Answered my own questions, and it makes this whole idea more ridiculous. From another pdf on the SAMRO site:
"Strangely enough, however, this Bill will have the effect of making it illegal for Mutwa, Mhlophe or any of their colleagues to share traditional stories in published books without facing reams of red tape. Firstly, the author would now need to secure the permission of the indigenous community that claims ownership of that story. Further, the copyright in the published edition of the story will no longer belong to the author, but to a government trust fund. So let us say an author decides to write a book telling a traditional Zulu children’s tale. Which Zulu community is entitled to lay claim to the story? The entire KwaZulu-Natal region? How about the Zulu people in the Eastern Cape?
The simple answer is: no one knows because the Bill does not say how one identifies an indigenous community. Worse still, it doesn’t even provide a way of proving that a community’s claim is, in fact, genuine."
This doesn't even make sense. Owning a copyright requires a copyright owner. If they did lock up public domain works, who gets the money? The government? Some public trust? Whomever can prove some vague connection to the work in question? If the works of Shakespeare were copyrighted, I doubt any content creator would be getting money. More likely it would just be some publishing company with money to bully it's way to the front of the line.
It's a great business plan. Provide a service that people want, but be as annoying as possible without driving them away. Then offer to be less annoying for money. I'm going to try that.
Plus, the Harrod's font reminds of, oh, about half the company logos from the 50s and 60s I've ever seen. How long before somebody that predates their 1967 design sues them?
My thoughts exactly. I have a day job so I can afford the time and money to make music. Fortunately my day job is music so I can stand it. But I only make about 1/5th of my income from my own music every year. It's freeing to remove the stress of putting food on the table. This band has some good ideas. I made my first experiment in free about 2 years ago. The torrent has been downloaded thousands of times, but I've had no feedback. All the downloads are nice, but I have no way of knowing if people like it, or even listen to it. Next time, I will have to do something like this to encourage more interaction.
Every time I hear another stupid idea like this, I picture the boardroom meetings from The Hudsucker Proxy. That's how these organizations must function.
Yeah, I spent about 5 seconds hassling with that login bullshit. What a joke. Does a content provider really have a right to do that? Can't they already tell who my service provider is by my IP address that accessed their site (hence why the Canadian streams seem to be blocked for me)?
I have to take issue with one thing. I'm a person who likes the events no one cares about. Only via the internet was I able to get my fill of fencing in the 08 games. Yes, I like fencing, gotta problem with that? I also found the table tennis to be way more interesting than expected. I personally don't give a crap about basketball, figure skating, or many of the "big name" olympic events. The online content can serve a niche market. Also, is a delay really bad if being live means being up at 2am?
I would like to be able to see everything online though. I'm one of those freaks that doesn't even have a tv.
Or, rather than move on or die out, you find a smaller niche you can be successful in. Such is the case for valves which, even with advances in digital modeling, find happy homes in guitar amps and high end audiophile equipment.
Re:
Re: Who gets a piece?
"Strangely enough, however, this Bill will have the effect of making it illegal for Mutwa, Mhlophe or any of their colleagues to share traditional stories in published books without facing reams of red tape. Firstly, the author would now need to secure the permission of the indigenous community that claims ownership of that story. Further, the copyright in the published edition of the story will no longer belong to the author, but to a government trust fund. So let us say an author decides to write a book telling a traditional Zulu children’s tale. Which Zulu community is entitled to lay claim to the story? The entire KwaZulu-Natal region? How about the Zulu people in the Eastern Cape?
The simple answer is: no one knows because the Bill does not say how one identifies an indigenous community. Worse still, it doesn’t even provide a way of proving that a community’s claim is, in fact, genuine."
Who gets a piece?
(untitled comment)
anotomy of a record deal
(untitled comment)
Great idea
Re: Re:
Re: @2 better reread #1
Re: Re: Re: Re: Ummmm
(untitled comment)
The Ministry of Love?
Re:
(untitled comment)
(untitled comment)
Re: It's gotta be easier to pirate the streams!
Facepalm doesn't quite cover it
Re: Trademarking an entire state?
Re: Re:
(untitled comment)
Re: Another example...
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