MESSAGE
| DATE | 2002-06-10 |
| FROM | Paul Rodriguez
|
| SUBJECT | Re: [hangout] Washington Post
|
I second this one. A collection of powerful and useful quotes is a
great idea.
- Paul
On Mon, 2002-06-10 at 08:23, a1enviro-at-cloud9.net wrote:
>
> Here's a good quote:
>
> > "There's a state-sponsored Napster for books ? it's called a library,"
> says Allman. <
>
> How about a page or section on the web site with all the quotes from Jack
> Valenti and crew. Add that other quote on librarians being terrorists
> (and the source).
>
> Adding the names and words of Jack Valenti, Sony, DMCA, libraries,
> librarians, and other words will help with search engine placement for
> NYLXS web site. Adding links on the quotes will help with google
> positioning and certain other search engines that use similar algorithms.
> Adding the ridiculous quotes on the libraries and librarians may get the
> buzz going, and links to NYLXS web site, or at least the traffic from
> library web sites, which have a huge following within the library
> "industry". And when we request to place flyers within the libraries, we
> may get the go-ahead because they already have heard of NYLXS, and what
> we are about.
>
> Vincenzo.
>
>
> On Sun, 9 Jun 2002 17:37:34 -0400 Ruben I Safir wrote:
>
> >
> >
> > See
> >
> > Tony is loosing opputunities here to make himself look good...
> >
> >
> > Why is this man smiling?
> >
> > June 10, 2002
> > By Alex Daniels/adaniels-at-washtech.com,
> >
>
> >
> > Olivier Douliery/Techway
> >
> > Jack Valenti of the Motion Picture Association of America
> >
> > SEE ALSO: Recording industry: Now it's time to get paid
> >
> > The entertainment industry may have won a few battles against online
> > pirates, but the war has just begun
> >
> > Music and movie moguls crowded a Capitol Hill reception last month to
> > toast the four-year-old Digital Millenium Copyright Act, the landmark
> > law guarding copyrighted material from digital pirates.
> >
> > Jack Valenti, the snowy-haired chief of the Motion Picture
> > Association of America, stepped to the microphone to laud
> > congressional efforts on behalf of Hollywood. Hilary Rosen, president
> > and CEO of the Recording Industry Association of America and the
> > sworn enemy of legions of Napster fans, beamed nearby.
> >
> > "If you can't protect anything you own," said Valenti, "you don't own
> > anything."
> >
> > As the guests clinked champagne glasses, digital thieves around the
> > world were double-clicking to buy pirated copies of "Star Wars:
> > Attack of the Clones" from Web sites that were hawking the movie ? a
> > flick still days away from release in theaters.
> >
> > Though the International Intellectual Property Alliance hasn't
> > tabulated how much is lost to piracy on the Internet, it estimates
> > that book publishers, recording and movie studios and software
> > developers already lose more than $20 billion a year from physical piracy.
> >
> > So why were Valenti and Rosen smiling?
> >
> > Good question. The combination of the Internet with bigger, faster
> > and cheaper computers, including ones that burn CDs, is making it
> > easier than ever to make and distribute flawless copies. Attempts to
> > provide a tech fix have fallen flat.
> >
> > "There is no such thing as a hacker-proof technology," says Michael
> > Miron, CEO of ContentGuard, a Bethesda company developing a system to
> > protect digital content from easy copying. "If you make such a claim,
> > you're hanging a big target on your back."
> >
> > Meanwhile, the digital dilemma clearly threatens to hold up already
> > disappointing rates of broadband adoption. Media companies remain
> > wary of putting valuable content online for fear it will be pirated
> > and spread round the world at cyber-speeds. But without more
> > available content, consumers have less incentive to abandon their
> > dial-up connections for DSL or cable modem services that can cost
> > twice as much. Just 7 percent of U.S. households have high-speed
> > Internet service.
> >
> >
> > IN THE WASHINGTON AREA, the fight to protect digital rights holds
> > enormous implications for two media giants, AOL Time Warner and
> > Discovery Communications, not to mention dozens of other smaller
> > companies, from newsletter publishers to independent filmmakers.
