And it’s going to turn the music business upside down. So much of what now exists will evaporate. The game will be completely different. It will switch from one focused on sales to actual listening. Right now, Spotify is pioneering. It appears to be trumping its competitors, Rhapsody, MOG, Napster and Rdio. But the big behemoth Apple is waiting in the wings. If you study the history of the Cupertino company, it’s rarely first, that’s a recent phenomenon, it usually enters a sphere late, after the public is inured to the behavior, and Apple perfects it. Apple was late with CD burners, iTunes was not the first jukebox, the iPod was not the first MP3 player. But Apple employed design, both software and hardware, to create elegant solutions that were intuitive, simple to use, requiring no manual, and ultimately triumphed in the marketplace.

Don’t say Apple doesn’t rent, just look at movies and TV in the iTunes Store. Steve Jobs is famous for saying one thing and then doing another. Funny how he can change position and politicians cannot. Apple only strikes when the time is right, when a business can burgeon. Streaming is now here. Expect only one streaming service to triumph in America. Spotify has the early-mover advantage, but Apple has the installed base, and everybody’s credit card number. And when Apple moves, everybody knows overnight. Steve Jobs gets on stage and it’s bigger than any rock show. Furthermore, users spread the word and people trust Apple.

It makes no sense to own product. You want your music everywhere. Quality will improve with bandwidth. The ship has sailed. What does this mean for you?

1. It’s no longer about the initial sales transaction, but getting people to actually listen to your music. Your relationship doesn’t end when people buy your music, it begins when you get them to click.

2. It’s less about foraging for new customers than satiating old ones. An established fan streaming your track ten times is just as good and cheaper to accomplish than finding ten new fans to stream your track once.

3. Marketing and promotion are reminders to get people to stream as opposed to buy.

4. Historically, it’s been all about the release date. Stopping leaks and working everybody into a frenzy to buy the first week. Now you won’t care if a track leaks, you’ll just put it up on the streaming site and book revenue.

5. Sure, you’ll create events to stimulate streaming. But there will be many as opposed to few. And they’ll be more targeted. Today’s events reach many people who just don’t care. In the streaming future you’ll alert your fan base and then execute. Knowing who your fans are will be crucial. Whether it be Facebook, Twitter, e-mail or some unknown social network, you will go directly to fans. It will not be about pitching middlemen, print and TV and radio, to get the word out.

6. Recommendations will be key. When another band or a fan spreads the word via playlists, infecting new listeners. Radio is inefficient. It’s about advertising, not music. You want to be turned on to tracks by someone with the same sensibility, whose only goal is to turn you on to something great.

7. Playlist makers will be the new deejays. It comes down to who you trust. Anyone can publish, but not anyone can gain followers. Pandora and the like will fade, because they lack the human connection and their recommendation engine is just not as good.

8. You will get into business with he who can guarantee the most streams, not he who can pay you the most money. An advance means nothing. Marketing and promotion mean nothing without resultant streams.

9. There will be a streaming chart, which will cause people to check out winners. This will be determined by data, not influence. It won’t be about paying off the radio station, but reaching critical mass so that others will experiment by listening to you.

10. There will be multiple charts, based on newness and genre. Listeners will comb these to enrich their listening.

11. People will listen to more music than ever before. As a result, money will flow into other areas of the business, i.e. touring and merch.

12. Just because you can play, that does not mean you can win. Just because you’ve got your music on the streaming service, that does not mean anyone will listen to it.

13. Genre will no longer matter. You won’t complain that there’s no radio format for your track. Klezmer has equal footing with hip-hop. That does not mean as many people will listen to klezmer, just that the barrier to entry will be low.

14. To get people to continue to listen you will constantly release new material, make live material public, the album will become passe. It makes no sense to get everybody to listen for a short period of time, you don’t want one big bang, but a constant flood.

15. Every act will have its greatest hits. Album cuts will be for fans only. You will constantly produce, trying to reach the brass ring. You won’t care about the losers, that which does not gain traction. If you fail today, record and release tomorrow.

16. Creativity will burgeon. With it being so easy to get into the marketplace and be heard, risks will be taken.

17. You need someone to gain you attention, you don’t need someone to press and distribute, to get you on the radio, to pay off middlemen to get you exposed. The manager will be king. Record labels will fade. Tribes of like-minded artists are a better place to park your rear end than a conglomerate with a plethora of acts that don’t sound like you. You want synergy. It’s more important to be on the Bonnaroo or Lollapalooza playlist than be signed to the major.

18. Expect those with money and power to try and rig the game. I.e. major labels will try and game the system, generating plays and income for their acts. The streaming service will do its best to try and quash this behavior, but even Google has trouble weeding out those who try to optimize search.

