ContentSphere - Music & Media in an Online Culture - Law

The GEMA Presumption as an Entry Barrier (Pt. 3/3)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Thu, 03 Sep 2009 10:56:47 +0200

At all2gethernow, I am going to discuss the topic as a part of the #camp. Furthermore I’m participating in the discussion on “Collection Societies and Rights Management”. Hopefully, many of you will join us to discuss. Those who can’t be there in person, please join our community. There, you will be able to submit suggestions and comment on anything.

So, please take this series of articles as some kind of basics to what I’m going to discuss with all of you at all2gethernow. No matter whether it’s online or offline. Posts are published day by day.

[English translation of part 3 is coming soon. Due to organisational tasks at all2gethernow, it will take an additional one or two days to translate. Since the text is available in German already, I just posted it in advance for all German readers.]

Teil 1&2 findet Ihr hier:
“Die GEMA-Vermutung als Markteintrittsbarriere (Teil 1/3)”
“Die GEMA-Vermutung als Markteintrittsbarriere (Teil 2/3)”

Glaube ist gut, Wissen ist besser.

Gleichgültig, wie das Urteil eines (notwendigen) Sachverständigen zum Thema aussieht, der Beleg für die Verfügbarkeit einer hinreichenden Größe frei lizensierten Materials muss vor Gericht erbracht werden. Denn die GEMA-Vermutung ist gängige Rechtsprechung und wird erst vor dem BGH endgültig widerlegt werden können. Aber die Schwierigkeit liegt in der Nachprüfbarkeit. Der GEMA liegen neben ihren stets aktuellen Geschäftszahlen natürlich auch die Zahlen der zu verwertenden Titel vor - wo aber sind die belegbaren Zahlen frei lizenzierter Stücke?

Aufmerksamkeit.

Darüber hinaus hat die GEMA Pressesprecher und Lobbyisten. Nicht die Künstler, die ihre Werke GEMA-frei anbieten. Für die Verbraucher existieren letztere Künstler nicht. Selbst wenn international renommierte Künstler wie Trent Reznor oder die Smashing Pumpkins Titel unter Creative Commons veröffentlichen - die Masse des Publikums nimmt es nicht wahr. Es erscheint unwichtig. Die meiste Beachtung für diese Aktionen, Marketingstrategien und teilweise auch Geschäftsmodelle wird den Künstlern durch das Web zuteil.
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The GEMA Presumption as an Entry Barrier (Pt. 2/3)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Thu, 03 Sep 2009 10:12:07 +0200

For parts 1&3, please go here:
Part 1, Part 3

There are two issues, and each one constitutes a well functioning entry barrier in itself. But, in conjunction they are seamlessly joint: The GEMA presumption, and closely linked the free licence composers’ and providers’ scattered acting.

Why are they that closely linked?

First off, GEMA is responsible for maintaining the GEMA presumption. Secondly, GEMA does not allow members to license selected works under Creative Commons. Free licence composers are kept out of the market without having any organisation representing them. It is plain to see why Germany’s collection society does not want to offer billing and administration of Creative Commons licences (although they could get a good revenue by doing so). But, in the end this results in increasing the demand an alternative to today’s common collection society. Latest by launch of an alternative platform, organisation or institution the GEMA presumption is going to fall. Now this isn’t at all what GEMA wants.
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The GEMA Presumption as an Entry Barrier (Pt. 1/3)

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Wed, 02 Sep 2009 08:49:12 +0200

For parts 2&3, please go here:
Part 2, Part 3

Note.

Quite often, in any part of this article I’m using the term “free licensed” or “free licences”. That might be a bit misleading. Please take your time to understand it in the meaning of “independently licensed from any collection society (in particular GEMA)”. It does not mean that for example Creative Commons licences are always free of charge. The range of Creative Commons allows for different licences (in contrast to GEMA by the way).

Most of them (at least with music) will probably be free of charge for private use. However, commercial use in most cases depends on certain conditions and the explicit permission of the author plus paying a licence fee.

I’m aware of the fact that the line between private use and commercial use is not that clear, and it is not explicitly defined by Creative Commons. The definition rather relies on the author being the licenser. But in case you are about to license a work - just ask the author if the purpose you are intending is considered private or commercial use. The metadata of any work licensed under Creative Commons should allow for a contact option.

A slight case of overbombing.

Unfortunately, usage of content licensed by Creative Commons or other free licences in Germany pretty often fails because of the so called GEMA presumption. As of now, due to this presumption, if played, performed or copied for commercial use or in public in Germany, every work of music has to be reported to German collection society GEMA. This applies for composers playing their own music as well as for songs not licensed with GEMA - say, Creative Commons. This is confirmed and supported by German jurisdiction.

