The song "Space Oddity" is under copyright protection in most countries, and the rights to it belong to Mr Bowie. But compulsory-licensing rights in many nations mean that any composition that has been released to the public (free or commercially) as an audio recording may be recorded again and sold by others for a statutorily defined fee, although it must be substantively the same music and lyrics as the original. But with the ISS circling the globe, which jurisdiction was Commander Hadfield in when he recorded the song and video? Moreover, compulsory-licensing rights for covers of existing songs do not include permission for broadcast or video distribution. Commander Hadfield's song was loaded onto YouTube, which delivers video on demand to users in many countries around the world. The first time the video was streamed in each country constituted publication in that country, and with it the potential for copyright infringement under local laws. Commander Hadfield could have made matters even more complicated by broadcasting live as he sang to an assembled audience of fellow astronauts for an onboard public performance while floating from segment to segment of the ISS.
We live in a world where sending a guitar into space is trivial while ironing out rights agreements is the tough part. (via waxy)
"It took the case and decided it at a time when it was still a big election issue," O'Connor said during a talk with the Chicago Tribune's Editorial Board on Friday. "Maybe the court should have said, 'We're not going to take it, goodbye.'"
The case, she said, "stirred up the public" and "gave the court a less than perfect reputation."
"Obviously the court did reach a decision and thought it had to reach a decision," she said. "It turned out the election authorities in Florida hadn't done a real good job there and kind of messed it up. And probably the Supreme Court added to the problem at the end of the day."
After Sandy Hook, after twenty children were shot and killed at a place where they should have been safe from all harm, there was some optimism among supporters of gun control: perhaps now, finally, both Democrats and Republicans could see the light -- and the suffering-and revive the assault -- weapons ban. It was a futile hope.
Less than a week after Adam Lanza shot up an elementary school, it was already basically clear that an assault-weapons ban could not pass Congress-that it probably couldn't even get through the Democratic-controlled Senate, never mind the House. So it was hardly a surprise when, three months later, Senate Majority Leader Harry Reid announced that the ban would be removed from a larger gun-control package that is making its way through the upper chamber and given a separate vote that it will not survive. The scale of the defeat suffered by the ban's supporters, though, is shocking. This wasn't a close call; it was a body blow.
I haven't forgotten Sandy Hook. We drive by there every time we go to Vermont. I think about those kids almost every day. Sometimes when I think about them, I close my eyes and see my 5-year-old son cowering in the corner of his classroom as a black-clad figure toting a machine gun bears down on him. And then the tears come. I can't stand that this is what America is; that we trade our children's lives for the opportunity to purchase items specifically invented for killing. I can't stand it. It's pathetic and embarrassing and barbaric.
"We were saddened to learn that Junior, a loving father and teammate, suffered from CTE," the family said in a statement released to the AP. "While Junior always expected to have aches and pains from his playing days, none of us ever fathomed that he would suffer a debilitating brain disease that would cause him to leave us too soon.
"We know this lawsuit will not bring back Junior. But it will send a message that the NFL needs to care for its former players, acknowledge its decades of deception on the issue of head injuries and player safety, and make the game safer for future generations."
Plaintiffs are listed as Gina Seau, Junior's ex-wife; Junior's children Tyler, Sydney, Jake and Hunter, and Bette Hoffman, trustee of Seau's estate.
The lawsuit accuses the league of glorifying the violence in pro football, and creating the impression that delivering big hits "is a badge of courage which does not seriously threaten one's health."
It singles out NFL Films and some of its videos for promoting the brutality of the game.
Seau is a pretty boldfaced name...I wonder what effect this will have on public perception, etc.
In The Hobbit, Bilbo Baggins signs a contract with a company of dwarves to serve as their burglar in their quest to reclaim the Lonely Mountain from a dragon. Lawyer James Daily analyzed the contract in detail for Wired.
Even in the book's version we see an issue: the dwarves accept Bilbo's "offer" but then proceed to give terms. This is not actually an acceptance but rather a counter-offer, since they're adding terms. In the end it doesn't matter because Bilbo effectively accepts the counter-offer by showing up and rendering his services as a burglar, but the basic point is that the words of a contract do not always have the legal effect that they claim to have. Sometimes you have to look past the form to the substance.
I hereby submit my nomination for the most underreported public policy story of the past year: The continuing decline in the number of Americans who are behind bars or on probation/parole. Both the change itself and low level of attention it has garnered are worthy of reflection.
At the time of President Obama's inauguration, the incarceration rate in the United States had been rising every single year since the mid 1970s. The relentless growth in the proportion of Americans behind bars had persisted through good economic times and bad, Republican and Democratic Presidents, and countless changes in state and local politics around the country.
If a public policy trend with that much momentum had even slowed significantly, it would have been merited attention, but something far more remarkable occurred: The incarceration rate and the number of people under correctional supervision (i.e., including people on probation/parole) declined for three years in a row. At the end of 2011, the proportion of people under correctional supervision returned to a level not seen since the end of the Clinton Administration.
Commenters over at Marginal Revolution dug into the report a bit more and the decline may have a lot to do with things like state budget cuts and less to do with things like fewer/shorter prison sentences.
In an editorial for the NY Times in 1993 called Guns Don't Kill People. Bullets Do., US Senator Daniel Patrick Moynihan described a bill he introduced in the Senate which would have levied a 10,000% tax on hollow-point bullets.
"So far this year, 342 New Yorkers have been killed by stray bullets. And in the past few days, two young women were shot in their pregnant bellies." A. M. Rosenthal wrote that on this page last Tuesday, the day of the Long Island shooting. By Thursday there were 11 more homicides. If we are to stop it, or come anywhere close, we have to get hold of the ammunition.
On Nov. 3, I introduced a bill that would levy a 10,000 percent tax on Winchester hollow-tipped "Black Talon" bullets, specifically designed to rip flesh. (Colin Ferguson, the suspect in the Long Island shootings, had some 40 of them.)
The tax would effectively raise the price of Black Talons from $20 a box to $2,000. On Nov. 22, 19 days after my bill was introduced, Winchester announced that it would cease sale of Black Talons to the public. Which suggests that the munitions manufacturers are more responsive than the automobile companies were a generation ago. It is also important to note that in 1986 Congress banned the Teflon-coated "cop killer" bullet, which penetrates police body armor. The Swedes are now making a new kind of armor-piercing round. We got that banned in the Senate version of this year's crime bill without a murmur.
In a nutshell, almost everything ordinary Americans think they know about the Bill of Rights, including the phrase 'Bill of Rights,' comes from the Reconstruction period. Not once did the Founders refer to these early amendments as a bill of rights. We read everything through the prism of the 14th amendment -- including the right to bear and keep arms.
The Fourteenth Amendment has a lot of parts, among them the definition of citizenship, Civil War debt, due process, and equal protection. Amar wrote more about the interplay between the 2nd and 14th Amendments for Slate in 2008.
But the 14th Amendment did not specifically enumerate these sacred privileges and immunities. Instead, like the Ninth, the 14th invited interpreters to pay close attention to fundamental rights that Americans had affirmed through their lived experience-in state bills of rights and in other canonical texts such as the Declaration of Independence and landmark civil rights legislation. And when it came to guns, a companion statute to the 14th Amendment, enacted by Congress in 1866, declared that "laws ... concerning personal liberty [and] personal security ... including the constitutional right to bear arms, shall be secured to and enjoyed by all the citizens." Here, in sharp contrast to founding-era legal texts, the "bear arms" phrase was decisively severed from the military context. Women as well as men could claim a "personal" right to protect their "personal liberty" and "personal security" in their homes. The Reconstruction-era Congress clearly understood that Southern blacks might need guns in their homes to protect themselves from private violence in places where they could not rely on local constables to keep their neighborhoods safe. When guns were outlawed, only outlaw Klansmen would have guns, to paraphrase a modern NRA slogan. In this critical chapter in the history of American liberty, we find additional evidence of an individual right to have a gun in one's home, regardless of the original meaning of the Second Amendment.
In October 2011, after 20 years of living legally in the United States, Atanas Entchev and his 21-year-old son were detained by the US Immigration and Customs Enforcement agency, given orange jumpsuits to wear, and held for 65 days. Entchev is writing a book about his experience called My American Lemonade.