> >
> > Last year's mega-merger of Dulles-based AOL and Time Warner was
> > supposed to create a giant, combining AOL's Internet dominance with
> > Time Warner's cable empire and huge portfolio of movies, music,
> > magazines and television shows. But when it comes to digital rights,
> > the giant has two heads.
> >
> > Nearly 90 percent of AOL's 25 million U.S. Internet subscribers still
> > use a dial-up connection. To lure customers to higher-speed
> > services?and keep them in the AOL tent?the company wants to offer
> > splashy content such as movies and music. But the Time Warner side of
> > the house worries that releasing its valuable assets online could
> > open the door to unauthorized use, diluting their value.
> >
> > "We're on both sides of this," acknowledges Joe Cantwell, AOL Time
> > Warner's vice president for broadband affiliate marketing.
> >
> > AOL did not respond to requests to interview other company officials
> > about the dilemma. But Paul Kim, an analyst at Kaufman Brothers, a
> > New York investment bank, says the company is straddling the fence
> > while it waits for the murky issue of digital piracy to clear up.
> >
> > "You have existing distribution channels that are doing very well for
> > you," Kim says, referring to cable television, movie rentals and
> > retail sales. "Why mess with that?"
> >
> > Discovery, the Bethesda-based media company, plans to introduce a
> > video-on-demand television service June 17. Subscribers will be able
> > to access network servers full of Discovery content such as Animal
> > Planet and the Travel Channel.
> >
> > The service is a milestone in Discovery's move into digital media.
> > Along with it come fears that its content will be swiped.
> >
> > Bob Allman, senior vice president and general manager of Discovery
> > Online, admits he's nervous the video-on-demand service will bring
> > out the "buzzards." The company plans to employ technology to stop
> > piracy, though Allman refuses to discuss how.
> >
> > But perhaps a more important point is that Allman is convinced
> > consumers are willing to pay for online videos if the services are
> > easy to use?even if other content is available for free. After all,
> > before compact discs arrived in the mid-1980s, teen-agers bought
> > plenty of music cassette tapes even though they could easily make
> > copies of equal quality.
> >
> > "There's a state-sponsored Napster for books ? it's called a
> > library," says Allman. And although public libraries have been around
> > for decades, people still buy plenty of books at Barnes & Noble.
> >
> > A survey released last month by Jupiter Media Metrix suggests that
> > Napster-like file-sharing programs may actually boost sales. The
> > survey found that music listeners who were experienced with file
> > sharing were 75 percent more likely to increase their music spending
> > than those without file-sharing experience.
> >
> > "We've been too slow in offering music for sale online," admits
> > Rosen. Her bigger problem, however, is figuring out how to get
> > consumers to pay for something that's available for free at the click
> > of a mouse.
> >
> > More then 350,000 movie files are illegally downloaded on the Web
> > each day, according to Viant, a Boston-based Internet consulting company.
> >
> > And to Rosen's dismay, the online trading of music files continues to
> > flourish. True, the once mighty Napster was vanquished in the courts
> > and sold off as a shell last month to German media giant Bertelsmann
> > for a paltry $8 million. But many of Napster's 64 million users have
> > simply turned to alternate sites such as Morpheus and KaZaA to swap
> > copyrighted music for free. Those services have escaped Napster's
> > fate ? so far ? because the files aren't stored on their networks.
> >
> > The music industry's few online offerings of licensed content have
> > been met with a shrug. Susan Kevorkian, an analyst for market
> > research company IDC, predicts online music services are generating
> > just a few hundred thousand dollars in annual revenue and says the
> > industry will be hard pressed to top $10 million in revenue by 2005.
> >
> > "They've been very closed mouthed about it," Kevorkian says. But she
> > concedes that meeting even her conservative projections "may be hard
> > given what they're up against. Free music services are still available."