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Warner's got a brilliant idea - sending a DMCA takedown notice to Larry Lessig

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Wed, 29 Apr 2009 09:10:23 +0200

CC-BY-NC by Tomy Pelluz

[Deutsche Version] I guess I won’t have to comment much on this one. Just imagine this scenario: Warner Music on YouTube finds a presentation Lawrence Lessig did. Warner Music demands Lawrence Lessig to take down the video of his own presentation.

No April fool’s joke, no misinformation, no fiction. They have done so. And of course, Lessig stands up against.

There is no better way to put it than Michael Masnick did on TechDirt…

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Lawrence Lessig: An Endangered Species Called Culture

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Tue, 28 Apr 2009 09:17:15 +0200

CC-BY-NC by Lawrence Lessig

After publishing the most recent article on Dubber’s pitch for Popkomm, I once more browsed Lawrence Lessig’s “Free Culture” (Creative Commons Attribution-Noncommercial 1.0 Generic License). Actually, I happened to find a metaphor he used that perfectly fits my comment on ContentSphere which I’d like you to think about (see “Free Culture”, p. 211-212 (both Penguin paperback and PDF editions):

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Popkomm's arising: Dubber - Music, Culture, and an Industry Stifling Its Future

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Fri, 24 Apr 2009 16:23:12 +0200

[Deutsche Version] Andrew Dubber just recently pitched a topic to Popkomm - “Music As Culture”. If you read the outline of this hopefully upcoming speech at New Music Strategies, you might recognise a bit of Lawrence Lessig’s “Free Culture”.

Dubber is absolutely right in labeling it “important” and “urgent”.

We’ve seen the USA extending copyright terms, and European countries suggesting to do so. Just yesterday, the European parliament in a first reading voted in favour of a prolongation by extending the copyright term from 50 to 70 years. I mentioned it before - this definitely does harm to culture. Strict legislation and overly harsh fines result in a “permission culture”, as Lessig puts it.

Internet Means Creativity

Point is, we must embrace the very fact that culture lives within the internet. The web advances culture. These are the new tools. As often, lobbyism for the old paradigm tries to build shrines for technologies while understanding and sensibly implementing the new would yield better results and stimulate the market. Actually, the market, which means culture, right now is strangled. And it’s not The Pirate Bay that does. It is the collective understanding of today’s society of terms as “intellectual property”, “piracy”, and “lost sales”.

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GEMA vs. Jamendo et al. - Get Money for Nothing

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Mon, 06 Apr 2009 22:35:00 +0200

[UPDATE: This article is linked and commented by Michael Masnick on TechDirt].

Sorry if I’m a bit late on this one, but I’ve taken some days off. However, this one is by far too barefaced to be believed. I’m afraid it’s no April fools’ joke.

You will remember my article on music distribution platform Jamendo going with Creative Commons. Today, I just read news from a week ago that they are about to integrate a new search tool. It supports promoters, agencies, movie makers and game manufacturers by providing search categories like mood, occasion, genre and language.

Artists participating in Jamendo’s distribution model can opt-in for Jamendo PRO. Business customers of Jamendo who would like to make commercial use of tracks offered can purchase licenses within Jamendo PRO. This differs from private customers who may download everything for free. Most importantly, it’s an additional source of revenue for artists (and Jamendo) that adds to income from ads.

The new tool helps business people interested in searching for the right music - instead of thoroughly relying on communication and recommendation via Jamendo. Any process like this is destined to be too time consuming.

… and then there’s GEMA, Germany’s collecting institution.

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Keep Culture Safe - Don't You Dare to Touch It!

wolfgang.senges@contentsphere.de (Wolfgang Senges) — Tue, 24 Mar 2009 16:51:00 +0100

On another note, Michael Masnick had me checking out Richard Smith’s article on the issue of extending copyright. Richard Smith from London’s Guardian features the book “Public Domain: Enclosing the Commons of the Mind” (free download under CreativeCommons license) by James Boyle, professor of law at Duke Law School, North Carolina. The books’ core statement is that “the world has made a colossal cultural mistake that shames our generation”. No question you wonder which mistake Boyle is talking about. It is the USA’s recent decision to extend copyright “to life plus 70 years”. Many artists may be puzzled about this… why moan? Hey, that’s great! Our property finally gets protected. Cost is: Our culture gets locked. By backdating the law to 1923 “virtually all 20th century cultural objects are locked up”.

Culture needs to develop upon the culture before. It is the same point Lawrence Lessig made when writing “Free Culture” (free download under CreativeCommons license). Now, Europe is about to decide the same way.