Day after day from my bunk, I listened to the immigration stories of my roommates. We all had one. Mine involved over 20 years of countless dollars spent on lawyers who would help me navigate the paperwork and court dates necessary for immigration, based on my request for political asylum. Meanwhile I strived to be tops in my field, starting with a presidential certificate from George H. W. Bush and receiving an Outstanding Professor designation from INS, ICE's predecessor agency. I started my own company, paid taxes, and raised two children here. But that obviously wasn't enough. I had failed at giving me and my family what we wanted most: U.S. citizenship. I dug deep, used what my family had taught me about resolve and hope, and thought a lot about my past to remind myself why I'd left Bulgaria. Why I'd bothered. The irony was especially palpable to me lying in that bunk, recalling the moment I knew for sure I must leave.
Entchev is one of kottke.org's most thoughtful readers...he's been sending email, links, and typo corrections regularly for more than four years now. From what I understand, he's completed a book proposal consisting of the first three chapters and is looking for an agent. If you can help him out in that regard, drop him a line.
PM: Mr. House, are you involved with the Bradley Manning Support Network?
DH: I invoke.
PM: Did you respond in the affirmative when asked by the FBI if you had heard of known WikiLeaks associate Jacob Appelbaum?
PM: I would like to state for the record that Mr. House is not answering the question and is instead taking notes.
DH: I invoke.
PM: Do you intend to answer any of my questions, aside from your date of birth and your name?
DH: I invoke.
PM: Is that because of the phalanx of attorneys present here today?
Court Stenographer: I'm sorry, the what of attorneys?
PM: Phalanx... the phalanx of attorneys.
DH: As to the phalanx of attorneys, I invoke.
I had no idea grand jury testimony could be so amusing. I love that House offers to help with the presentation display when the DOJ attorneys are having trouble making the image bigger.
The Court's ruling means, that unless Congress acts, in 2014 all Americans will be required to purchase health insurance in the most sweeping overhaul of the nation's health care system since the Great Society. The Court, according to early analysis, redefined the mandate as a tax, skirting some Constitutional questions but offering a dramatic affirmation to Obama's key initiative.
This is an imperfect law. But what's most important is that it provides a structure under which the country can make a start not only on universal coverage -- as an ethical imperative -- but on doing away with the waste and inefficiencies created by the chronic market failure of the US health insurance system. Again, that matters. And I suspect that there's no going back.
On Thursday, 80 lawsuits against the NFL related to brain injuries and concussions were combined into one complaint and filed in Philadelphia. The suit also names helmet maker Ridell, and if I'm reading the article correctly, 2100 former players are involved in the case.
Former running back Kevin Turner, now suffering from Lou Gehrig's Disease, said:
The NFL must open its eyes to the consequences of its actions. The NFL has the power not only to give former players the care they deserve, but also to ensure that future generations of football players do not suffer the way that many in my generation have. For the longest time, about the first 10 years after I retired in January 2000, I thought I had just turned into a loser overnight. I couldn't figure out what was wrong. It was a very scary proposition -- until I found out there were a lot more guys just like me. I find they had been through some of the same struggles. I realized this is no longer a coincidence.
Back in February, we linked to a Grantland piece by economists Tyler Cowen and Kevin Grier about head injuries leading to the end of the NFL. In their version, injuries to high school and college students result in lawsuits making the sport prohibitively expensive to offer to their students (along with a perception that it's too dangerous for kids to play).
Is this case the beginning of that timeline? Depending on what comes out in the lawsuit, one (unjust) popular opinion will be that the players should have known they were playing a dangerous game and they were handsomely rewarded to boot. It's not really a fair opinion, but people love their football. (You can see evidence of this in the comments to the ESPN article linked at the top.) A best case scenario, I would think, would be for the NFL to settle with some sort of acknowledgement of the issue. Not lip-service, but actual changes to current policies and future support for former players.
In happier NFL news, Trick Shot Quarterback, Alex Tanney was signed yesterday by the KC Chiefs. Regardless of setting the NCAA Division III record for passing with 14,249 yards, the NCAA record for touchdowns with 157, and only throwing 30 interceptions in college, Tanney had gone undrafted.
Many other glaring discrepancies also stand out in the DeLuna case. He was put on death row largely on the eyewitness testimony of one man, Kevan Baker, who had seen the fight inside the Shamrock and watched the attacker flee the scene.
Yet when Baker was interviewed 20 years later, he said that he hadn't been that sure about the identification as he had trouble telling one Hispanic person apart from another.
Then there was the crime-scene investigation. Detectives failed to carry out or bungled basic forensic procedures that might have revealed information about the killer. No blood samples were collected and tested for the culprit's blood type.
Fingerprinting was so badly handled that no useable fingerprints were taken. None of the items found on the floor of the Shamrock - a cigarette stub, chewing gum, a button, comb and beer cans - were forensically examined for saliva or blood.
There was no scraping of the victim's fingernails for traces of the attacker's skin. When Liebman and his students studied digitally enhanced copies of crime scene photographs, they were amazed to find the footprint from a man's shoe imprinted in a pool of Lopez's blood on the floor - yet no effort was made to measure it.
"There it was," says Liebman. "The murderer had left his calling card at the scene, but it was never used."
Even the murder weapon, the knife, was not properly examined, though it was covered in blood and flesh.
Other photographs show Lopez's blood splattered up to three feet high on the walls of the Shamrock counter. Yet when DeLuna's clothes and shoes were tested for traces of blood, not a single microscopic drop was found. The prosecution said it must have been washed away by the rain.
The death on Friday of Adam Yauch, best known as the Beastie Boys' MCA, surely sent many of us back to old albums we may not have heard for a while. And anyone who threw on Paul's Boutique, the Boys' best album, was surely struck by the sense that they don't make records like that anymore. That's not just because tastes and styles have changed. The entire album is based on lavish sampling of other recordings. "Shake Your Rump," which leads Slate's #MCATracks playlist, features samples of 14 songs by 12 separate artists. In all, the album is thought to have as many as 300 total samples. The sampling gave Paul's Boutique a sound that remains almost as distinctive today as it was when it was released in 1989.
Perhaps the main reason-and certainly the saddest reason-that it still sounds distinctive is that a rapidly shifting legal and economic landscape made it essentially impossible to repeat.
"Big Hy" -- his handle among many loyal customers -- would almost certainly be cast as Hollywood Enemy No. 1 but for a few details. He is actually Hyman Strachman, a 92-year-old, 5-foot-5 World War II veteran trying to stay busy after the death of his wife. And he has sent every one of his copied DVDs, almost 4,000 boxes of them to date, free to American soldiers in Iraq and Afghanistan.
With the United States military presence in those regions dwindling, Big Hy Strachman will live on in many soldiers' hearts as one of the war's more shadowy heroes.
"It's not the right thing to do, but I did it," Mr. Strachman said, acknowledging that his actions violated copyright law.
The IPA is a new way to do patent assignment that keeps control in the hands of engineers and designers. It is a commitment from Twitter to our employees that patents can only be used for defensive purposes. We will not use the patents from employees' inventions in offensive litigation without their permission. What's more, this control flows with the patents, so if we sold them to others, they could only use them as the inventor intended.
This is a significant departure from the current state of affairs in the industry. Typically, engineers and designers sign an agreement with their company that irrevocably gives that company any patents filed related to the employee's work. The company then has control over the patents and can use them however they want, which may include selling them to others who can also use them however they want. With the IPA, employees can be assured that their patents will be used only as a shield rather than as a weapon.
Last Summer, Alabama passed HB56, the most sweeping immigration bill in the country. It's an example of a strategy called "attrition through enforcement" or, more colloquially, "self-deportation" -- making life so hard on undocumented immigrants that they choose to leave the country. But as reporter Jack Hitt found, the new law has had lots of other unintended consequences.
Since then no country has been allowed to apply for membership or association with the European Union without, as a precondition, dismantling its apparatus of execution. This has led states like Turkey to forego what was once a sort of national staple. The United Nations condemns capital punishment-especially for those who have not yet reached adulthood-and the Vatican has come close to forbidding if not actually anathematizing the business. This leaves the United States of America as the only nation in what one might call the West, that does not just continue with the infliction of the death penalty but has in the recent past expanded its reach. More American states have restored it in theory and carried it out in practice, and the last time the Supreme Court heard argument on the question it was to determine whether capital punishment should be inflicted for a crime other than first-degree murder (the rape of a child being the suggested pretext for extension).