Bob Lefsetz - The Lefsetz Letter-

And the songs will be from “all four major labels” it says.

Yay!

But wait. If it’s the music bit that attracts you, even if you’re into formulaic, cookie-cutter trash, actually, the song downloads are limited.

Very.

There’s an onboard DRM (Digital Restrictions Management) consumer control system which locks downloads to the handset, “meaning they cannot be transferred to other devices”, says the story.

Apple, anyone?

Pass.

Follow me on Twitter.

DigitalMediaWire – Cricket Introduces Muve Unlimited Music Download Service, December 20, 2010

First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

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“We just reviewed that (issue) about an hour ago,” Schmidt promised Reuters after being asked what Google was doing to make so-called anti-piracy technologies widely available to video owners. “It is going to roll out very soon … It is not far away.”

That was back in 2007. But never mind, eh? He’s set to deliver at the end of 2010 following an official Google announcement that it’s bought Widevine, which officially specialises in DRM (Digital Restrictions Management) consumer control.

It’s absolutely amazing that a company can survive selling this kind of stuff. It’s a dead horse. As has been pointed out by so many, so many times before, anything — anything — which can be seen and or heard can be copied by one digital or analog means or another. End of story.

But with the greedy, unscrupulous Big Music and Hollywood cartels lining up to rip off their customers in one way or another, there’s always a market for alleged ‘copyright protection’.

Gargle is a past master at presenting the odious as desirable and on its official blog gurgles, “Content creators and distributors are making huge strides in bringing us content … but to do so, many require high-quality video and audio, secure delivery, and other content protection and video optimization technologies.”

Yep. And “With these tools in place they can easily and effectively give you access to the rich library of content you want to watch, with the immediacy you’ve come to expect”, it states.

Pull the other one. It has bells on it.

“So we’re pleased to announce that we’ve agreed to acquire Widevine”, says Google, adding, “We are committed to maintaining Widevine’s agreements and will provide direct, quality support for their existing and future clients — and we plan to build upon Widevine’s technology to enhance both their products and our own. We’re excited to welcome the Widevine team to Google, and together we’ll work to improve access to great video content across the web.”

No need to stay tuned.

Follow me on Twitter.

p2pnet – Google’s Schmidt roots for DRM, February 22, 2007
Reuters – Google sees video anti-piracy tools as priority, February 21, 2007blog
blog – On demand is in demand: we’ve agreed to acquire Widevine, December 3, 2010

First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

Use free p2pnet newsfeeds for your site. Subscribe to p2pnet.net | rss feed: http://p2pnet.net/feed

“I’m pointing my quivering pen today at the media execs and their willing technologist accomplices that have the nerve in 2010 to enforce HDCP and other completely inane DRM and copy protection schemes to ‘protect’ their content from theft.”

On “protecting”, Paul, did you see this?

“Master HDCP key released: http://bit.ly/aM84GD (please mirror and RT!) #drm #hdcp #defectivebydesign”on Twitter.

Then, on Pastbin >>>

HDCP MASTER KEY (MIRROR THIS TEXT!) This is a forty times forty element matrix of fifty-six bit hexadecimal numbers. To generate a source key, take a forty-bit number that (in binary) consists of twenty ones and twenty zeroes; this is the source KSV.  Add together those twenty rows of the matrix that correspond to the ones in the KSV (with the lowest bit in the KSV corresponding to the first row), taking all elements modulo two to the power of fifty-six; this is the source private key.

To generate a sink key, do the same, but with the transposed matrix.

The complete code appears on the Pastbin post.

Meanwhile, “Let me tell you my story”, says Miller (he hasn’t actually mentioned Apple so far) going  on:

“I bought one of your movies on iTunes. It’s called ‘An Education,’ and I’ve heard very good things. Sure, $15 is a lot to pay for a movie I’ll probably only watch once or twice (no rental option was available), but I was stuck in an airport and desperate for something decent to pass the time with.”

$15 !!!!! ????? Yup. But Miller is an Apple devotee and this is Apple we’re talking about.

Since his laptop was out of battery, “iTunes was my only option, and I attempted to download the movie directly to my iPad”. Unfortunately, he observes, “you can’t start watching a download on the iPad until it’s completed, and the slow airport WiFi only had me 2/3rds of the way before I had to board my flight”.

Oh dear. What to do?

Any port in a storm, so —-

—- The Pirate Bay.

