Pot, meet Kettle…

Pot, meet Kettle…

google-pot-ketMarvin Ammori pens a (laughingly) disingenuous anti-copyright screed

This week Google-backed attorney (and fellow at the New America Foundation)  Marvin Ammori wrote a piece for Slate, “Hollywood’s Copyright Lobbyists Are Like Exes Who Won’t Give Up”  bashing efforts by the rights holders and their representatives to build voluntary consensus to fight online piracy.  Ammori argues that such efforts are actually a veiled effort to reintroduce SOPA, the anti-piracy legislation that went down in flames two years ago.

Apparently Mr. Ammori believes (or those paying him do) that we shouldn’t address this issue at all.  Legislation is bad and voluntary agreements are bad too.  It seems that even talking about the subject is bad.

In his Slate piece Ammori condemned “copyright lobbyists” for discussing  such agreements  “in hearings and little information-gathering events—the equivalent of an ex just trying to catch up over drinks.” His lame “ex” analogy aside, I must say it’s beyond ironic to see a known confederate of the #1 lobbyist in DC actually condemn lobbying.  Just pull back the curtain and you’ll see that Google’s former CEO Eric Schmidt is actually the Chairman of the Board for the New America Foundation.  The foundation also lists Google as one of its funders.  

Screen Shot 2014-03-15 at 9.16.27 AMAccording to the website Open Secrets, Google spent 15 million dollars lobbying in 2013.  14.6 million of that was for lobbying on issues related to “computers and the internet.”  It’s likely that some of those expenditures included sending representatives to “hearings and little information-gathering events” in DC don’t cha think?

Initially Slate failed to disclose Mr. Ammori’s ties to Google, but was forced to “update”  the piece with this disclaimer:

Update, March 11, 2014: Disclosure: The author represented Google and other companies fighting SOPA/PIPA in 2011 and 2012. He currently represents Google and other companies on several issues, including copyright reform. These views are his own.

The fact that Mr. Ammori neglected to initially mention his many ties to Google undermines the very gist of his arguments.  Sons of Anarchy writer Kurt Sutter wrote a great rebuttal in Slate to Ammori’s piece which begins:

Let’s consider the March 11 anti-copyright rant in Slate by Marvin Ammori, a lawyer working for Google (which somehow he forgot to mention in the article). He compares Hollywood to that insidious “ex who won’t give up” pursuing you and making your life miserable. As a guy with more than a few exes, I have to tell you, Marv, the most insidious ex is the one who hides the truth, steals your money, and lies to all your friends. That’s what Ammori and Google are doing.

I recommend reading Sutter’s entire piece in which he lays bare the true motivations behind Ammori’s post (and Google’s lobbying efforts).

…when Hollywood tries to impede that thievery, it’s presented to the masses as a desperate attempt to hold on to antiquated copyright laws that will kill your digital buzz. It’s so absurd that Google is still presenting itself as the lovable geek who’s the friend of the young everyman. Don’t kid yourself, kids: Google is the establishment. It is a multibillion-dollar information portal that makes dough off of every click on its page and every data byte it streams. Do you really think Google gives a shit about free speech or your inalienable right to access unfettered content? Nope.

Another excellent response, “Slate’s Anti Copyright rant sounds like a letter from your psycho ex” was published on Adland.tv by a user named Kidsleepy.

To blame Hollywood copyright lobbyists for trying to influence law when google does the exact same thing is either ignorant or hypocritical. And to ignore the fact it isn’t just “Hollywood Copyright Lobbyists” but entire countries that are reacting to what they see is Big Tech run rampant, suggests once again the narrative is being controlled in Big Tech’s favor.

Ammori whines about SOPA and he whines about new efforts to create “voluntary” agreements as a possible path forward in the ongoing battle against content theft. Apparently we are essentially damned if we do and damned if we don’t?  What are content creators supposed to do?  Are we supposed to sit on our hands and watch as tech behemoths like Google continue to enable (and profit from) an illicit online economy that is bleeding creators dry?

Ammori points to the fact that payment processors like PayPal have pulled their services from various websites and warns,

…copyright holders can starve websites of their funding, strip them of their domain names, and remove them from search. The sites at risk include those that enable users to store and share content—if even a fraction of those users might violate copyright. So these agreements can threaten free expression and innovation online for all of us, just to target a few infringers.

Oh please…he really doesn’t have a freakin’ clue does he?  Has he ever actually researched online piracy and examined these websites and to see how they operate?  Does he really that only a “fraction” of Megaupload or Filesonic’s users were violating copyright?  At this point the poor guy is clearly trying to gin up the same tired, hyperbolic, deceitful anti-SOPA rhetoric the tech-industry employed to work web users into a lather.  Problem is, it ain’t gonna work any more.  As Sutter’s rebuttal makes clear, creators from all walks of life are fed up with piracy profiteers being propped up by companies like Google–tired of the b.s.  We’re mad as hell and not going to take it any more.