Hitchens, as you may have guessed, pins much of the blame on religion...after all, the US is the most (or only?) fundamentalist country in the West. (via ★interesting-links)
The former cop sprang from his chair and rushed toward me, and before I could step back, the stocky arms of the ex-boxer were curled around my shoulders. To my left, I saw a crowd of faces; to my right, a place setting. One knife, one fork, and one dull spoon wrapped in a white cloth napkin -- not much help if he started strangling me. The arms tightened, and then the high-pitched, soft-spoken voice I recognized from the witness stand whispered, "Thank you."
My chest sank with a long exhale, and a whirlwind of high-powered suits and smiles rose from their glasses of Cabernet. They floated toward me with outstretched hands and watery eyes, the aroma of freshly baked focaccia robiolas mixing with their cologne. One floor below, diners in this Murray Hill Italian restaurant chattered away ignorant of the strange encounter at the top of the back staircase. The man hugging me was supposed to be the monster I had spent seven weeks analyzing and seven days judging. This was Kenneth Moreno, Rape Cop.
I haven't read the piece but The Awl's Choire Sicha has:
It's a fascinating read, and I mean that in a very honest sense. In large part it's about how unbelievably important jury service is in America, and about how we treat those accused of crimes. Whether you like the verdict or not, or whether you like the case presented by prosecutors or not (SIGH), this view into the thinking and process of the jurors is really valuable.
Finally got around to listening to the excellent episode of This American Life on patents: When Patents Attack! The episode surveys the state of the US patent system, using Nathan Myhrvold's smarmy Intellectual Ventures as a hook to tell the story.
In polls, as many as 80 percent of software engineers say the patent system actually hinders innovation. In other words, it does exactly the opposite of what it's supposed to do. It doesn't encourage them to come up with new ideas and create new products, it actually gets in their way.
At a time when our future affluence depends so heavily on innovation, we have drifted toward a patent regime that not only fails to fulfil its justifying function, to incentivise innovation, but actively impedes innovation.
Aaron Swartz, a 24-year-old programmer and online political activist, was indicted Tuesday in Boston on charges that he stole over four million documents from the Massachusetts Institute of Technology and JSTOR, an archive of scientific journals and academic papers. (Read the full indictment.)
The charges were filed by the United States Attorney for the District of Massachusetts, Carmen M. Ortiz, and could result in up to 35 years in prison and a $1 million fine.
In a press release, Ms. Ortiz's office said that Mr. Swartz broke into a restricted area of M.I.T. and entered a computer wiring closet. Mr. Swartz apparently then accessed the M.I.T. computer network and stole millions of documents from JSTOR.
26. This time around, Swartz circumvented MIT's guest registration process altogether when he connected to MIT's computer network. By this point, Swartz was familiar with the IP addresses available to be assigned at the switch in the restricted network interface closet in the basement of MIT's Building 16. Swartz simply hard-wired into the network and assigned himself two IP addresses. He hid the Acer laptop and a succession of external storage drives under a box in the closet, so that they would not be obvious to anyone who might enter the closet. January 4 through 6, 2011
27. On January 4, 2011, Aaron Swartz was observed entering the restricted basement network wiring closet to replace an external hard drive attached to his computer.
28 On January 6, 2011, Swartz returned to the wiring closet to remove his computer equipment. This time he attempted to evade identification at the entrance to the restricted area. As Swartz entered the wiring closet, he held his bicycle helmet like a mask to shield his face, looking through ventilation holes in the helmet. Swartz then removed his computer equipment from the closet, put it in his backpack, and left, again masking his face with the bicycle helmet before peering through a crack in the double doors and cautiously stepping out.
Moments ago, Aaron Swartz, former executive director and founder of Demand Progress, was indicted by the US government. As best as we can tell, he is being charged with allegedly downloading too many scholarly journal articles from the Web. The government contends that downloading said articles is actually felony computer hacking and should be punished with time in prison.
"This makes no sense," said Demand Progress Executive Director David Segal; "it's like trying to put someone in jail for allegedly checking too many books out of the library."
"It's even more strange because the alleged victim has settled any claims against Aaron, explained they've suffered no loss or damage, and asked the government not to prosecute," Segal added.
James Jacobs, the Government Documents Librarian at Stanford University, also denounced the arrest: "Aaron's prosecution undermines academic inquiry and democratic principles," Jacobs said. "It's incredible that the government would try to lock someone up for allegedly looking up articles at a library."
Last fall and winter, JSTOR experienced a significant misuse of our database. A substantial portion of our publisher partners' content was downloaded in an unauthorized fashion using the network at the Massachusetts Institute of Technology, one of our participating institutions. The content taken was systematically downloaded using an approach designed to avoid detection by our monitoring systems.
The downloaded content included over 4 million articles, book reviews, and other content from our publisher partner's academic journals and other publications; it did not include any personally identifying information about JSTOR users.
We stopped this downloading activity, and the individual responsible, Mr. Swartz, was identified. We secured from Mr. Swartz the content that was taken, and received confirmation that the content was not and would not be used, copied, transferred, or distributed.
The criminal investigation and today's indictment of Mr. Swartz has been directed by the United States Attorney's Office.
As for what Swartz was planning to do with all these documents, it's not difficult to guess...he's done something like this before (this isn't actually a very good guess...see the update below):
Those courts, with the help of the Government Printing Office, had opened a free trial of Pacer at 17 libraries around the country. Mr. Malamud urged fellow activists to go to those libraries, download as many court documents as they could, and send them to him for republication on the Web, where Google could get to them.
Aaron Swartz, a 22-year-old Stanford dropout and entrepreneur who read Mr. Malamud's appeal, managed to download an estimated 20 percent of the entire database: 19,856,160 pages of text.
Then on Sept. 29, all of the free servers stopped serving. The government, it turns out, was not pleased.
A notice went out from the Government Printing Office that the free Pacer pilot program was suspended, "pending an evaluation." A couple of weeks later, a Government Printing Office official, Richard G. Davis, told librarians that "the security of the Pacer service was compromised. The F.B.I. is conducting an investigation."
Lawyers for Mr. Malamud and Mr. Swartz told them that they appeared to have broken no laws, noting nonetheless that it was impossible to say what angry government officials might do.
Twice bitten, indictment? Is that how the saying goes?
Update: This is a more accurate guess as to what Swartz wanted with the JSTOR documents: analyse the documents as part of his on-going work with "the corrupting influence of big money on institutions"...and *not* to free non-copyrighted information from an inefficient gatekeeper as with the PACER data. From the front page of his web site.
He is the author of numerous articles on a variety of topics, especially the corrupting influence of big money on institutions including nonprofits, the media, politics, and public opinion. In conjunction with Shireen Barday, he downloaded and analyzed 441,170 law review articles to determine the source of their funding; the results were published in the Stanford Law Review. From 2010-11, he researched these topics as a Fellow at the Harvard Ethics Center Lab on Institutional Corruption.
We were a bit surprised to receive a notice on Monday from Caters News, telling us they represented David Slater with respect to the syndication of those photos, and asking us to take down the photos. The notice was not a DMCA takedown notice. It doesn't even mention copyright, though that seems like the only basis upon which they would make such a takedown request. And, to be clear, it was not in the least bit threatening. There is no legal language and no threat at all in the note.
When asked for clarification by Techdirt, a representative from Caters replied:
Michael, regardless of the issue of who does and doesn't own the copyright -- it is 100% clear that the copyright owner is not yourself. You have blatantly 'lifted' these photographs from somewhere -- I presume the Daily Mail online. On the presumption that you do not like to encourage copyright theft (regardless of who owns it) then please remove the photographs.
Onionesque. Please someone interview the monkey about his/her views on this.
After seven months of legal wrangling, we reached a settlement. Last September, I paid Maisel a sum of $32,500 and I'm unable to use the artwork again. (On the plus side, if you have a copy, it's now a collector's item!) I'm not exactly thrilled with this outcome, but I'm relieved it's over.
But this is important: the fact that I settled is not an admission of guilt. My lawyers and I firmly believe that the pixel art is "fair use" and Maisel and his counsel firmly disagree. I settled for one reason: this was the least expensive option available.
At the heart of this settlement is a debate that's been going on for decades, playing out between artists and copyright holders in and out of the courts. In particular, I think this settlement raises some interesting issues about the state of copyright for anyone involved in digital reinterpretations of copyrighted works.
