Penmachine
13 January 2009
Popeye is public domain
Slowly, some of our more familiar modern cultural icons are becoming public domain, and now Popeye is one of them.
Labels: americas, art, copyright, publicdomain
12 January 2009
Opening up music
Since the early days of this blog, I've written about how I dislike copy prevention technologies for software, music, and movies—and have hated them since my early days of computer use more than 25 years ago. That's because it's never wise to treat your customers as your enemies.
Today, crusading Canadian copyright lawyer and professor Michael Geist writes about how finally, slowly (at least for music), the big companies might be getting it. Until 2008, the recording industry was intent on suing file sharers, locking files with DRM copy prevention, and pushing through crummy copyright legislation. Now:
The decision to drop the lawsuit strategy was long overdue as it had accomplished little more than engender significant animosity toward the industry [and] helped to convince some of Canada's best-known artists to speak out against the practice.
[...]
Apple, the dominant online music seller, announced that it will soon offer millions of songs from all four major record labels without digital locks [which] reflects the recognition that frustrating consumers with unnecessary restrictions is not a particularly good business model.
[...]
In addition to the privacy, security, and consumer concerns with such legislation, laws to protect digital locks seem increasingly unnecessary given the decision to abandon their use in the primary digital sales channel.
I don't know if these changes mean that the recording industry is figuring out effective ways to do business in the Internet file-sharing world, or whether it is just giving up on failed strategies, but I find the trend encouraging. In practical terms, it means that, with six functioning computers for four people in this house, we won't have to worry too much about iTunes letting songs purchased from the iTunes Store play on only five computers anymore.
Alas, movies, audiobooks, and such are another story entirely.
Labels: apple, canada, controversy, copyright, itunes, music
26 August 2008
Old Navy's non-Olympic clothing line
I'm sure that Old Navy (being part of the Gap/Banana Republic clothing empire) has some excellent lawyers, who must have had giggled a little when they checked out, and then approved, these hoodie designs I saw for sale last week at the store:
They're some reasonably funky retro Olympic track tops commemorating selected cities that have held or will hold Olympics over the past few decades (Tokyo, Mexico City, Los Angeles, Beijing, Vancouver). Except they're not, really. Old Navy is not an official Olympic sponsor or licensee. There are no Olympic logos or anything on these items of clothing, and the designers were careful to avoid even trademarked phrases, such as "Vancouver 2010."
Instead, you get a hoodie with "VANCOUVER" on the back and a simple "10" on the front, plus "BEIJING" and "08," "LOS ANGELES" and "84," "MEXICO" and "68," and "TOKYO" and "64." Simply commemorating a city and a number, see? Any Olympic association is purely coincidental, of course. I'm particularly impressed with the groovy lettering for Mexico, which cheekily apes the famous psychedelic '68 Olympics logo (scroll down at this Olympics branding site to compare). The Tokyo lettering is pretty similar too.
This might be an example of The Man thumbing his nose at The Man, but I have to admire the effort Old Navy expended to nearly, but just barely not, infringe on Olympic copyrights and trademarks. Given that, in many cases, very little of the billions of dollars that the IOC rakes in from sponsorships and licensing seems to go to the athletes themselves, I don't mind having a chuckle at it either.
Labels: clothing, controversy, copyright, design, olympics, shopping
23 June 2008
Sayonara, "Search Engine"
A couple of months ago I noted that the Canadian Broadcasting Corporation has two technology-focused radio shows, "Spark" and "Search Engine," and that I couldn't always figure out how they were supposed to differ. (In the comments, Darren Barefoot noted that one way to tell is that "'Search Engine' almost always comes with a sense of righteous indignation, which gets a bit old after a while.")
It looks like CBC also wondered why they had both shows, and has now dissolved "Search Engine" as a radio show by having host Jesse Brown report on technology for other CBC Radio programs. This despite "Search Engine" being one of the network's most-downloaded podcasts. So there will still be a compilation podcast, and the blog will continue too.
That's not a bad solution. Of the two shows, I prefer Nora Young's lifestyle-focused "Spark" over Brown's more politically obsessed "Search Engine" anyway, and "Spark" is coming back in much the same form as before. "Search Engine" will be quite different, since Brown will be working on his own without a team of correspondents, producers, and researchers. We'll see how that goes.
It's worth listening to the last regular show of "Search Engine," however. In it, Brown interviews Canadian Industry Minister Jim Prentice about the lousy new Canadian copyright legislation currently before the House of Commons. Prentice doesn't come across well—but in this case, I think the righteous indignation is appropriate.
Labels: cbc, controversy, copyright, government, podcast, radio
08 June 2007
The Manual by the KLF
Years ago, my friend Tara gave me a copy of The Manual by the KLF, which even then was horribly out of date, completely focused on the U.K., and still pungently accurate as well as funny.
It describes how, in 1988 or so, you could follow a methodical plan to get a #1 single in Britain with no musical talent whatsoever. In the intervening years several people in several countries have modified its instructions to do just that, or come close.
I loaned the book to my other friend Sebastien and never got around to asking for it back, but it turns out the whole text is online anyway, so have at it.
Labels: band, copyright, ebooks, fairuse, friends, klf, music, radio, recording
03 June 2007
There's public in that thar public domain
If a piece of art or other work is old enough, it becomes public domain, like Da Vinci's "Mona Lisa." That means anyone can reproduce it at no charge—the original creator (who is long dead) no longer holds copyright to it. Nobody owns it anymore, and it is free for anybody to use as they wish, including doing funny things with it.
In Canada, the works of an author generally become public domain 50 years after the end of the year in which he or she dies (sooner, apparently, for music recordings—does that mean early Elvis recordings are free for the taking here now?). So, for instance, the paintings of Emily Carr, who died in 1945, became public domain over a decade ago.
Interestingly, Michael Geist points out that many musems and galleries attempt to assert copyright over reproductions of public domain works, including Emily Carr paintings, and charge significant fees to make those reproductions.
But, he argues, court cases are beginning to establish that "while museums are understandably searching for revenue streams, doing so on the basis of misleading copyright claims is not the way to do it." We all need to remember copyright law, like patent and trademark law, is not like a law of physics; rather it is a human invention designed to foster creativity by balancing the rights of creators and the general public.
You'd never know it the way some copyright maniacs behave these days, but it's true.
Labels: art, copyright, davinci, emilycarr, fairuse, monalisa, piracy, publicdomain