We’re sick of companies like Google spending millions to defend their business model, acting like a wolf in sheep’s clothing.  We’re tired of Google pretending this is about “free speech” when, in fact, it’s about their bottom line.  We’re tired of the hypocrisy of a company that spends millions to undermine artist’s rights while being the first in line at the courthouse when it comes to protecting its own IP.  We’re tired of watching our livelihoods whittled away while others steal our work to make millions.  We’re tired of folks like Mr. Ammori pretending to defend the web’s users when they’re really defending the web’s oligarchy.

Tell Congress Why Art Matters

Tell Congress Why Art Matters

Screen Shot 2014-03-11 at 9.59.10 AMThe Copyright Alliance is seeking videos from artists and supporters on why the arts matter. The videos submitted will used to create a  grassroots video message to Congress from artists and their supporters.  It’s important to let your voices be heard.  You can upload your “selfies” here.

Sam Levin exposes how corporations rip-off artists

Sam Levin exposes how corporations rip-off artists

East Bay ExpressI wanted to alert folks to a great piece by Sam Levin in the East Bay Express,“When Corporations Want Profits, They Don’t Ask for Permission.”  Most discussion around copyright has focused on movie and music piracy, but the plight of creative artists, illustrators and designers is equally significant and must be included in any debate about “theft” in this digital age.

Levin’s story explores how “large retail companies are stealing the work of independent artists — and forcing them to remain silent about it.” This  is a must-read.  You can find versions of the article: When Corporations Want Profits, They Don’t Ask for Permission  and  Corporate Copyright Theft: See How Large Companies Rip Off Independent Artists

 

Is this really what Congress had in mind when it created the DMCA?

Is this really what Congress had in mind when it created the DMCA?

dmca-brokenFor filmmakers, musicians, authors, and artists, etc. whose work is pirated (and monetized) by online thieves, the only way to (possibly) get one’s stolen content removed is to send a DMCA notice.  It’s a procedure outlined in the Digital Millennium Copyright Act, a law passed by Congress in October of 1998.

The legislation was intended to provide a means to protect copyright in the digital age, but also provides “safe harbor” for websites (like YouTube) that unknowingly host infringing files.  The law specifies the “notice and takedown” procedure for copyright owners to use in order to request removal of their content, commonly referred to as a DMCA takedown notice.  If a website owner complies with a legitimate takedown demand, “the provider is exempt from monetary liability.”  Anyway, that’s how it’s supposed to work.  In reality, the process is not quite so simple, nor successful.

Not only does sending out DMCA notices required a great deal of time–time that most indie content creators do not have–but often times it’s ignored entirely by pirate sites that feign compliance.

Here’s a case in point.   Using Google, a rights holder was able to find numerous illegal download links to their film “The Guest House.”  Next step, get them removed–but that’s easier said than done.  Take a look at how many steps it took–and how many advertising obstacles (i.e. revenue for the pirate) stood in the way of sending a single DMCA notice for a single link…and–despite all that effort–days later the link (and the pirated movie) remains online and available.   ads galore.007 ads galore.008 ads galore.009 ads galore.010 ads galore.011 ads galore.012 ads galore.013

Despite the fact the distributor followed all these steps and clicked past all these ads and submitted a DMCA takedown request days ago the pirated film is still streaming online.  Meanwhile, this web pirate keeps making money–earning revenue thanks to brand name advertisers (like the U.S. Army?) and sex sites.  The filmmaker makes ZERO.  So much for the goal of protecting copyright holders in the digital age eh?

still online.008

 

How to Ensure Your Watermarks are Secure

How to Ensure Your Watermarks are Secure

How to Ensure Your Watermarks are Secure (via Plagiarism Today)

Historically, putting a visual watermark on an image has been something of a trade off. In exchange for harming some of the aesthetics of an image, the photographer can rest reasonably assured that it will be more difficult to misuse the image and that, if it is copied, it will carry with it their information.

This has been especially true of watermarks that were prominent and located at or near the center of the work, where they can’t easily be cropped off. Though such watermarks can be removed, the process historically has been difficult and has left behind less-than-optimal results.

But technology, as it is wont to do, has marched on and a spate of new tools claim to make it trivial to remove watermarks from images. Though many of these tools were not designed with watermarks in mind, they instead focus on removing other unwanted elements in a photo such as extra people or cars, they’re usefulness for removing watermarks has certainly not gone unnoticed.

So how does a photographer or artist prevent their watermarks from being easily removed? It turns out that much of the traditional advice is still valid though there are a few new things to look out for…

To read full story go to Plagiarism Today.