Unfortunately, Baio's post does nothing to dissuade me that Maisel is a joyless putz. Seeing this kind of behavior from large clueless companies is almost expected but from a a fellow creative artist? Inexcusable. Surely some reasonable arrangement could have been made without visiting enormous stress and a $30K+ bill onto a man with a young family. Disgusting.
Paul Ford is writing on Ftrain.com again and it's just super. Today's post is a short story that extrapolates our present cultural preoccupation with lawsuits, privacy, and surveillance into a future where anyone can bring a lawsuit for copyright violations against a fetus.
We had gone to a baseball game at the beginning of the season. They had played a song on the public address system, and she sang along without permission. They used to factor that into ticket price -- they still do if you pay extra or have a season pass -- but now other companies handled the followup. And here was the video from that day, one of many tens of thousands simultaneously recorded from gun scanners on the stadium roof. In the video my daughter wore a cap and a blue T-shirt. I sat beside her, my arm over her shoulder, grinning. Her voice was clear and high; the ambient roar of the audience beyond us filtered down to static.
"Well do you mind if I look around the car a little bit?" Well my glove compartment is locked, so is the trunk in the back And I know my rights, so you gon' need a warrant for that
And the answer:
Consenting to a voluntary search is never a good idea, especially if you have felony weight on you. The standard to search the glove compartment is actually fairly low in California, since it's accessible to the driver. I'm not sure how the locked status interferes with it being a glove compartment. The trunk can be opened if the car is impounded, for inventory reasons, which is a common way to get evidence. However, a locked case inside the trunk will not be opened (depends on the state).
A jury foreman in a criminal case describes his experience and what the jury ultimately decided (or actually, didn't decide).
These are the facts we were given as a jury, facts upon which we were to decide if a boy was guilty of a crime that would put him in prison for 10 years. We were admonished to consider all of the facts but nothing outside of them. Don't consider the sentence, or the age, or the race, or anything unrelated to what we heard while sitting in the juror box. Just focus on the facts that are presented. Yet, we were also told, time and again, that our Constitution is absolutely unwavering in its mission to protect the innocent, that no matter how clear-cut the evidence may seem, the burden of proof in criminal cases always, always, always falls on the prosecution. The boy sitting in that chair next to a pair of public defenders, possibly wearing borrowed clothes to look presentable in court, is innocent until he is proven guilty beyond a reasonable doubt.
These images are from a set of 1,075 photographs -- shot over five days last year for the book and exhibition, "Contraband" -- of items detained or seized from passengers or express mail entering the United States from abroad at the New York airport. The miscellany of prohibited objects -- from the everyday to the illegal to the just plain odd -- attests to a growing worldwide traffic in counterfeit goods and natural exotica and offers a snapshot of the United States as seen through its illicit material needs and desires.
1. Why is there a comma after "The Pulse News Reader app" in the laywer's note to Apple?
2. The very same NY Times ran a positive review of the very same Pulse a few days ago. Doh!
3. Seems like all the Pulse guys need to do is unbundle the NY Times feeds and open the actual nytimes.com pages into a generic browser window and all is good.
4. I wonder why the Times et al. haven't complained about Instapaper yet. It might not technically infringe on copyright, but magazines and newspapers can't be too happy about an app that strips out all the advertising from their articles...as much as we would all be sad to see it go.
According to the complaint, Goldman created Abacus 2007-AC1 in February 2007, at the request of John A. Paulson, a prominent hedge fund manager who earned an estimated $3.7 billion in 2007 by correctly wagering that the housing bubble would burst.
Goldman let Mr. Paulson select mortgage bonds that he wanted to bet against -- the ones he believed were most likely to lose value -- and packaged those bonds into Abacus 2007-AC1, according to the S.E.C. complaint. Goldman then sold the Abacus deal to investors like foreign banks, pension funds, insurance companies and other hedge funds.
But the deck was stacked against the Abacus investors, the complaint contends, because the investment was filled with bonds chosen by Mr. Paulson as likely to default. Goldman told investors in Abacus marketing materials reviewed by The Times that the bonds would be chosen by an independent manager.
In defending itself against a copyright lawsuit brought by Viacom, YouTube notes that the media company has been surreptitiously uploading its copyrighted content to YouTube for years.
For years, Viacom continuously and secretly uploaded its content to YouTube, even while publicly complaining about its presence there. It hired no fewer than 18 different marketing agencies to upload its content to the site. It deliberately "roughed up" the videos to make them look stolen or leaked. It opened YouTube accounts using phony email addresses. It even sent employees to Kinko's to upload clips from computers that couldn't be traced to Viacom. And in an effort to promote its own shows, as a matter of company policy Viacom routinely left up clips from shows that had been uploaded to YouTube by ordinary users. Executives as high up as the president of Comedy Central and the head of MTV Networks felt "very strongly" that clips from shows like The Daily Show and The Colbert Report should remain on YouTube.
I heard that the staff of the Daily Show and Colbert Report upload the shows to YouTube as soon as they can after the shows air and then the next day, lawyers from Comedy Central hit YouTube with takedown requests for the uploaded shows.
"I love the idea of taking the friction out of the art world," said Mr. Conrad. "A lot of people want to buy nice things, but don't know how. Jen has built a business from that, which is growing very nicely and has a lot of repeat customers."
 In light of the new FTC guidelines for disclosure by bloggers2, a few somewhat relevent statements. 1. 20x200 has in the past paid $1200 to sponsor the kottke.org RSS feed. 2. I have linked to 20x200 and Jen Bekman's gallery several times on kottke.org, for which Jen Bekman has thanked me, which is a good feeling, to be thanked, and perhaps that subconsciously predisposes me towards future linking because who doesn't like to be thanked? 3. Jen Bekman is a friend. 4. I also know Caterina Fake, Zach Klein, and Scott Heiferman socially; they are a few of 20x200's angel investors. 5. I am a resident of New York City, in which 20x200 is headquartered. 6. I have purchased art from 20x200 in the past. 7. I may have received a 20x200 print from Jen Bekman herself, either as a straight-up gift or as a promotional item. Honestly, I can't remember if she gave me anything, what it was, or the circumstances of the giving. 8. I have received 20x200 prints as gifts from others. They are thanked. 9. I know my wife and my wife knows Jen Bekman. 10. I may have unwittingly posed for photos next to 20x200 artwork hanging in my residence or in the residences of others, giving the impression that I am endorsing said artwork. Apologies. 11. I have agreed to, at some point in the future, curating a selection of artworks for 20x200 and then chatting casually with Jen Bekman about my choices, an edited transcript of which will appear on the 20x200 web site. As far as I know, no payment for this service is forthcoming and if it was, I would refuse it politely. 12. Jen Bekman's dog's name is Ollie. So is my son's. ↩
 Why just for bloggers? Do New York Times book, music, and movie reviewers disclose that they received review copies for free? ↩
The Supreme Court ruling in the Bryan case was expansive. More than just a ruling on taxation, it declared that states and the feds had the right to police the reservation only in the interest of "law and order" and had no civil or regulatory jurisdiction over sovereign Indian nations. Until this time, tribes and states more or less assumed that states had civil and regulatory power on reservations. But the Supreme Court maintained that as sovereign nations, Indian tribes had always had the right to govern themselves (including civil and regulatory powers), just as all nations do, and that tribes should deal with the U.S. federal government, not with states. Kansas, for example, has no power to levy taxes in Luxembourg -- and not only because Luxembourg is far away.
It is the U.S. Constitution, and not some competitive agglomeration of communities or constituencies, that makes a citizen the sovereign of his own home and privacy. There is absolutely no legal requirement to be polite in the defense of this right.
Does this mean that nearly all of Twitter's content is in the public domain? Or can you copyright a collection of tweets...the entire output of one person, for instance?
Brock sent along a short reply to my question, reprinted here with his kind permission:
This is information and not advice: It's possible (and likely) that the majority of individual Tweets are in the public domain. But copyright protection may extend to a compilation of otherwise non-protectable Tweets. The question of whether 'you' can do that as opposed to the author of those Tweets is tricky and would depend on how it's done. If the compilation is authored in such a way as to suggest a false designation of origin (i.e., that the person compiling the Tweets actually authored them), you might run into false designation claims. Also, as a practical matter, you may still get sued and forced to spend tens of thousands of dollars to defend a lawsuit you might otherwise win - if you can afford to get to trial. In the end, if you are a Tweet author and want to protect your Tweets, then you should probably compile them and seek protection with the US Copyright Office. If that works out for you, you're set. If the Copyright Office denies your application for registration, you have your answer.