The tale of woe continues >>>

On a personal note, I think illegal media sharing, stealing, is bad for content producers and morally wrong. I don’t buy into any of these arguments that people who steal are “taste makers” that get their friends to buy stuff, or the “stuff is too expensive / I’m too poor” whine. If it’s not worth that much to you don’t buy it, but not being able to afford something is no excuse to steal. But how can content producers ever hope to compete pushing paid wares if stolen content is easier to obtain, view, and dispose of? You don’t have to back up your purchase, that movie is always in the “cloud”; you don’t have to transcode your AAC+ file to MP3, it comes that way; you don’t have to worry about HDCP ruining your life, like it ruined mine.

So I downloaded the torrent and pulled the movie over to my iPad to play with the newly released VLC. Oh, guess what? Apple won’t let third party apps use the VGA output.

I guess that makes me the idiot?

Miller “eventually managed to view his film of choice by streaming his illicitly obtained torrent of the movie to his Xbox 360 using the excellent Connect360 for the Mac”, says Engadget, adding “He will not be asking for his $15 back.”

Follow p2pnet on Twitter.

Engadget – Editorial: For the umpteenth time, copy ‘protection’ only hurts people who actually buy your product, September 25, 2010
see this – Is Blu-ray DRM dead?, September 15, 2010

First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

Use free p2pnet newsfeeds for your site. It`s really easy!

That’s a post on Twitter.

Then, on Pastbin >>>

HDCP MASTER KEY (MIRROR THIS TEXT!) This is a forty times forty element matrix of fifty-six bit hexadecimal numbers. To generate a source key, take a forty-bit number that (in binary) consists of twenty ones and twenty zeroes; this is the source KSV.  Add together those twenty rows of the matrix that correspond to the ones in the KSV (with the lowest bit in the KSV corresponding to the first row), taking all elements modulo two to the power of fifty-six; this is the source private key.

To generate a sink key, do the same, but with the transposed matrix.

The remainder is under this post.

Meanwhile, has HDCP Copy Protection been defeated? – asks Captain555 in a Reader’s Write, going on:

“Death Notice Arrives via Twitter.”

And that suggests the master key for High-bandwidth Digital Content Protection (HDCP) is now in the wild, “making the DRM baked into devices such as Blu-ray players effectively dead”, says Adrian Kingsley-Hughes on ZDnet, going on >>>

This is a big deal. Very big deal. It means that while HDCP devices have their own set of keys that can be revoked when they enter the public domain, uncovering the master key means that new source or sink keys can be created and there’s nothing that can be done to block them short of changing the master key, and that’s not going to happen.

Why? Because changing the master key would effectively kill all current players, set-top boxes and HDMI-enabled devices. While some devices have upgradable firmware, plenty don’t, making a change of master key implausible. So, if this is the real deal, HDCP is dead.

‘ … this security chain has a giant hole’

Back in 2006, Blu-ray and HD DVD, “For fear of piracy, Hollywood had the developers install a cornucopia of copy prevention mechanisms on them,” said Heise Security, going on:

“For instance, the film data on the disks are protected by means of the Advanced Access Content System (AACS). Digital output only reaches the monitor via connections encrypted by means of High Bandwidth Digital Content Protection (HDCP). This copy protection chain is designed to ensure that no unencrypted data can be grabbed.”

But, wrote p2pnet, surprise, surprise, “this security chain has a giant hole,” says the story. “Computer magazine c’t has discovered that the first software players running on Windows XP allow screenshots of the movies to be created in full resolution. To do so, you only need to press the Print key on your keyboard while the movie is running.”

“Does this remind you of anything?” – we asked, continuing >>>

When BMG tried to claim its music CDs were protected by SunnComm’s MediaMax DRM software of Sony BMG spyware infamy, about 10 seconds later, they appeared on the p2p networks.

SunnComm had bragged, “CD copy protection robustness tests were performed to determine the security level of the product against unauthorized copying of the digital content. This was completed using a large set of Microsoft Windows and Apple Macintosh computer systems in tandem with many of the known ripper programs available on the market today. The PMTC determined that none of the ripper programs used in the testing process was able to produce a usable unauthorized copy of the protected CD yielding a verifiable and commendable level of security for the SunnComm product. ‘Completing this external testing phase for our product was a crucial step toward large- scale deployment of protected MediaMax CDs,’ said Eric Vandewater, SunnComm`s Chief Technology Officer. ‘The technology we`ve developed to provide content security was accomplished without sacrificing user playability or functionality,’ Vandewater concluded’.”

BMG’s Velvet Revolver Contraband release came with anti-copying software from SunnComm, said Princeton’s Alex Halderman who discovered, “It can be bypassed by holding the shift key every time the disc is inserted, turning off autorun before using the CD for the first time, or manually disabling the driver software as described below.”

