>( more on legal protection: I advocate using notices on
>works that include wording like "Copyleft" or "Right to
>non-commercial duplication granted", rather than just "No
>Copyright", "not copyrighted" or "anti-copyright". Giving
>away everything in today's situation will only leave us open
>to being exploited by some corporation that decides to
>re-release your "public domain" work - and keep all the
>revenues).
right - that was my point about the free software movement. Part of the
discussion we've been having has been with the developers of the
Musicbrainz metadata initiative, which is developing a comprehensive
alternative to CDDB based on the Open Content licence (analogous to the Gnu
Public Licence, but for the actual content) - this is obviously a specific
legal construct based on existing copyright law. The big advantage of this
strategy, proven in the software world, is that by creating a pool of "IP"
that nothing can be removed from, but only added to, the pool keeps getting
bigger and bigger - it's a positive feedback loop. this pool is surrounded
by a sort of a wall constructed of intellectual property law, but within
the pool the rules are very different.
>although i'm uneasy about phrasing it like this. To me
>this sounds like, "you keep driving the cabs, and give us
>some of your money so we don't have to, and so you can
>consume some crazy stuff when you're not driving the
>cabs." My answer would be, "well, why don't I make
>crazy stuff too? Why do YOU get to?" (this is
>threatening to veer off into another topic so i'll stop
>here...)
good point. but i'm perfectly willing to admit that I will never play the
bass like Charlie Haden - and I sure as hell would hate to see him have to
do anything else. but it is important how we phrase it, it will take a few
iterations to get it right.
I met a welfare-mom-with-a-CD-burner the other day, she had a stack of
albums that she'd downloaded and burned herself. I asked her if she could
flip 50 cents or a buck *straight to the artist* would she do it, and she
immediately and emphatically said she would. (maybe she lied?)
>Anyway, each act of IP-busting art distribution must be
>accompanied by 2 or 3 acts of propaganda, of de-programming.
>so, what would the propaganda look like, and how would it be
>distributed? we could brainstorm. I'll start:
>
>1. ad-busters-style eye-grabbing ads, posters, stickers.
>(what woudl they say exactly?)
>
>2. constant evangelizing - at shows, in liner notes,
>interviews, etc.
>
>3. linernote sub-idea: cite your sources, and include the
>sources of your sources, and background. e.g. "the guitar
>loop comes from 'You Shook Me', by Led Zeppelin, who
>themselves borrowed the song from Blind Willie Dixon.
>Dixon's publisher, ____, recieves an x% royalty. Should
>they? Dixon's family receives 0% of that. Should they?
>Oh, by the way, Dixon got ideas for lots of his lyrics
>hanging out with _______, and copped lots of his playing
>style from ______, who learned from _______."
>
>4. sem-tangential linernote sub-idea 2, for given-away
>music: include financial details with each track. e.g. " i
>spent 40 hours on this piece. At my day job I'm paid
>US$20/hr. Therefore if I had just worked that time instead
>of making this piece, I could have bought a used car, or
>paid another month's rent, or bought a new computer, or 200
>pints of Hagen-Daz ice cream. But instead I made this piece,
>as a gift to you."
this is great stuff - we may have an opening in our propaganda ministry...
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