I admit, I think a protectable Tweet exists in theory. I have read hundreds if not thousands of Tweets and have yet to read one I believe would be protectable, but the possibility exists. The question is not: Are Tweets Copyrightable. The question is: Is This Tweet Copyrightable. The copyrightability of Tweets is not dependent on the fact that they are Tweets. Rather, it's dependent on the analysis of the Tweet in question. The all-encompassing response that all Tweets are either protected or not protected is misguided. The real response is that it depends. However, when you analyze most Tweets, they would never individually pass copyright muster.
Does this mean that nearly all of Twitter's content is in the public domain? Or can you copyright a collection of tweets...the entire output of one person, for instance? Let's say I want to publish Tweatise: The Wit and Wisdom of Merlin Mann, an unabridged book of Merlin's Twitter stream...can I do that?
On the fifteenth anniversary of the genocide, Rwanda is one of the safest and most orderly countries in Africa. Since 1994, per-capita gross domestic prduct has nearly tripled, even as the population has increased by nearly twenty-five per cent, to more than ten million. There is national health insurance, and a steadily improving education system. [...] Most of the prisoners accused or convicted of genocide have been released. The death penalty has been abolished. And Rwanda is the only nation where hundred of thousands of people who took part in mass murder live intermingled at every level of society with the families of their victims.
Like I said, complicated. This is the best thing I've read in the New Yorker in a long while.
Update: As We Forgive is a documentary film about the Rwandan reconciliation.
Can survivors truly forgive the killers who destroyed their families? Can the government expect this from its people? And can the church, which failed at moral leadership during the genocide, fit into the process of reconciliation today? In As We Forgive, director Laura Waters Hinson and narrator Mia Farrow explore these topics through the lives of four neighbors once caught in opposite tides of a genocidal bloodbath, and their extraordinary journey from death to life through forgiveness.
When foreigners come to our culture, we tell stories as entertainment. Daniel's stories were not serious narrative, and Daniel had no idea he was being interviewed for publication. He has never killed anyone or raped a woman. He certainly has never stolen a pig.
I get the impression that Diamond has spent a lot of time in Papua New Guinea and, as a result, might not be taken in so easily by locals telling tall tales. Indeed, a fact-checking research team was told by one of the men in question that "the stories he told Diamond were in fact true".
"Like so many restaurants across New York City, Saigon Grill was run on the backs of its workers," Mr. Cuomo said in a statement. "These workers allowed the business to thrive, and in exchange they were allegedly cheated out of wages, fined for ridiculous reasons" and, he said, "pulled into a painstaking ploy to cover it all up."
Tuesday's filing said Judge Rittenband, who is now dead, intentionally violated a plea agreement with Mr. Polanski after having engaged in what it called "repeated unethical and unlawful ex parte communications" with a deputy district attorney who was not involved in the prosecution, but was independently advising the judge.
A federal judge has awarded $4.6 million in back pay and damages to 36 delivery workers at two Saigon Grill restaurants in Manhattan, finding blatant and systematic violations of minimum-wage and overtime laws.
We live right around the corner from one of the SGs and have avoided eating there despite the decent and close Vietnamese food. The fired workers were out in front of the place protesting for months and months...it's great to see hard work pay off like that, particularly when the protestors probably couldn't actually afford to be out there.
As anticipated, Muxtape was unable to maintain its original form under assault from the RIAA and slow moving legal negotiations with the labels.
The first red flag came in August. Up until then all the discussion had been about numbers, but as we closed in on an agreement the talk shifted to things like guaranteed placement and "marketing opportunities." I was denied the possibility of releasing a mobile version of Muxtape. My flexibility was being constricted. I had been worried about Muxtape getting a fair deal, but my biggest concern all along was maintaing the integrity and experience of the site (one of the reasons I wanted to license in the first place). Now it wasn't so simple; I had agreed to a variety of encroachments into Muxtape's financials because I wanted to play ball, but giving up any kind of editorial or creative control was something I had a much harder time swallowing.
Instead, the site will become more of a stripped-down MySpace for bands wanting to put their music online. Disappointing because Muxtape, as originally conceived, was obviously what everyone but the "music industry" wanted. Some of that simplistic magic will likely transfer over to the new incarnation but it won't be as cool as mix tapes for your pals. (thx, mark)
Update: For posterity, I'm pasting Justin's whole note in here.
I love music. I believe that for people who love music, the desire to share it is innate and crucial for music itself. When we find a song we love, we beckon our friends over to the turntable, we loan them the CD, we turn up the car stereo, we put it on a mixtape. We do this because music makes us feel and we want someone else to feel it, too.
The story of Muxtape began when I had a weekly show at my university's radio station in Oregon. In addition to keeping the station's regular log I compiled my playlists into a web page, with each show represented by a simple block that corresponded to a cassette recording for that week. At the time, mixtapes were already well into their twilight, but long after my show ended I couldn't stop thinking about how the playlist page served a similar purpose, and in many ways served it better. Like a mixtape, each playlist was a curated group that was greater than the sum of its parts. Unlike a mixtape, it wasn't constrained by any physical boundaries of dissemination, but... it also didn't contain any actual music. Someone might come across the page and smile knowingly at the songs they knew, but shifting the burden of actually compiling the mix to its intended listener defeated the purpose entirely.
Five years later, internet technology had advanced significantly. I was working on experimental user interfaces for web sites when I started thinking about that playlist page again, and ultimately set out to bring it to life. My desire to share music (in the mixtape sense) hadn't gone anywhere, but the channels to do so were becoming extinct. Popular blogging services allow you to post audio files in an ephemeral sort of way, but it wasn't the context I was looking for. A physical cassette tape in your hands has such an insistent aesthetic; just holding one makes you want to find a tape player to fulfill its destiny. My goal with Muxtape's design was to translate some of that tactility into the digital world, to build a context around the music that gave it a little extra spark of life and made the holder anxious to listen.
The first version was a one-page supplement to my tumblr, and was more or less identical to what it would become later. The feedback was great, and the number one question rapidly became "can you make one for me, too?" At first I started thinking about ways I could package the source code, but the more I thought about it the more it seemed like massively wasted potential. Distributing the source would mean limiting access to the small niche of people who operate their own web server, whereas I wanted to make something that was accessible to anyone who loves music. The natural conclusion was a centralized service, which suddenly unfolded whole other dimensions of possibility for serendipitous music discovery. What seemed before like the hollow shell of a mixtape now seemed like its evolution. I knew I had to try building it. Three weeks of long nights later, I launched Muxtape.
It was successful very quickly. 8,685 users registered in the first 24 hours, 97,748 in the first month with 1.2 million unique visitors and a healthy growth rate. Lots of press. Rampant speculation. Tech rags either lauded it or declared it an instant failure. Everyone was excited. I was thrilled.
There was a popular misconception that Muxtape only survived because it was "flying under the radar," and the moment the major labels found out about it it'd be shut down. In actuality, the labels and the RIAA read web sites like everyone else, and I heard from them both within a week or so. An RIAA notice arrived in triplicate, via email, registered mail, and FedEx overnight (with print and CD versions). They demanded that I take down six specific muxtapes they felt were infringing, so I did.
Around the same time I got a call from the VP of anti-piracy at one of the majors. After I picked up the phone his first words were, "Justin, I just have one question for you: where do I send the summons and complaint?" The conversation picked up from there. There was no summons, it was an intimidation tactic setting the tone for the business development meeting he was proposing, the true reason for the call. Around the same time another one of the big four's business developers reached out to me, too.
I spent the next month listening. I talked to a lot of very smart lawyers and other people whose opinions on the matter I respected, trying to gain a consensus for Muxtape's legality. The only consensus seemed to be that there was no consensus. I had two dozen slightly different opinions that ran the gamut from "Muxtape is 100% legal and you're on solid ground," to "Muxtape is a cesspool of piracy and I hope you're ready for a hundred million dollar lawsuit and a stint at Riker's."
In the end, Muxtape's legality was moot. I didn't have any money to defend against a lawsuit, just or not, so the major labels had an ax over my head either way. I always told myself I'd remove any artist or label that contacted me and objected, no questions asked. Not a single one ever did. On the contrary, every artist I heard from was a fan of the site and excited about its possibilities. I got calls from the marketing departments of big labels whose corporate parents were supposed to be outraged, wanting to know how they get could their latest acts on the home page. Smaller labels wanted to feature their content in other creative ways. It seemed obvious Muxtape had value for listeners and artists alike.
