Periscope Piracy Sets Up Grudge Match: Hollywood vs. Twitter; Variety, 5/3/15

Andrew Wallenstein, Variety; Periscope Piracy Sets Up Grudge Match: Hollywood vs. Twitter:

"Forget Mayweather-Pacquiao. There’s a more interesting fight brewing between Twitter and Hollywood.

The piracy of Saturday’s welterweight boxing championship enabled by Periscope, a livestreaming app recently acquired by Twitter, is setting up a conflict that could be just as brutal.

HBO and Showtime, which partnered on what will likely be the most popular boxing pay-per-view event ever, took a one-two punch of their own Saturday. First, they watched multiple pay-TV distributors experience technical problems transmitting the fight, which probably cut into their sales total.

But what made matters even worse is that countless people who did pay for the fight used their smartphones to re-transmit the fight to users of Periscope and, to a lesser extent, rival app Meerkat. Each stream reached hundreds or thousands of non-paying fans with a picture quality that was shaky and pixilated, yet still quite adequate."

Why the U.S. Copyright Office Wants to Run Away From Home; National Journal, 4/30/15

Kaveh Waddell, National Journal; Why the U.S. Copyright Office Wants to Run Away From Home:

"A federal office that has taken on the role of digital custodian and is now in charge of such 21st-century regulatory activities as approving mobile-phone jailbreaking and setting royalty rates for Internet radio says it needs out of its 19th-century home.

The U.S. Copyright Office has been part of the Library of Congress since 1897, and the office's director, Maria Pallante, told a congressional panel Wednesday it's time for a change, saying her office's hands are often tied as a part of the Library of Congress.

"The office's current organizational structure is under strain because the copyright system has evolved and because digital advancements have changed the expectations of the public," Pallante said in a written statement. She asked the committee to codify the Copyright Office's independence.

In many ways, an independent Copyright Office would operate much like it does now, Pallante said. Although part of a legislative-branch entity, the Justice Department has recognized that the Copyright Office behaves like, and should be treated like, an executive-branch agency.

In its current form, the office's uncertain legal status and subordination to the Library of Congress can create problems. A Government Accountability Office report last month found that the library's IT services, which the Copyright Office relies on, are stuck in the past and are detrimental to its work. And Pallante says it's difficult for her to hire the staff her office needs because of the conflicts between the mission—and the budget—of the Copyright Office and that of the Library of Congress."

Less Noise but More Money in Data Science; New York Times, 4/28/15

Steve Lohr, New York Times; Less Noise but More Money in Data Science:

"There is an apparent contradiction between the buoyant job market for big data practitioners and Gartner’s judgment that, on the perception scale, big data has moved from high expectations to what Gartner calls the “trough of disillusionment.” But, in fact, it fits a familiar pattern of technology absorption and use. Significant new technologies always take time to move into the mainstream as people and organizations learn to exploit them. It takes years.

The classic study of the phenomenon, “The Dynamo and the Computer: An Historical Perspective on the Modern Productivity Paradox,” by Paul David, an economic historian at Stanford University, was published in 1990. In it, Mr. David noted, the electric motor was introduced in the early 1880s, but its real payoff in productivity was not evident until the 1920s. It took that long for businesses to reorganize work around the industrial production line, the efficiency breakthrough of its day, made possible by the electric motor.

Similarly, it took a while for personal computers and the Internet to deliver big gains. And so too for big data, which harnesses computing, modern digital data and the software tools of artificial intelligence.

A report this week from Forrester Research described the challenge ahead. “Businesses are drowning in data but starving for insights,” the report began. “Worse, they have no systematic way to turn data into action.”"

Google Reaches Out to European Publishers, With $165 Million in Hand; New York Times, 4/28/15

Mark Scott, New York Times; Google Reaches Out to European Publishers, With $165 Million in Hand:

"Less than two weeks after the European Commission filed antitrust charges against Google for abusing its dominant position in online search, the company said it would spend 150 million euros, or $165 million, over the next three years to help European publishers and newspapers adapt to the digital world.

