As some of you know, we’ve been posting podcasts that follow along with the 20 Questions for New Artists article. The latest is now up on iTunes and is #22 in the podcast list and covers the key topic of insurance for bands. We refer to MusicPro Insurance in the podcast (www.musicproinsurance.com) which is a leading insurance broker in covering bands. Please, please, please make sure you have at least your instruments insured.
Chris has a new podcast up on iTunes and Stitcher “More Bunk from the CCIA”, subscribe at http://itunes.apple.com/us/podcast/musictechpolicy.com-podcast/id392020035
Chris posted “One for You, Nineteen for Me: Is Kickstarter Money Taxable?” on the Semaphore Music blog. It’s a short explanation of tax issues with taking crowfunding money.
Very funny cartoon from our friend Faza on Cynical Musician illustrating (literally) that there is no such thing as a free beer. (Read this one and this one first.) Hat tip to Felix “BYOB” Oberholzer-Gee.
There are some for whom the connection between the Poker Prof and The Second Story Man are obvious. For some, it is absolutely clear that the “ethics” that Mr. Swartz was taught at Harvard lead directly–perhaps with guidance–to his indictment. Others would say that there’s no proof of that “leap”. How would we ever know exactly what the student was taught? How could we reconstruct what the fly on the wall would have heard during office hours?
We would get close to that experience by watching this video of Lessig’s recent lecture at CERN (April 2011)–it does take an hour or so–but see how you feel about that “leap” after sitting through the significant part of the lecture devoted to JSTOR bashing.
And then decide if Lessig’s reference that JSTOR is the “RIAA of academy” (at 16:14) is the kind of thing that would have seductive powers to a certain group of the disaffected members of the complicit community joined together by his unifying ideology. That for some could justify a leap to the crimes of which the accused was indicted. (Aside from the fact that the analogy is completely off base–the RIAA doesn’t license anything, and even when the copyright owners bring litigation, that is exactly what happens. The copyright owners bring the litigation, not the RIAA, aside from one lawsuit over a decade ago.)
Do you think that if someone like Lessig compares anyone to the RIAA he is giving the dog whistle that it’s OK to hate? Maybe by comparing JSTOR to the RIAA he was seeking to accomplish this? And do you think that any conversation he may have had with students, particularly fellows who probably get more individualized attention, also made this comparison?
And if the comparison was made, do you think that it was made in the subdued and reasonable sounding tone of a public speech at a leading institution that he knew would be covered by the press and recorded for posterity, or do you think it was more likely to be in that kind of rambling diatribe that produces quotes like “Hollywood needs to get over it.”
Was it the final “attaboy” that was needed to push the student into martyrdom?
“brain of a high school student”
The Birdabroad blog is a great personal blog of an ex-pat American living in China. She does humanitarian work and lives in the Kumming area of China. Kumming is in the interior of the country and is not particularly close to places where non-Chinese travel much. (This is not an easy life, by the way.)
She’s not really part of the IP community (either friend or foe) but has written a remarkable post about one of the most brassy examples of commercial grade theft I’ve ever seen. And if you know China, you will also know that it is very unlikely that it could occur without the…ahem…”approval” let’s say…of the Chinese government and the Peoples Liberation Army.
It has been my impression over the years that the really bad stuff on IP takes place more commonly in these locations where the people probably know that they are buying knockoffs, but like the U.S. Government Accountability Office, are thankful for the positive effects of crime on their economy.
So what Birdabroad has discovered is an Apple Store in China (see her post, complete with photos “Are You Listening Steve Jobs?”). Wait, you say–there are no Apple Stores in China! Correct.
But there is a knockoff of an Apple Store, complete with Genius Bar, employees with those scanner thingys around their necks, and–a very complete set of counterfeit Apple products by the look of things.
So when you hear about all the progress that China is making on recognizing intellectual property rights, think about this, what went into building a fake Apple Store, and how the authorities who permitted its construction must have thought they could get away with it. And as Guy Forsyth says, “Nothing says freedom like getting away with it.”
No second story men needed on this one, they just took it in broad daylight because there was no one to stop them–and maybe there were lots of somebodies who encouraged them to benefit from the positive effects of crime.
See also “GAO Still Stonewalling on Sources for ‘Stealing is Good’ Report”
Lower Dens (Baltimore) “Tea Lights” @lowerdens
Emeli Sande (Glasgow) “Maybe” @emelisande
Laze & Royal (LA) “Thrashed” @lazeandroyal
Alex Clare (London) “Treading Water” @alexanderclare
As MTP readers will recall, we’ve been big fans of Crunch Digital for a while. Crunch recently announced that BMG Chrysalis had selected Crunch as a provider for the publisher’s licenses for cloud and streaming services (see “BMG Rights Chooses Crunch Digital for the Clound and Beyond“).
Today, Universal Music Publishing Group (UMPG), the world’s leading music publishing company announced that UMPG also selected Crunch as a provider for data management for “selected cloud and Internet streaming music services….Crunch Digital’s PDX Service™ centralizes data flow under licenses from publishers to the licensed music services and improves the accuracy of royalty reporting.” The company is now covering about 30% of the global publishing market.
As I’ve always said, it all starts with getting a straight count.
See also: Smoke on the Water Part 1: Accounting for the Cloud
See also: Interview with Keith Bernstein of Crunch Digital