In May I had my first meeting with a major label, Universal Music Group. I went alone and prepared myself for the worst, having spent the last decade toeing the indie party line that the big labels were hopelessly obstinate luddites with no idea what was good for them. I'm here to tell you now that the labels understand their business a lot better than most people suspect, although they each have their own surprisingly distinct personality when it comes to how they approach the future. The gentlemen I met at Universal were incredibly receptive and tactful; I didn't have to sell them on why Muxtape was good for them, they knew it was cool and just wanted to get paid. I sympathized with that. I told them I needed some time to get a proposal together and we left things in limbo.
A few weeks later I had a meeting with EMI, the character of which was much different. I walked into a conference room and shook eight or nine hands, sitting down at a conference table with a phonebook-thick file labeled "Muxtape" laying on it. The people I met formed a semi-circle around me like a split brain, legal on one side and business development on the other. The meeting alternated between an intense grilling from the legal side ("you are a willful infringer and we are mere hours from shutting you down") and an awkward discussion with the business side ("assuming we don't shut you down, how do you see us working together?"). I asked for two weeks to make a proposal, they gave me two days.
I had to make a decision. As I saw it I had three options. The first was to just shut everything down, which I never really considered. The second was to ban major label content entirely, which might have solved the immediate crisis, but had two strong points against it. The first, most visibly, was that it would prevent people from using the majority of available music in their mixes. The second was that it did nothing to address the deeper questions surrounding ownership and usage for everyone else who wasn't a major label: mid-size labels and independent artists who have just as fundamental a right to address how their content is used as a large corporation, even if they don't carry quite as big a stick.
The third option was to approach a fully licensed model, which I had been edging toward since I met with Universal. I knew other licensed services so far had met with mixed success, but I also knew Muxtape was different and that it was at least worth exploring. The question about whether or not the labels saw value in it had been answered, the new question was how much it was going to cost.
It was June. I approached a Fifth Ave law firm about representing me in licensing negotiations with the major labels, and they took me on. Two weeks later I met with all four, flanked by lawyers this time, and started the slow process of working out a deal. The first round of terms were stiff and complex, but not nearly as bad as I'd imagined, and I managed to convince them that allowing Muxtape to continue to operate was in everyone's best interest. Things were going well. I spent the next two months talking with investors, designing the next phases of the site itself, and supervising the negotiations. A big concern was getting a deal that took into consideration the fact that Muxtape wasn't a straightforward on-demand service, and should pay accordingly less than a service that was. Another reason I liked the licensing option from the outset was that it seemed like an uncommon win-win; I didn't want the ability to search and stream any song at any given notice, and they were reluctant to offer it (for the price, anyway). Muxtape's unusual limitations were its strength in more ways than one.
The first red flag came in August. Up until then all the discussion had been about numbers, but as we closed in on an agreement the talk shifted to things like guaranteed placement and "marketing opportunities." I was denied the possibility of releasing a mobile version of Muxtape. My flexibility was being constricted. I had been worried about Muxtape getting a fair deal, but my biggest concern all along was maintaing the integrity and experience of the site (one of the reasons I wanted to license in the first place). Now it wasn't so simple; I had agreed to a variety of encroachments into Muxtape's financials because I wanted to play ball, but giving up any kind of editorial or creative control was something I had a much harder time swallowing.
I was wrestling with this when, on August 15th, I received notice from Amazon Web Services (the platform that hosts Muxtape's servers and files) that they had received a complaint from the RIAA. Per Amazon's terms, I had one business day to remove an incredibly long list of songs or face having my servers shut down and data deleted. This came as a big surprise to me, as I'd been thinking that I hadn't heard from the RIAA in a long time because I had an understanding with the labels. I had a panicked exchange of emails with Amazon, trying to explain that I was in the middle of a licensing deal, that I suspected it was a clerical error, and that I was doing everything I could to get someone to vouch for me on a summer Friday afternoon. My one business day extended over the weekend, and on Monday when I wasn't able to produce the documentation Amazon wanted (or even get someone from the RIAA on the phone), the servers were shut down and I was locked out of the account. I moved the domain name to a new server with a short message and the very real expectation that I could get it sorted out. I still thought it was all just a big mistake. I was wrong.
Over the next week I learned a little more, mainly that the RIAA moves quite autonomously from their label parents and that the understanding I had with them didn't necessarily carry over. I also learned that none of the labels were especially interested in helping me out, and from their perspective it had no bearing on the negotiations. I disagreed. The deals were still weeks or months away (an eternity on the internet) meaning that at best, Muxtape was going to be down until the end of year. There was also still the matter of how to pay for it; getting investment is hard enough in this volatile space even with a wildly successful and growing web site, it became an entirely different proposition with no web site at all.
And so I made one of the hardest decisions I've ever faced: I walked away from the licensing deals. They had become too complex for a site founded on simplicity, too restrictive and hostile to continue to innovate the way I wanted to. They'd already taken so much attention away from development that I started to question my own motivations. I didn't get into this to build a big company as fast as I could no matter what the cost, I got into this to make something simple and beautiful for people who love music, and I plan to continue doing that. As promised, the site is coming back, but not as you've known. I'm taking a feature that was in development in the early stages and making it the new central focus.
Muxtape is relaunching as a service exclusively for bands, offering an extremely powerful platform with unheard-of simplicity for artists to thrive on the internet. Musicians in 2008 without access to a full time web developer have few options when it comes to establishing themselves online, but their needs often revolve around a common set of problems. The new Muxtape will allow bands to upload their own music and offer an embeddable player that works anywhere on the web, in addition to the original muxtape format. Bands will be able to assemble an attractive profile with simple modules that enable optional functionality such as a calendar, photos, comments, downloads and sales, or anything else they need. The system has been built from the ground up to be extended infinitely and is wrapped in a template system that will be open to CSS designers. There will be more details soon. The beta is still private at the moment, but that will change in the coming weeks.
I realize this is a somewhat radical shift in functionality, but Muxtape's core goals haven't changed. I still want to challenge the way we experience music online, and I still want to work to enable what I think is the most interesting aspect of interconnected music: discovering new stuff.
Thank to you everyone who made Muxtape the incredible place it was in its first phase, it couldn't have happened without your mixes. The industry will catch up some day, it pretty much has to.
"It's mind-boggling that in the 21st century we can still have a child who's just left in a room like a gerbil," said Tracy Sheehan, Danielle's guardian in the legal system and now a circuit court judge. "No food. No one talking to her or reading her a story. She can't even use her hands. How could this child be so invisible?"
In California, it's pretty much legal now to buy, sell, grow, and smoke pot, provided you've got the proper documentation from a doctor, which is pretty easy to get. This article from the New Yorker details the industry that's sprung up around this legalization, filled with people who, you get the feeling, really like smoking pot for recreational and not medical reasons.
The counties of California were allowed to amend the state guidelines, and the result was a patchwork of rules and regulations. Upstate in Humboldt County, the heartland of high-grade marijuana farming in California, the district attorney, Paul Gallegos, decided that a resident could grow up to ninety-nine plants at a time, in a space of a hundred square feet or less, on behalf of a qualified patient. The limited legal protections afforded to pot growers and dispensary owners have turned marijuana cultivation and distribution in California into a classic "gray area" business, like gambling or strip clubs, which are tolerated or not, to varying degrees, depending on where you live and on how aggressive your local sheriff is feeling that afternoon. This summer, Jerry Brown, the state's attorney general, plans to release a more consistent set of regulations on medical marijuana, but it is not clear that California's judges will uphold his effort. In May, the state Court of Appeal, in Los Angeles, ruled that Senate Bill 420's cap on the amount of marijuana a patient could possess was unconstitutional, because voters had not approved the limits.
Senate Bill 420! The LAPD and DEA have taken the stance that federal law takes precedence over state law and are routinely busting people for growing, selling, and possession. It'll be interesting to see what happens in the future here.
Too Weird for The Wire, a story of a number of Baltimore drug dealers and their unusual "flesh-and-blood" defense in federal court. It's a tactic used by white supremacists and other US isolationists groups in tax evasion cases and the like.