And by announcing the plan, the Digital News Initiative, Google was trying to assuage fears from many European newspapers, including Axel Springer of Germany, that the search giant held too much control over how Europeans access online content, analysts said. Google has a roughly 90 percent market share across the 28-member bloc, more than its stake in the American market.

The creation of Google’s program also comes before new potential problems for the company in Europe, including potential changes to Europe’s copyright rules."

The Man Who Broke the Music Business: The dawn of online piracy; New Yorker, 4/27/15

Stephen Witt, New Yorker; The Man Who Broke the Music Business: The dawn of online piracy:

"Napster lasted barely two years, in its original incarnation, but at its peak the service claimed more than seventy million registered accounts, with users sharing more than two billion MP3 files a month. Music piracy became to the early two-thousands what drug experimentation had been to the late nineteen-sixties: a generation-wide flouting of both social norms and the existing body of law, with little thought for consequences. In late 1999, the Recording Industry Association of America, the music business’s trade and lobbying group, sued Napster, claiming that the company was facilitating copyright infringement on an unprecedented scale. Napster lost the lawsuit, appealed, and lost again. In July, 2001, facing a court order to stop enabling the trade of copyrighted files, Napster shut down its service.

That legal victory achieved little. Former users of Napster saw Internet file-sharing as an undeniable prerogative, and instead of returning to the record stores they embraced gray-market copycats of Napster, like Kazaa and Limewire. By 2003, global recording-industry revenues had fallen from their millennial peak by more than fifteen per cent. The losing streak continued for the next decade.

The R.I.A.A. tried to reassert the primacy of the industry’s copyrights. But civil suits against the peer-to-peer services took years to move through the appeals courts, and the R.I.A.A.’s policy of suing individual file-sharers was a public-relations disaster. To some at the music labels, Congress seemed disinclined to help. Harvey Geller, Universal’s chief litigator, spent years futilely petitioning legislators for better enforcement of copyright law. “Politicians pander to their constituents,” Geller said. “And there were more constituents stealing music than constituents selling it.”"

Dice Loaded Against Public in Canada's Copyright Term Extension; Electronic Frontier Foundation (EFF), 4/22/15

Jeremy Malcolm, Electronic Frontier Foundation (EFF); Dice Loaded Against Public in Canada's Copyright Term Extension:

"The announcement of the Canadian Government's plan to extend copyright terms for sound recordings came as a surprise when it was released in Canada's federal budget yesterday. The smooth stage management of the announcement has to be admired, accompanied as it was by pre-prepared soundbites from Canada's music A-list extolling the benefits of this handout. In fact, with all the drama and glamor of the announcement, all that was missing was any prior public consultation or debate that could give the government an actual mandate to make this sweeping change to Canadian law.

This extension only applies to copyright in sound recordings and performances, which have always been treated differently to the copyright of authors. The rights of authors, for example songwriters, continues on from their death under international copyright law, which recognizes the qualitative difference in the creativity involved."

Woman Who Designed 'Welcome to Fabulous Las Vegas' Sign Dies; Associated Press via New York Times, 4/21/15

Associated Press via New York Times; Woman Who Designed 'Welcome to Fabulous Las Vegas' Sign Dies:

"The woman who came up with a neon sign that has welcomed countless visitors to "fabulous Las Vegas" since 1959 has died.

Betty Willis, credited with designing the "Welcome to Fabulous Las Vegas" sign, died in her Overton, Nevada, home on Sunday, according to an obituary on the Virgin Valley & Moapa Valley Mortuaries' website.

The 91-year-old artist's often-copied sign sits in a median in the middle of Las Vegas Boulevard south of the Strip.

"It's the most recognizable icon in the world," said Danielle Kelly, executive director of The Neon Museum in Las Vegas, where the signs of Sin City's past are retired and on display.

The welcome sign's design, which doesn't have a copyright owner, has become a fixture on travel tchotchkes from Vegas and everywhere else, Kelly said."