't seem to receive any complaints at all.

Perhaps more important, however, is that Google is also revealing the incredible deluge of takedown requests it receives in search, each of which it tries to check to make sure they're legitimate. As it stands now, Google is processing over 250,000 such requests per week -- which is more than they got in the entire year of 2009. For all of 2011, Google receive 3.3 million copyright takedowns for search... and here we are in just May of 2012, and they're already processing over 1.2 million per month. And while we've heard reports from the usual Google haters that Google is slow to respond to takedowns, it says that its average turnaround time last week was 11 hours. Think about that for a second. It's reviewing each one of these takedowns, getting 250,000 per week... and can still process them in less than 12 hours. That's pretty impressive.

It's also interesting to hear that these reviews catch some pretty flagrant bogus takedown requests:

At the same time, we try to catch erroneous or abusive removal requests. For example, we recently rejected two requests from an organization representing a major entertainment company, asking us to remove a search result that linked to a major newspaper’s review of a TV show. The requests mistakenly claimed copyright violations of the show, even though there was no infringing content. We’ve also seen baseless copyright removal requests being used for anticompetitive purposes, or to remove content unfavorable to a particular person or company from our search results.

It's good to see Google catch these, as plenty of other sites would automatically take such content down, just to avoid any question of liability. Of course, it doesn't catch them all. Some get through -- as we ourselves discovered a few months ago. That led us to wonder if this tool could drill down and find the details about takedowns targeting Techdirt, ~~but unfortunately at the moment there doesn't seem to be any way to actually search the list. Hopefully that will change soon~~. Update: The search function is not currently advertised anywhere, but you can access it by using a URL: http://www.google.com/transparencyreport/removals/copyright/domains/yourdomain.com/

Of course, this is also a good reminder -- as they note in the Google blog post -- that if you run a website, you should absolutely sign up to use Google's Webmaster tools, which will quickly inform you when one of your URLs are targeted by such a takedown, allowing you to easily file a counternotice.

Either way, this is really fascinating data and an interesting platform, shedding some significant light on just how often copyright holders are trying to take links out of Google, who's doing it and who they're targeting.

Filed Under: data, dmca, takedown, transparency
Companies: bpi, google, microsoft, nbc universal, riaa, sony music, universal music, warner music

141 Comments

Crowdfunding Projects: It Helps To Let Your Personality Shine Through

Business Models

from the my-fantasy-baseball-team-needs-help dept

Mon, May 7th 2012 3:57pm — Mike Masnick

You may recall a few weeks back, we had a guest post from musician Erin McKeown about her reaction to finding out that a Sony Music artist had copied one of her songs without credit, and the copied song was now becoming a hit. That story kicked off quite a discussion. A few days later, I actually got to meet Erin in person at the Innovate/Activate conference, and we had a really enjoyable chat about the whole thing. So I was interested to see that Erin recently launched a crowdfunding project for her new album on PledgeMusic. PledgeMusic is a platform that's similar to Kickstarter, but focused just on music (obviously). It has some nice features (music player plus the ability to share some of the proceeds with charities) and some oddities (total goal amount isn't clear, and no way to embed anything?!), but if you understand Kickstarter, you'll understand what's going on here.
Of course, tons of musicians (and other creators) have jumped on the crowdfunding bandwagon over the past few years, so just seeing "yet another" project isn't newsworthy by itself. But what struck me about Erin's approach was that some of the tier offerings solidified an idea that had been bouncing around in my head lately about these kinds of projects: the ones that work are somehow uniquely personal to the artist in question. Figuring out what goes into the tiers is always something of a challenge, but I think going with purely generic tiers doesn't do much. I've said before that it's important for artists to understand the kind of relationship they have with their fans and build on that, and it appears that Erin does exactly that with her tier options. Some of them are just amusing, like offering her first Spotify check to a backer, or the anti-SOPA petition video she did during the SOPA fight.

But then there are some that seem like they're totally out of left field... and many of them really show off Erin's personality. Things like having her buy some books for you. Or spending an hour fixing your fantasy baseball game. Or actually going to a baseball game or a museum with her. Or, best of all, getting to play a game of wiffle ball with her and some friends (she seems to like baseball).

Now, again, quirky tier options aren't a new idea. We've been writing about them for years, and I know how some of our usual critics will react: with horror at the idea that Erin has to help people with their fantasy baseball teams to get them to support her music. Hell, we heard exactly that criticism three years ago when we highlighted Josh Freese's hilarious tiers, which included things like playing mini-golf with you, or getting lunch at PF Changs, having him wash your car, or giving you a tour of Disney land. To this day, one of our usual critics still brings up the mini-golf example derisively, arguing that if the new business model means musicians have to play mini-golf with their fans to get their support, the new model is a failure.