"I am not a defendant," Mitchell declared. "I do not have attorneys." The court "lacks territorial jurisdiction over me," he argued, to the amazement of his lawyers. To support these contentions, he cited decades-old acts of Congress involving the abandonment of the gold standard and the creation of the Federal Reserve. Judge Davis, a Baltimore-born African American in his late fifties, tried to interrupt. "I object," Mitchell repeated robotically. Shelly Martin and Shelton Harris followed Mitchell to the microphone, giving the same speech verbatim. Their attorneys tried to intervene, but when Harris's lawyer leaned over to speak to him, Harris shoved him away.
David Simon, I believe you've got enough here for a sixth season of The Wire. Hop to.
I (heart) R. Kelly. Nothing gets prospective jurors booted faster than telling the prosecution they are a fan of Kelly's. Just ask the woman who called him a "musical genius." When prodded to say something negative about Kelly, the best she could come up with was: "He and [rapper] Jay-Z don't get along?" Prosecutors bounced her soon after.
Another potential juror was excused for suggesting that Kelly "led the Taliban in attacking us on 9-11".
Tolerated lawbreaking is almost always a response to a political failure -- the inability of our political institutions to adapt to social change or reach a rational compromise that reflects the interests of the nation and all concerned parties. That's why the American statutes are full of laws that no one wants to see fully enforced -- or even enforced at all.
Topics include copyright, obsenity, and drug legalization.
Louisiana pastor Eddie Thompson feels that the media and activists have gotten the story wrong about the Jena Six. In this article, he attempts to correct some of the misconceptions and erroneous statements made about the case.
The actions of the three white students who hung the nooses demonstrate prejudice and bigotry. However, they were not just given "two days suspension" as reported by national news agencies. After first being expelled, then upon appeal, being allowed to re-enter the school system, they were sent to an alternative school, off-campus, for an extended period of time. They underwent investigations by Federal and Sate authorities. They were given psychological evaluations. Even when they were eventually allowed back on campus they were not allowed to be a part of the general population for weeks.
The Sentencing Project, a research and advocacy group, released a state-by-state study of prison populations that identified where blacks endured the highest rates of incarceration. The top four states were South Dakota, Wisconsin, Iowa, and Vermont; the top ten included Utah, Montana, and Colorado -- not places renowned for their African-American subcultures. In the United States today, driving while black -- or shoplifting while black, or taking illegal drugs, or hitting schoolmates -- often carries the greatest risk of incarceration, in comparison to the risk faced by whites, in states where people of color are rare, including a few states that are liberal, prosperous, and not a little self-satisfied. Ex-slave states that are relatively poor and have large African-American populations, such as Louisiana, display less racial disparity.
A 1993 New Yorker story by John Seabook called The Flash of Genius is being made into a movie starring Greg Kinnear. The story revolves around Bob Kearns, the inventor of the intermittent windshield wiper and his struggle to get the US auto industry to pay him for infringing on his patent. "There's no question that Dr. Kearns' wiper circuit was interesting. He had a three-brush motor, with dynamic brake and intermittent on one speed only -- his system was a concatenation of a lot of different ideas. But we figured there was just no way in the world it was patentable. An electronic timing device was an obvious thing to try next. How can you patent something that is in the natural evolution of technology?"
BTW, the phrase "flash of genius" refers to a test of patentability enacted in 1941 saying that the act of invention had to be a "flash of creative genius" on the part of the inventor and not the result of tinkering. That standard was replaced in 1952 by the non-obviousness test.
Snape breaks into Hogwarts and rescues Lucius Malfoy from Azkaban Prison. Harry believes that he can defeat Snape and Voldemort only by strenuously practicing charms. Professor Slughorn, inspired by a book from the East provided by Cho Chang called "Thirty-Six Strategies," devises a plan enabling Harry to seize Snape in the Ministry of Magic. But Gryffindor's sword, which hung in the headmaster's office, assassinates Professor McGonagall.
When Harry confronts Voldemort at Azkaban, the Dark Lord tries to win Harry over as a fellow descendant of Slytherin. Harry refuses, and together with Ron and Hermione, kills Voldemort instead. Now what will Harry do about his two girlfriends?
In another of the books, Harry is assisted by Gandalf. No appearances by Han and Chewy, AFAIK.
Regarding the food plagiarism business from yesterday, Ed Levine reports that he visited both restaurants yesterday and has some further thoughts on the situation. I think he nails it with this observation: "He was her right-hand man for six years, with complete and unfettered access to her creativity, recipes, craftsmanship, and even the combination to her safe. Charles is a smart, fiercely independent, tough-minded chef and businessperson who misplaced her trust when she gave her chief lieutenant all that access. McFarland, bereft of his own ideas, decided to open what is, for all intents and purposes, a clone of Pearl."
Many parallels here to the design/art/film world...what is mere inspiration versus outright theft? The key question in these kinds of cases for me is: does the person exercise creativity in the appropriation? Did they add something to it instead of just copying or superficially changing it? Clam shacks are everywhere in New England, but an upscale seafood establishment with a premium lobster roll is a unique creative twist on that concept brought to NYC by Charles. An upscale clam shack blocks away from a nearly identical restaurant at which the owner used to work for six years...that seems a bit lame to me, not the work of a creative restaurateur. Who knows how this stuff is going to play out legally; it's a complex issue with lots of slippery slope potential.
Time to lower the drinking age? "The age at highest risk for an alcohol-related auto fatality is 21, followed by 22 and 23, an indication that delaying first exposure to alcohol until young adults are away from home may not be the best way to introduce them to drink."
Jeffrey Toobin, the New Yorker's legal writer, has penned a piece about Google's book scanning efforts and the legal challenges it faces. Interestingly, both Google and the publishers who are suing them say that the lawsuit is basically a business negotiation tactic. However, according to Larry Lessig, settling the lawsuit might not be the best thing for anyone outside the lawsuit: "Google wants to be able to get this done, and get permission to resume scanning copyrighted material at all the libraries. For the publishers, if Google gives them anything at all, it creates a practical precedent, if not a legal precedent, that no one has the right to scan this material without their consent. That's a win for them. The problem is that even though a settlement would be good for Google and good for the publishers, it would be bad for everyone else."
Top 10 most litigious US companies from 2001-2006 (based on trademark cases): 1. Microsoft. 2. Cendent. 3. Altria/Philip Morris. 4. Best Western. 5. Dunkin' Donuts. 6. Lorillard Tobacco. 7. Levi Strauss. 8. Baskin-Robbins. 9. Chanel. 10. Nike. Found in the sidebar of this article on Levi Strauss suing other jeans companies for their triangle pockets.
The following is a great 2004 BBC documentary about Tetris, the man who created it, and the lengths that several companies went to in order to procure the rights to distribute it. Tetris - From Russia With Love:
Alexey Pazhitnov, a computer programmer from Moscow, created Tetris in 1985 but as the Soviet Union was Communist and all, the state owned the game and any rights to it. Who procured the rights from whom on the other side of the Iron Curtain became the basis of legal wranglings and lawsuits; the Atari/Nintendo battle over Tetris wasn't settled until 1993. There's an abbreviated version of the story, but the documentary is a lot more fun. A rare copy of the Tengen version of Tetris, which was pulled from the shelves due to legal troubles, is available on eBay for around $50.
As part of a World Series promotion, Taco Bell will give away a free taco to everyone in the United States if someone hits a home run over the left field wall in tonight's game 3. This is a big offer for a big company so of course their lawyers want to make darn sure that we know precisely what "Taco Bell" means when they say "home run", "left field", and "free taco" with an extensive list of terms and conditions. Surely the first legal document containing the phrase "a completely outside the bun idea", the T&C is a fun read, but my favorite is the first condition that you agree to if you take advantage of the offer:
...to release, Major League Baseball Properties, Inc., Major League Baseball Enterprises, Inc., MLB Advanced Media, L.P., MLB Media Holdings, Inc., MLB Media Holdings, L.P., MLB Online Services, Inc., the Office of the Commissioner of Baseball, and the Major League Baseball Clubs, and each of their respective shareholders, employees, parents, directors, officers, affiliates, representatives, agents, successors, and assigns (hereinafter, "MLB Entities") and Sponsor and their affiliates, subsidiaries, retailers, sales representatives, distributors and franchisees, and each of their officers, directors, employees and agents ("Promotional Parties"), from any and all liability, loss or damage incurred with respect to participation in this contest and/or the awarding, receipt, possession, and/or use or misuse of any Free Taco
Man, I really hope someone hits a left field home run tonight. I'm dying to see some creative misuse of free tacos.