> >
> > MusicNet, a subscription-based music service launched last October
> > with music licensed by BMG, EMI, Warner and Zomba, would not disclose
> > sales or subscriber figures. MusicNet offers 80,000 titles, well
> > below the hundreds of thousands of titles that Napster was offering
> > at its peak.
> >
> >
> > TO ENCOURAGE THE DEVELOPMENT of more online pay sites, nearly two
> > dozen software companies are busy at work developing digital rights
> > management (DRM) software to help content owners put a digital leash
> > on copyrighted material. But their solutions are far from foolproof.
> >
> > DRM software allows copyright holders to write usage rules into their
> > music and video files. The software typically is a set of data that
> > describes each media file and sets terms for its use. A song file can
> > be overlaid with a "digital watermark" that confirms its authenticity
> > and an encryption code only allows authorized users to access it. The
> > software can be written to destroy a file after it's played a certain
> > number of times and can even limit the file's use to individual
> > computers or media player devices.
> >
> > For instance, a media company can write rules in to a music file that
> > allows a user to download it off of the Internet and make a back up
> > copy for personal use. But the rules can also restrict further copying.
> >
> > But DRM software is off to a rocky start. Last year, IDC pegged the
> > annual DRM market in the United States at $96 million and predicted
> > it would grow to $3.5 billion in 2005.
> >
> > IDC analyst Joshua Duhl says that prediction will be revised downward
> > when new figures are made available next month, thanks to a sluggish
> > economy, unprofitable transaction-based pricing models and a
> > patchwork of offerings and standards.
> >
> > For instance, Microsoft makes software that will only work on its
> > media players, and RealNetworks makes software tailored for use on
> > its Real media players.
> >
> > Interoperability isn't the only problem. Unless software is totally
> > invisible to the average consumer and easy to use, securing content
> > with DRM software could fail and rip-off artists will reign
> > unchecked, analysts say.
> >
> > Even if software becomes standardized, it probably won't be hard for
> > skilled digital pirates to give it the hook. Content providers and
> > DRM software developers concede some level of piracy is inevitable.
> > Their goal is to keep it out of the hands of the masses.
> >
> > Patrick Breslin says all it takes to copy electronic music files is a
> > trip to an electronics store for a cable and basic computer know-how.
> > "That's not amazing technology and it doesn't mean I'm a hacker,"
> > says Breslin, CEO of Relatable in Alexandria.
> >
> > Relatable, which Breslin founded in 1999 with less than $1 million
> > from friends and family, has developed software that recognizes music
> > files based on their acoustic properties, helping content owners
> > verify the authenticity of the files. It can make "fingerprints" of
> > consumers' song files and compare them to original recordings held in
> > copyright holders' databases. Relatable's software can identify
> > bootlegged recordings sent out under bogus file names.
> >
> > Last summer, after promising to honor copyrights, Napster installed
> > Relatable's software to sniff out unlicensed songs on its network.
> > Breslin says the software scanned hundreds of millions of files on
> > the network
> >
> > The future of Napster is unclear, and Relatable has yet to turn a
> > profit. But Breslin says he is negotiating deals with other music
> > providers. The key, he says, will be convincing content owners to
> > jump into the Internet.
> >
> > "They're saying, 'Let's put plywood on the windows and bar the
> > door,'" Breslin says. "We're saying, 'Let's make this a huge
> > Wal-Mart.' Everyone who wants to go out the door needs to pass the
> > cash register."
> >
> > Miron, the CEO of ContentGuard agrees that content owners can make
> > money on the Internet, even in competition with free music and video
> > offerings.
> >
> > Reliable DRM software and exciting content will help, he says, but
> > the patchwork of different protection products on the market is
> > holding things back. "The industry would be a hell of a lot better
> > off if all participants had a common way to express rights," for
> > their material, he says.
> >
> > Content Guard is majority owned by Xerox and funded in the
> > "triple-digit millions" by Microsoft. The company hopes that XrML, a
> > language developed at Xerox's Palo Alto Research Center, will become
> > the standard language for expressing rights on media files due to its
> > ability to operate on different computer systems and applications.