But that totally misses the point. No one is arguing that playing mini-golf or wiffle ball with your fans is the future of the music business. We're saying it's all about the kind of person you are and how you connect with your fans. That is, what works has to be something that is unique to the artist's personality, and which fits well with the kinds of things that make fans like that artist in the first place. One assumes that Josh chose minigolf and Erin chose baseball/wiffleball not because it was some horrific thing that they didn't like, but precisely the opposite: because those things are fun to them and they wanted to offer up something fun and unique that they could share with their fans as well. And, in both cases, it seems like they're succeeding.

These kinds of offerings help the artist not just make money, but to better connect with their fans by letting their own unique personality shine through. It's that kind of personality that makes people want to support the artists. It's not because they want to play mini-golf or wiffle ball, but that they like supporting the artist in a manner where the artist gets to have fun as well. And that's pretty cool.

Filed Under: copying, crowdfunding, erin mckeown, innovate/activate, reason to buy
Companies: kickstarter, sony music

45 Comments

Weird Al Wonders Why Sony Music Never Gave Him His White & Nerdy Cut Of YouTube's Equity Payout

Music Industry

from the white-and-nerdy dept

Tue, Apr 3rd 2012 3:02pm — Mike Masnick

Back when Google bought YouTube in 2006, one of the side notes on the deal which didn't get that much attention was that right before the deal closed, YouTube gave a bunch of equity to the major record labels, structured more or less as a payoff in exchange for not suing YouTube for a few years. The most beautiful part in all of this for the labels, of course, was that they got a ton of free cash which they never planned to share with artists. Since the deal was done as equity, the labels could insist that it had nothing to do with royalties, and they could keep the whole amount -- and they did. But, of course, if artists expected the labels to protect their interests, they were out of luck.

It seems that some artists are finally bringing this point out. We've covered the many, many lawsuits over the past few years where artists are suing their labels over whether or not iTunes purchases count as a sale (tiny royalty) or a license (big royalty). However, some are also bringing up other wrongs. Eminem's producers, FBT, who were one of the first of these cases, specifically called out the fact that they never received any of the YouTube money.

And, now, Weird Al Yankovic is joining the party. In yet another one of these lawsuits about the difference between a license and a sale, Weird Al also focuses on the missing YouTube payments and points out that his song White & Nerdy was hugely popular on YouTube around the time of the buyout.

This may be a difficult legal argument to win, but if Weird Al (or, rather, his production company Ear Booker Enterprises) can show that Sony Music did the equity deal under that structure specifically to avoid paying out royalties, things could get interesting, especially for other artists whose work was popular on YouTube at the time...

Filed Under: royalties, termination rights, weird al
Companies: sony music, youtube

14 Comments

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20:09	DC Comics Goes To UK High Court Over Trademark Granted To Unilever For 'Wonder Mum' (7)
15:57	Some Senators Are Freaking Out Because The White House Is Pitching Some Extremely Minor Police Reforms (26)
13:30	Techdirt Podcast Episode 311: EARN IT Is Still Bad (5)

Swedish BitTorrent User Accused Of Sharing Beyonce Album, Hit By $233,000 Lawsuit From Sony

from the that's-justice? dept

Sony Issues The 'Bob Dylan Copyright Collection Volume' Solely To Extend Copyright On Dylan's Work

from the copyright-at-work dept

No, The Major Labels Didn't Fake 2 Billion YouTube Views

from the manipulations... dept

Video About Fair Use, Remix & Culture Taken Down Over Copyright Claim (Of Course)

from the how-nice-of-them dept

Epic's 'Music First' Approach: Delay Album Release; Drop Band When They Leak It

from the uh-what? dept

Copyright Holders Still Sending DMCA Takedowns On Content That's Been Gone For Months

from the dmca-failures dept

Major Labels Claim Copyright Over Public Domain Songs; YouTube Punishes Musician

from the not-cool dept

Google Lifts The Veil On Copyright Takedowns: Reveals Detailed Data On Who Requests Link Removals

from the data-data-data dept

Crowdfunding Projects: It Helps To Let Your Personality Shine Through

from the my-fantasy-baseball-team-needs-help dept

Weird Al Wonders Why Sony Music Never Gave Him His White & Nerdy Cut Of YouTube's Equity Payout

from the white-and-nerdy dept

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from the that's-justice? dept

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from the not-cool dept

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