Chris Anderson talked about, ba ba baba!, not the long tail. Well, not explicitly. Chris charted how the availability of a surplus in transistors (processors are cheap), storage (hard drives are cheap), and surplus in bandwidth (DSL is cheap) has resulted in so much opportunity for innovation and new technology. His thoughts reminded me of how surplus space in Silicon Valley (in the form of garages) allowed startup entrepreneurs to pursue new ideas without having to procure expensive commercial office space.
Roger Brent crammed a 60 minute talk into 20 minutes. It was about genetic engineering and completely baffling...almost a series of non sequiturs. "Centripital glue engine" was my favorite phrase of the talk, but I've got no idea what Brent meant by it.
Homaro Cantu gave a puzzling presentation of a typical meal at his Chicago restaurant, Moto. I've seen this presentation twice before and eaten at Moto; all three experiences were clear and focused on the food. This time around, Cantu didn't explain the food as well or why some of the inventions were so cool. His polymer box that cooks on the table is a genuinely fantastic idea, but I got the feeling that the rest of the audience didn't understand what it was. Cantu also reiterated his position on copyrighting and patenting his food and inventions. Meg caught him saying that he was trying to solve the famine problem with his edible paper, which statement revealed two problems: a) famines are generally caused by political issues and therefore not solvable by new kinds of food, printed or otherwise, and b) he could do more good if he open sourced his inventions and let anyone produce food or improve the techniques in those famine cases where food would be useful.
Richard Dawkins gave part of his PopTech talk (the "queerer than we can suppose" part of it) at TED in 2005 (video).
Bob Metcalfe's wrap-up of the conference was a lot less contentious than in past years; hardly any shouting and only one person stormed angrily out of the room. In reference to Hasan Elahi's situation, Bob said that there's a tension present in our privacy desires: "I want my privacy, but I need you to be transparent." Not a bad way of putting it.
Serena Koenig spoke about her work in Haiti with Partners in Health. Koening spoke of a guideline that PIH follows in providing healthcare: act as though each patient is a member of your own family. That sentiment was echoed by Zinhle Thabethe, who talked about her experience as an HIV+ woman living in South Africa, an area with substandard HIV/AIDS-related healthcare. Thabethe's powerful message: we need to treat everyone with HIV/AIDS the same, with great care. Sounds like the beginning of a new Golden Rule of Healthcare.
Marketing can be a double-edged sword. The companies who manufacture these products have done a fantastic job in marketing these products, so fantastic in some cases that the brand name is in danger of becoming a genericized trademark. From the list above, I routinely use Ziploc, Kleenex, WD-40, and Windex to refer to the generic versions of those products, even though we sometimes use Glad products instead of Ziploc, Puffs instead of Kleenex, or another glass cleaner instead of Windex. If the companies on this list aren't careful, they could lose the trademarked products that they've worked so hard to market so successfully.
Here's a list of American proprietary eponyms, or brand names that have fallen into general use. Some of the names on the list are so old or in such common use (escalator, popsicle) that I didn't even know they had been brands. Two current brands I can think of that might be in danger of genericide: iPod and Google. (via rw)
Andreas Pavel was the inventor of the portable music player (aka Walkman). "I was in the woods in St. Moritz, in the mountains. The snow was falling down. I pressed the button, and suddenly we were floating. It was an incredible feeling, to realize that I now had the means to multiply the aesthetic potential of any situation."
On the copyright of recipes. Recipes are covered by US copyright law but not very well and very few suits get brought against those who republish them without permission. For the most part, it sounds like food folks recognize the essential remix culture of cooking. (via matt)
The 419 Nigerian spammers are getting smarter. This letter I received the other day offered URL references:
I am Larisa Sosnitskaya and I represent Mr. Mikhail Khordokovsky the former C.E.O of Yukos Oil Company in Russia. I have a very sensitive and confidential brief from this top (oligarch) to ask for your partnership in re-profiling funds US$46 Million. I will give the details, but in summary, the funds are coming via Bank Menatep. This is a legitimate transaction. You will be paid 20% as your commison/compensation for your active efforts and contirbution to the success of this transaction.
You can catch more of the story on This website below or you can watch more of CCN or BBC to get more news about my boss.
If you are interested, please do indicate by providing me with your confidential telephone number, fax number and email address and I will provide further details and instructions. Please keep this confidential as we cannot afford more political problems. Please do send me your response as soon as possible via my personal email :firstname.lastname@example.org OR email@example.com.
look forward to it. Regards, Larisa Sosnitskaya
Seems like pretty good evidence to me...where do I send the check?
I got an email this morning from a kottke.org reader, Meghann Marco. She's an author and struggling to get her book out into the hands of people who might be interested in reading it. To that end, she asked her publisher, Simon & Schuster, to put her book up on Google Print so it could be found, and they refused. Now they're suing Google over Google Print, claiming copyright infringement. Meghann is not too happy with this development:
Kinda sucks for me, because not that many people know about my book and this might help them find out about it. I fail to see what the harm is in Google indexing a book and helping people find it. Anyone can read my book for free by going to the library anyway.
In case you guys haven't noticed, books don't have marketing like TV and Movies do. There are no commercials for books, this website isn't produced by my publisher. Books are driven by word of mouth. A book that doesn't get good word of mouth will fail and go out of print.
Personally, I hope that won't happen to my book, but there is a chance that it will. I think the majority of authors would benefit from something like Google Print.
Someone asked me recently, "Meghann, how can you say you don't mind people reading parts of your book for free? What if someone xeroxed your book and was handing it out for free on street corners?"
I replied, "Well, it seems to be working for Jesus."
And here's an excerpt of the email that Meghann sent me (edited very slightly):
I'm a book author. My publisher is suing Google Print and that bothers me. I'd asked for my book to be included, because gosh it's so hard to get people to read a book.
Getting people to read a book is like putting a cat in a box. Especially for someone like me, who was an intern when she got her book deal. It's not like I have money for groceries, let alone a publicist.
I feel like I'm yelling and no one is listening. Being an author can really suck sometimes. For all I know speaking up is going to get me blacklisted and no one will ever want to publish another one of my books again. I hope not though.
[My book is] called 'Field Guide to the Apocalypse' It's very funny and doesn't suck. I worked really hard on it. It would be nice if people read it before it went out of print.
As Tim O'Reilly, Eric Schmidt, and Google have argued, I think these lawsuits against Google are a stupid (and legally untenable) move on the part of the publishing industry. I know a fair number of kottke.org readers have published books...what's your take on the situation? Does Google Print (as well as Amazon "Search Inside the Book" feature) hurt or help you as an author? Do you want your publishing company suing Google on your behalf?
Twenty percent of the human genome is patented. I expect that someday in the future, my morning will be interrupted by a lawyer telling me that the company he represents holds a patent on the biochemical conversion of foodstuffs to energy suitable for powering a biological organism and that I should cease and desist eating my Cheerios.
The right of Conde Nast to sell The Complete New Yorker (which is completely awesome from a content standpoint, BTW) without paying authors for republish rights is a gray area legally. National Geographic has stopped selling a similar collection because of the unsure legal terrain.
Nike is catching some shit for appropriating some imagery for one of their skateboarding events from a 1984 album cover by Dischord Records' Minor Threat. Dischord is alledging that Nike stole the image:
No, they stole it and we're not happy about it. Nike is a giant corporation which is attempting to manipulate the alternative skate culture to create an even wider demand for their already ubiquitous brand. Nike represents just about the antithesis of what Dischord stands for and it makes me sick to my stomach to think they are using this explicit imagery to fool kids into thinking that the general ethos of this label, and Minor Threat in particular, can somehow be linked to Nike's mission. It's disgusting.
Here are the images (original on the left):
Setting aside the difference in philosophy between the two parties, this is obviously an homage on Nike's part (or rather, on the part of the designers working on this campaign for Nike...they probably love skating and that album and are paying their respects). Graphic design, filmmaking, pop culture, and music is full of stuff like this...sampling and ripping and riffing and homages are all part of the deal. Seems like a punk label like Dischord should be aware of that but in the above quote they sound more like a big company afraid of losing their intellectual property. Isn't punk all about taking without permission? Or does that not apply when you don't like the folks doing the taking? Lighten up, Dischord.
Choirboy. "As head boy at a legendary choir school, Lawrence Lessig was repeatedly molested by the charismatic choir director, part of a horrific pattern of child abuse there. Now, as one of America's most famous lawyers, he's put his own past on trial to make sure such a thing never happens again."