Back to the Heise Online story, the Blue-Ray and HD DVD screenshot function, “could then be automated to produce copies of HD movies both from Blu-ray Discs and from HD DVDs picture by picture” and, “As c’t calculated, the performance of current PC systems is sufficient for a clean recording using this procedure.

“Once a pirate has all of the individual pictures, they can be put together to create a complete movie and mixed with the audio track that is grabbed separately.”

This latest DRM bust affects Sony’s first Blu-ray PC Vaio VGC-RC 204 and Toshiba’s first HD DVD notebook Qosmio G30, says the story. Both use special OEM versions of Intervideo’s WinDVD player software.

“When asked to comment, Toshiba confirmed the security hole found by c’t, which affects the computers already sold, and announced updates for the player software and graphics card driver,” says . The fix, “should disable the screenshot function”.

“According to Toshiba, however, the original WinDVD version does not violate the security stipulations in the AACS LA,” says Heise Online.

“Toshiba therefore does not expect the first WinDVD version to be blocked by an update of the AACS key. By switching the keys, which would be necessary for new HD DVD movies, the AACS LA could force users to update their software, thus closing the copy protection hole.

“The next edition of c’t, which goes on sale on Monday, July 10, describes this security hole and its effects in greater detail.”

When will they learn that DRM is a crock?

Anything which can be seen or heard can be copied by one digital or analog means or another AND, ‘consumers’ are a whole lot smarter than the people who run the cartels.

End of story.

Here’s the the latest code, in full >>>

HDCP MASTER KEY (MIRROR THIS TEXT!)

This is a forty times forty element matrix of fifty-six bit hexadecimal numbers.

To generate a source key, take a forty-bit number that (in binary) consists of twenty ones and twenty zeroes; this is the source KSV.  Add together those twenty rows of the matrix that correspond to the ones in the KSV (with the lowest bit in the KSV corresponding to the first row), taking all elements modulo two to the power of fifty-six; this is the source private key.

To generate a sink key, do the same, but with the transposed matrix.

6692d179032205 b4116a96425a7f ecc2ef51af1740 959d3b6d07bce4 fa9f2af29814d9
82592e77a204a8 146a6970e3c4a1 f43a81dc36eff7 568b44f60c79f5 bb606d7fe87dd6
1b91b9b73c68f9 f31c6aeef81de6 9a9cc14469a037 a480bc978970a6 997f729d0a1a39
b3b9accda43860 f9d45a5bf64a1d 180a1013ba5023 42b73df2d33112 851f2c4d21b05e
2901308bbd685c 9fde452d3328f5 4cc518f97414a8 8fca1f7e2a0a14 dc8bdbb12e2378
672f11cedf36c5 f45a2a00da1c1d 5a3e82c124129a 084a707eadd972 cb45c81b64808d
07ebd2779e3e71 9663e2beeee6e5 25078568d83de8 28027d5c0c4e65 ec3f0fc32c7e63
1d6b501ae0f003 f5a8fcecb28092 854349337aa99e 9c669367e08bf1 d9c23474e09f70

3c901d46bada9a 40981ffcfa376f a4b686ca8fb039 63f2ce16b91863 1bade89cc52ca2
4552921af8efd2 fe8ac96a02a6f9 9248b8894b23bd 17535dbff93d56 94bdc32a095df2
cd247c6d30286e d2212f9d8ce80a dc55bdc2a6962c bcabf9b5fcbe6f c2cfc78f5fdafa
80e32223b9feab f1fa23f5b0bf0d ab6bf4b5b698ae d960315753d36f 424701e5a944ed
10f61245ebe788 f57a17fc53a314 00e22e88911d9e 76575e18c7956e c1ef4eee022e38
f5459f177591d9 08748f861098ef 287d2c63bd809e e6a28a6f5d000c 7ae5964a663c1b
0f15f7167f56c6 d6c05b2bbe8800 544a49be026410 d9f3f08602517f 74878dc02827f7
d72ef3ea24b7c8 717c7afc0b55a5 0be2a582516d08 202ded173a5428 9b71e35e45943f

9e7cd2c8789c99 1b590a91f1cffd 903dca7c36d298 52ad58ddcc1861 56dd3acba0d9c5
c76254c1be9ed1 06ecb6ae8ff373 cfcc1afcbc80a4 30eba7ac19308c d6e20ae760c986
c0d1e59db1075f 8933d5d8284b92 9280d9a3faa716 8386984f92bfd6 be56cd7c4bfa59
16593d2aa598a6 d62534326a40ee 0c1f1919936667 acbaf0eefdd395 36dbfdbf9e1439
0bd7c7e683d280 54759e16cfd9ea cac9029104bd51 436d1dca1371d3 ca2f808654cdb2
7d6923e47f97b5 70e256b741910c 7dd466ed5fff2e 26bec4a28e8cc4 5754ea7219d4eb
75270aa4d3cc8d e0ae1d1897b7f4 4fe5663e8cb342 05a80e4a1a950d 66b4eb6ed4c99e
3d7e9d469c6165 81677af04a2e15 ada4be60bc348d dfdfbbad739248 98ad5986f3ca1f