> >
> > ContentGuard designs custom software using XrML and hopes to earn
> > revenue from patents it holds on computer languages expressing
> > copyrights. The company won't disclose revenues.
> >
> > Two other languages, ODRL and XCML, are also in the running to become
> > the standard. Last fall, ContentGuard scored a win when the MPEG-21,
> > an international group working to develop standards for the creation
> > and distribution of multimedia content selected XrML as its base language.
> >
> > The company is now submitting XrML to other standards bodies. But
> > even if the software becomes the coin of the realm in the digital
> > copyright world, it won't matter unless studios and record labels to
> > warm up to the Internet. And Miron isn't sure how that will happen.
> >
> > Options include monthly subscriptions or fees for downloads. Media
> > companies also are experimenting with putting premium information on
> > the Web, such as anthologies, live recordings and tour and concert
> > information. While such material can be copied, media owners are
> > betting people will pay if it is cheap and easy to access.
> >
> > "The business models that will succeed online probably do not exist
> > today," Miron says. "The state of the industry is mostly dabbling and
> > experimenting, which is why piracy is still the dominant, scaled
> > offering."
> >
> >
> > WHILE COMPANIES LIKE CONTENTGUARD and Relatable work on a tech fix,
> > policy makers are taking a closer look at digital piracy law. For
> > some, the DMCA doesn't go far enough. To stop music and video
> > pirates, Sen. Ernest F. Hollings, the South Carolina Democrat, is
> > sponsoring a bill that would require all interactive devices to
> > incorporate anti-piracy technology.
> >
> > The measure would give manufacturers one year to comply, but doesn't
> > call for a specific type of technology to be used. The bill has the
> > support of media and entertainment executives such as Rosen and Valenti.
> >
> > But the technology lobby opposes the bill. Groups such as the
> > Software & Information Industry Association believe anti-piracy
> > technologies are at too early a stage in their development to draw up
> > government standards. The only way copyright protection standards
> > will develop, they argue, is if the government gets out of the way
> > and allows the marketplace to sort out what works.
> >
> > "It doesn't have legs," declares Rep. Rick Boucher, a Virginia
> > Democrat, an opponent of the Hollings measure. Boucher, co-chairman
> > of the House Internet Caucus, believes the DMCA should be re-examined
> > because it favors copyright holders at the expense of legitimate users.
> >
> > Opponents of the DMCA, who include libraries and universities,
> > contend that the law restricts what is known as the "fair use" of a
> > copyrighted material. Because of the fear of mass distribution of
> > content via the Internet, critics say the DMCA wrongly makes it a
> > criminal act to make back up copies of music and video or sell a
> > single copy to a friend.
> >
> > Rather than jealously protecting their copyrights, Boucher thinks
> > media companies should make the jump online.
> >
> > "They think all of the world is full of pirates," he says. "It's not.
> > They should start aggressively using the Internet."
> >
> > © Copyright 2002 The Washington Post Company
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > --
> > __________________________
> >
> > Brooklyn Linux Solutions
> > __________________________
> > http://www.mrbrklyn.com - Consulting
> > http://www.brooklynonline.com - For the love of Brooklyn
> > http://www.nylxs.com - Leadership Development in Free Software
> > http://www.nyfairuse.org - The foundation of Democracy
> > http://www2.mrbrklyn.com/resources - Unpublished Archive or stories
> > and articles from around the net
> > http://www2.mrbrklyn.com/mp3/dr.mp3 - Imagine my surprise when I saw
> > you...
> > http://www2.mrbrklyn.com/downtown.html - See the New Downtown Brooklyn....
> >
> > 1-718-382-5752
> >
> >
> >
> > ____________________________
> > New Yorker Linux Users Scene
> > Fair Use -
> > because it's either fair use or useless....
>
>
> ____________________________
> New Yorker Linux Users Scene
> Fair Use -
> because it's either fair use or useless....
____________________________
New Yorker Linux Users Scene
Fair Use -
because it's either fair use or useless....
|
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