The Copyright Law Is A Ass


Article I, Section 8, Clause 8 of the United States Constitution, known as the Copyright Clause, the Copyright and Patent Clause (or Patent and Copyright Clause), the Intellectual Property Clause and the Progress Clause, empowers the United States Congress:
“ To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.

Note the word “limited”.

The current law says that copyright is for the “life of the author plus 70 years and for works of corporate authorship to 120 years after creation or 95 years after publication, whichever endpoint is earlier. Copyright protection for works published prior to January 1, 1978, was increased by 20 years to a total of 95 years from their publication date.”

I’d like to say that the continuing extensions of the copyright law is unconstitutional. I’d LIKE to say that, but I can’t, because the Supreme Court ruled otherwise in 2003.

To be fair, this law is more or less consistent with the Berne convention, signed by the United States in 1988

But in a more fundamental way, there seems to be a gross lack of understanding about copyright generally. Copyright protection is not an absolute. People can use other people’s copyrighted materials all the time through fair use, use in reviews, parody.

An interesting take on copyright comes from Paul Rapp, intellectual property lawyer from around these parts. He is also F. Lee Harvey Blotto, drummer of the almost legendary band Blotto.

Web portals like YouTube are protected by the “safe harbor” provisions of a law called the Digital Millennium Copyright Act, which says that YouTube generally doesn’t have to actively monitor what’s being posted on its site. Once the portal is informed that there’s infringing stuff posted, it has a duty to investigate and take down offending material. This merely reaffirms that it’s the copyright owners’ duty to police its copyright, not someone else’s. In other words, it’s Viacom’s job, not YouTube’s.

This makes perfect sense. Because often the copyright owner is fine that their stuff has been posted without permission. A few years ago I noticed that folks had posted Blotto’s old videos on YouTube. My reaction was “great, now I don’t have to do it.” I’d been meaning to do it myself but was too lazy to figure out how. We wanted the videos up, for whatever promotional value they might bring. Somebody even posted “Lifeguard” under the heading “Worst 80’s Video Ever.” It’s closing in on a quarter-million hits, and the comments are amazing. And I ain’t touchin’ it.

And I’m certainly not alone here. Lots of copyright owners turn a blind eye to “unauthorized” posts…

Several times a day someone sends me a YouTube link, usually of some old music video that’s brilliant, funny, or revealing, often all three at once. Does somebody own the copyrights to these things? Undoubtedly. Did they put them up themselves? Maybe, maybe not. And are they mad that their stuff’s on the internet? Probably not. They’re probably delighted.

So copyright, both in law and as a practical matter, is not as “obvious” or “simple” as it may appear.
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And speaking of intellectual property gone awry, I think it’s reprehensible that one company can “own” a patent on human genes and I was thrilled when the company Myriad lost a ruling over breast cancer-gene patents, a suit brought by the ACLU, plus the March of Dimes and a number of medical organizations.

ROG

The Pirate Life QUESTIONS


Well, it’s another Talk Like A Pirate Day. Frankly, I always thought I had an “in” in this pirate game. After all, my original name is Jolly Roger, though I have taken on the pirate name of Cap’n Jim Poopdeck for the nonce.

So, matey, I’ve got me some questions for you lubbers:

1. How many of the pirate laws do you follow? To be honest, I only got about one-fifth of them, but one of them is definitely #65.

2. Who are your favorite pirates? Here are some suggestions. If none of these are suitable, you may consider Pittsburgh Pirates, Tampa Bay Buccaneers, and I suppose, Oakland Raiders (but no L.A. Raiders; that was just WRONG). I’ve always been fond of Jean Laffite, Roberto Clemente, Willie “Pops” Stargell and Daryle Lamonica. In fact, the last two times I ever wagered on a baseball game involved Pirates; 1979, “pop’s team. Down 3-1 in the World Series to Baltimore, I picked them to win, in turn, Games 5 and 6. but I wasn’t brave enough to pick them for game 7, which they also won. Arrrr!

3. You’ve no doubt heard about how Kayne West pirated the VMAs from Taylor Swift and how President Obama called him a jackass. There was a Twitter poll and 90% thought Obama was justified. The question: who are the other 10%?
a. people who don’t think Obama should use the word “jackass”
b. people who don’t think Obama should comment on popular culture issues
c. people who don’t think Obama should talk at all
d. people who support the actions of Kayne West

4. I think the Muppet folks pirated Janice Muppet’s name from Janis Joplin, but pirated the look from Mary Travers of Peter, Paul and Mary, who died this week. Anyone else see the resemblance?

Jaquandor posted some PPM music videos though not including the one I REALLY wanted and in fact can’t find anywhere, Big Blue Frog. Ironically, I CAN find that song being performed by…you guessed it, the Muppets.
I saw the trio numerous times on TV, probably including this one, plus live at a number of rallies for one cause or another.
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Mark Evanier had a nice obit of Henry Gibson, who also died this week. His last Twitter post was an R.I.P. for Larry Gelbart. My favorite of his roles may have been one of his last ones, as the most peculiar judge, Clark Brown, on Boston Legal, where he’d purloin the scene from the other actors.

Copyright Orphans

Paul Rapp “is an intellectual-property lawyer with offices in Albany and Housatonic, Mass. He teaches art-and-entertainment law at Albany Law School, and regularly appears as part of the Copyright Forum on WAMC’s Vox Pop.” He writes a regular column on intellectual property rights.

His most recent column addresses the “Orphan Works” copyright and potential legislation regarding it. What is an orphan work? Paul cites Meredith L. Patterson’s Radio Free Meredith where she uses this example about “your parent’s wedding pictures from 1955. You want to publish them? Guess what? The copyrights are probably owned by the photographer! Who was who? And is now where? You don’t know? Uh-oh.” The proposed bill, H.R.5889, the Orphan Works Act of 2008, seeks to provide “limitation[s] on remedies in cases involving orphan works.”

Rapp wrote just before the actual legislation was introduced, but still got it right. “The legislation will…seek to rectify the problem of lingering, abandoned copyrights, to loosen this stranglehold of ghosts on our culture, by allowing the reuse of pre-existing materials in situations where after a reasonably diligent effort, no copyright owner has been located. If, after the work is re-published, a copyright owner shows up and says ‘that’s mine’, the copyright owner will be entitled to a reasonable licensing fee for the use, but won’t be able to stop the use.”

If this legislation had been enacted, the case about the use of the street artist’s picture for their business that one of my library colleagues wrote about last month would almost certainly have applied.

Rapp, BTW, is a/k/a Lee Harvety Blotto, drummer for the legendary Albany band, Blotto.ROG

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