971d02ada31b46 2adab96f7b15da 9855f01b9b7b94 6cef0f65663fbf eb328e8a3c6c5d
e29f0f0b1ef2bf e4a30b29047d31 52250e7ae3a4ac fe3efc3b8c2df1 8c997d15d6078b
49da8b4611ff9f b1e061bc9be995 31fd68c4ad6dc6 fd8974f0c506dd 90421c1cd2b26c
53eec84c91ed17 5159ba3711173b 25e318ddceea6a 98a14125755955 2bb97fd341cea2
3f8404769a0a8e bce5c7a45fb5d4 9608307b43f785 2a98e5856afe75 b4dbead4815cac
d1118af62c964a 3142667a5b0d14 6c6f90933acd3d 6b14a0052e2be4 1b1811fda0f554
12300aa7f10405 1919ca0bff56ea d3e2f3aad5250c 4aeeea5101d2ec 377fc499c07057
6cb1a90cdb7b11 3c839d47a4b814 25c5ac14b5ec28 4ef18646d5b9c2 95a98cc51ebd3b

310e98028e24de 092ffc76b79f44 0740a1ca2d4737 b9f38966257c99 a75afc7454abe4
a6dd815be8ccbf ec2cac2df0c675 41f7636aa4080f 30e87b712520fd d5dfdc6d3266ac
ee28f5479f836f 0bf8ee2112173f 43ae802fa8d52d 4e0dffd36c1eac 3cbda974bb7585
fb60a4700470e3 d9f6b6083ef13d 4a5840f02d0130 6c20ef5e35e2bf dad2f85c745b5b
61c5ddc65d3fc9 7f6ec395d4ae22 2b8906fb3996e2 e4110f59eb92ac 1cb212b44128bb
545afda80a4fd1 b1ffea547eab6b fac3d9166afce8 3fe35fe17586f2 9d082667026a4c
17ffaf1cb50145 24f27b316acfff b6bb758ec4ad60 995e8726359ef7 c44952cb424035
5ec53461dbd248 40a1586f04aee7 49ea3fa4474e52 c13e8f52c51562 30a1a70162cfb8

ccbada27b91c33 33661064d05759 3388bb6315b036 0380a6b43851fb 0228dadb44ad3d
b732565bc37841 993c0d383cfaae 0bea49476758ac accc69dbfcde8b f416ab0474f022
2b7dbcc3002502 20dc4e67289e50 0068424fde9515 64806d59eb0c18 9cf08fb2abc362
8d0ee78a6cace9 b6781bd504d105 af65fab8ee6252 64a8f8dd8e2d14 cb9d3354e06b5b
53082840d3c011 8e080bedab3c4c e30d722a455843 24955a20397c17 82495c1c5114e8
656e71c31d813d 1f0a6d291823a1 6327f9534353fa b89529c2f034fb 70e9b12205c7b3
a06c87969407a2 520bfa2fe80f90 da1efc3d345c65 313936ec023811 a8cc87128be2fa
4cd0e8645ee141 be7975519e2b63 9543d23113c2a8 3d87b0da033f22 df0464c704e9d4

7e1a30947e867e 014ae464b37935 5c4babf689fa4e c4aec0cb01cc35 328c0e4a0230e4
fdacb93b419594 26deefc8a553e6 6e75a2d790cb55 2c4554518f7396 94b77184cb145d
95f883f620a8bb edff42866a2783 7b4ee6304b711d ed56e077a4b9fb c4e60e687ff6c3
0cbf144b8f64d5 023dd10a35eddd beaa3323e999c6 d2e016b31c38c4 8d2917a888f799
18c3abd28e736b 8d38e69b4966cc 624db0143dd2e7 5e2fa510f632b7 ee6e64d45b139a
a1c6d852e74be7 429843b9e6bb7e db9ab07c8dc267 9efa092299f071 dcca9e0e61e960
94406fac95f1d8 d19122f3f88782 1b11a662e9c83f d161fd6fb7f032 89f7d984da9d48
a3583fea45fe58 885e2c4839e254 47e87235f713b1 f4732e05b71aee ae026d063f4349

0a481d2db197af abfce1039d4ac0 4a6b89d2d1aeac 0842eb7178cc53 b82ce2835f1937
3b4002ca21d6b6 e64a78a78abb27 8bd6142ad04526 e035dacb23624a 4cf80110135771
7a52fafc92745e efa28a290ea782 735617cd8b0221 b095e9f4b286a5 021e9ba0727645
3e58e9ec16ed1c d7732bb5ba99a6 374bde43fa89a9 cb83e5ef2e4d04 1da4f73566d134
e01da194625c25 d62018764d7473 64643721313d24 5a01badd970941 481c9578781414
a4d3faa92d1fef bd4b247d37862a 5332a7ca3c2ca6 393ee51989d5a9 01a6e564040d37
390c472ee27892 f0217fe009e9b4 5d3f04da415b35 612ecd5b8e4eac 757e27d2169f2d
92853b737b7526 9ac837c86476df e956c2b45ebd5e d4fa6da687ac39 60f4343669ddd3

64b8d778e72e78 f86cd55efe92b8 a9adbf2e728440 966c8282cee1f9 ea195972b883f4
46ac03b37e7f24 744df253954ae5 22e3f9a0adbc58 6add7c7d8a2961 ba963e4912d17c
2840ac28fcfad9 8d8ec3ad6dfc32 a3c788dd094910 e65ebb61dabb5f b50e906b28c881
003b11eb83e6a9 a2fac0595b138d 3d55a28f915330 c343bd1849a085 54c786629d2b42
1d465cb22ccbc2 d8f87fd52aded1 ecb34f46656b71 b4cbe50f839f2c 2df6a553cc3698
40b2dd25f26d51 492f3c5c6fa566 f80dd453864548 d4be786d8735d9 e364511a0fb62d
3c2df64d6d1c9f f640e4ef4186be 41773025d6ff57 6147e75d7df3f5 49809548639d16
01067ef6034247 4e7c1b20deb154 3f8172a6b98ea0 b0691d4b575801 136a88607a3e5b

0180058ca8742e 972bc2ca1c4cb6 7b05bbc57e63df 5f01049697eaa2 c537f3121384dc
edb1fa0b34f132 689b1374cafe25 802d7bca5c6674 f8e01e75e9eb3d a59c2d9126d85d
f10f603f8c4fd9 d5a358aa84b2d5 f8320f2a3bd078 019bcf0dabb5c3 43dd8dd5e173f0
45169f788a0233 d62daee0e9839c 7d673cf77a53d2 008730faf272d0 3c08080778ae8d
920e40fad87d7e bf118230ffb194 692baf40b951b4 83549affe4e382 68e172f86a40b3
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ZDnet – High-bandwidth Digital Content Protection (HDCP) could be fatally busted, September 14, 2010
Heise Security – – Copy protection hole in Blu-ray and HD DVD movies, July 7, 2006
p2pnet – Blu-ray, HD DVD DRM busted, July 7, 2006
SunnComm – SunnComm’s MediaMax CD-3 Technology Passes International Test with Flying Colors, August 27, 2003
Alex Halderman – Analysis of the MediaMax CD3 Copy-Prevention System, October 6, 2003

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That’s because the BBC has “quietly updated” its iPlayer with a verification layer that “closes the door on open source implementations of RTMP (real-time messaging protocol) streaming”, says The Register, continuing Aunty “applied the update to its online video catch-up service on 18 February, just four days after Adobe Systems penned a corporate blog post about its ‘content protection offerings’.”

Now free RTMP plugins from such as the XBMC community, “whose code is based on the GNU General Public Licence v2″, can no longer stream iPlayer content, says the story.

The Register says it asked the BBC to explain why it’d implemented the change “without first advising its UK licence fee-paying users of iPlayer that plugins such as XBMC would no longer have access to the service”.

“Since launch in 2007, BBC iPlayer has always used content protection in order to provide UK audiences with the most compelling content. We periodically review the level of security to protect BBC programmes, brands and trademarks,” the Beeb said in a statement.

However, “it didn’t explain to us why Auntie had decided to put a block on open source RTMP plugins now”, says the story, adding:

“Reg reader, Tom Rouse, who alerted us to the SWF verification tweak to the iPlayer, wondered if the BBC was simply satisfying the demands of Adobe’s content licence desires.

“It would seem that this move is likely [to] impact users of platforms not supported by Flash, with an unsatisfactory implementation (e.g. too resource intensive for the platform, with video tearing, etc.), or those who just wish to use an open source player,” he said.

“Ironically, third party utilities that download files (which presumably the verification is there to prevent) still work fine. It is possible that this move will actually increase the occurrence of downloading files which will not be time limited, or torrenting of copyrighted material.”

For a limited time only

“H-Online notes that: ‘Some open source plug-ins get around SWF verification by transparently dropping the stream, reopening it and seeking to where it was before the ‘ping’ came in, though this is potentially punishing on servers’,”says the Guardian, noting:

“There’s no way of knowing how many UK-based iPlayer users have PCs but can’t or won’t run the Adobe AIR version, but it’s probably not a large percentage of 61.4 million”,

In January last year, “Thanks to Adobe, the BBC’s DRM-ed iPlayer now ‘allows’ Windows, Mac and Linux users to download programmes” said p2pnet, adding, “Previously, the ability to download programmes was only available for Windows users,” says Aunty.

“Now, the new download manager allows users to view their favourite BBC shows, online or offline, with a high quality solution across operating systems.”

But only for a limited time. And only if you’re in the UK.

It, “lets viewers stream programs for up to seven days after broadcast or download and watch them for up to 30 days,” says the Adobe Air blog, going on that it, “makes use of the Flash Media Rights Management Server (FMRMS) to DRM-protect content which is downloaded to the user’s desktop”.

In other words, it has a little Police application sitting on your computer.

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The Register – BBC iPlayer rejects open source plugins, takes Flash-only path, February 24, 2010
Guardian – BBC’s iPlayer verification blocks open source software, March 1, 2010
p2pnet – BBC iPlayer DRM for everyone, January 5, 2009

But only on “selected devices”.

DRM is short for Digital Restrictions Management consumer control and they want to make money on it [wait for it] by removing it.

Yup.

“Customers who have previously purchased copy protected songs and wish to remove the copy protection will be able to do so at a cost of 30 cents per song”, says Digital Home.

Not only but also, “Telus subscribers should note, however, that many music capable devices sold by Telus now and in the past are not DRM free capable meaning customers will not be able to play DRM free songs on their existing device”, , says the story.

“This includes such popular phones such as the LG 8500 Chocolate, LG 8600 Chocolate Flip, Samsung A950, Samsung Advance, Motorola MOTOKRZR2, HTC Touch and Touch Pro, and the Palm Treo Pro.”

And, says Telus on the site listing devices people can safely use, “Bulk upgrade available for quickly upgrading multiple tracks. (.30 cents/track will be totaled for client to see what cost of upgrade will be).”

Gee, Telus, thanks!

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Digital Home – Telus music store drops copy protection, February 10, 2010

They’ll only last for 48 hours, says the Telegraph.

The deal, “from which YouTube earns an unspecified commission for each rental, while the studios retain all rights, is another step towards the company becoming an online destination for long-form web content,” says the story.

It “follows closely on from one announced earlier in the week which sees the video-sharing site acquire the rights to broadcast live coverage of the upcoming Indian Premier League cricket championships,” it adds.

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Telegraph – YouTube offers movie rental service, January 22, 2010

Steve and the Boyz reckon they’ve found a way to use DRM on P2P networks to distribute commercial media online.

It “works like a standard torrent network,” says Cryptopatents. When a user wants the content, “his machine grabs a list of the nearest peers and what parts of the content they have,” it says, going on, “The user downloads the individual pieces and the file is reassembled on his computer.”

But, Microsoft’s twist is to lock each packet using “several layers of encryption: public key cryptography, DES and RC4 for the algorithm’s different components,” says the story, going on >>>

In an ideal setting, the scheme works like this: Microsoft sends you a master key that has been enciphered with your public key.  You decrypt the master key and the result is hashed using SHA.  The output is split in two, with the first part used as the root of the machine authentication code key (MAC, similar to a checksum), the second is the DES key. The DES key is used to decrypt the RC4 content key that, in turn, is used to decrypt the content payload.   The whole thing is XOR’d with the MAC and the output is reassembled for your viewing pleasure.

Under “Digital rights management scheme for an on-demand distributed streaming system,” and listing Jin Li and Yi Cui as the inventors, the Microsoft P2P DRM “may be optionally invoked by the owner,” says the abstract to patent application 10934823, adding >>>

With the DRM protection turned on, the media is encrypted before it is distributed in a P2P network, and is decrypted prior to its use (play back). The peers may still efficiently distribute and serve without authorization from the owner. Nevertheless, when the media is used (played back), the client node must seek proper authorization from the owner. The invention further provides a hierarchical DRM scheme wherein each packet of the media is associated with a different protection level. In the hierarchical DRM scheme of the invention there is usually an order of the protection level. As a result, in one embodiment of the invention, the decryption key of a lower protection layer is the hash of the decryption key at the higher protection level. That way, a user granted access to the high protection layer may simply hold a single license of that layer, and obtain decryption keys of that layer and below. The invention further provides for a process for managing digital rights to a scalable media file wherein a different encryption/decryption key is used to encrypt each truncatable media packet with a base layer without requiring additional storage space to store the key.

DRM is a dead horse. But they never give up, do they?

(Cheers, RW)

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Cryptopatents – Microsoft Patents P2P DRM Methods, January 4, 2010

“The hack will allow the ebooks stored on the reader to be transferred as pdf files to any other device,” says the BBC.

Amazon “leaves it to individual publishers whether they want to apply DRM but books in its main proprietary format .azw, cannot be transferred to other devices,” says the story, adding:

“It did not immediately respond to the news but it is likely it will attempt to patch its DRM software.”

Which won’t achieve anything.

If you can see it or hear it, you can copy it.

End of story.

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

BBC – Amazon’s Kindle has copyright protection hacked, December 23, 2009

“Ghandi is a great comparison,” said Gene in an email we quoted in a story about DirecTV DRM.

“Passive resistance is what I am practicing,” he went on, referring to a Reader’s Write he posted under Us versus Them.

He said he’s a victim of DirecTV DRM and had just started Theft by DRM.

Now, “A lawsuit filed this week by Washington state against DirecTV could have a secondary purpose,” says MSNBC.

“It could serve as a textbook for consumers on tricks companies play to take their money.”

It was filed by Washington attorney general Rob McKenna who in an interview with msnbc.com said that the firm has “left few deceptive tactics unused.”

It’s “amazing, the wide variety of ways they’ve taken advantage of their customers,” he’s qu0ted as stating, also saying he’d received 375 consumer complaints about DirecTV this year — “more than any other company”. And another 59  arrived in the 24 hours after the lawsuit was filed, he said.

However, “We always strive to provide 100 percent customer satisfaction but, to put it in perspective, we are talking about less than one percent of our customer base in the entire state,” says a DirectTV statement. “The vast majority of our customers in Washington, and the U.S. for that matter, understand our lease agreement and are happy with our overall service.  We are disappointed that the state elected to file a lawsuit. We believe their allegations lack merit, and we are confident the court will agree with us.”

The Washington suit “lays out a laundry list of other practices that the Attorney General’s Office says are unfair,” says the Kitsap Peninusla Business Journal, among themAmong them >>>

• Rebate terms: In order to obtain a promotional rate, customers sometimes have to submit a rebate. Customers who submit the rebate form after installation may be charged full price for their service for up to two months. Those who fail to return the rebate within 60 days of an order are charged the full price indefinitely – even if DIRECTV failed to adequately inform them of the need to mail the form.
• Use of the term “Free”: The Company advertises “free” installation and upgrades such as an HD receiver, DVR receiver or premium channels such as HBO and Starzz. In fact, customers may be required to pay monthly fees for the equipment. The premium channels are offered as a free trial that automatically converts into a paid subscription.
• Contract extensions: DIRECTV not only requires customers to agree to an extended contract at the beginning of service, but attempts to extend those terms even further. The company extends the length of contracts when customers require equipment repairs, upgrade equipment or move.
• Financing: DIRECTV fails to disclose that the company’s least expensive package of $29.99 per month is only available to customers who meet certain financing conditions and agree to have the costs automatically charged or debited.
• Cancellation fees: DIRECTV offers customers a $5.99 monthly “Protection Plan” to cover equipment repairs. Customers who weren’t even aware they are paying for the plan have been unfairly charged a $10 fee to cancel their enrollment.
• Retention of funds: Prior to selling programming, DIRECTV asks for a customer’s Social Security number in order to perform a credit check. Customers who refuse to provide the number or whose credit is deemed insufficient are required to pay a $200-$300 deposit to obtain service. Those who cancel service prior to the end of their contract lose part of the deposit and may also be charged cancellation fees.

“The Attorney General’s Office is asking the court to compel DIRECTV to change its business practices, impose civil penalties and provide restitution for consumers,” the story states.

Adds MSNBC:

“If you feel you’ve been treated unfairly by DirecTV, contact your state attorney general immediately. If a case is filed in your state, those with complaints on file will be the first in line to receive restitution should the states prevail. If you are considering DirecTV — or any pay TV service — read this complaint carefully. (PDF) All the pay TV services have conjured up complicated trial offers, tricky rebates and so on.  The DirecTV lawsuit is an excellent summation of the kinds of things to watch for.”

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

DirecTV DRM – ‘I’ve lost a dog named Justice’, April 20, 2009
MSNBC – DirecTV thrives on ‘deception,’ lawsuit alleges, December 18, 2009

Kitsap Peninusla Business Journal – Attorney General sues DIRECTV for “unconscionable” sales practices, December 21, 2009

How come?

Stupid DRM.

DRM (Digital Restrictions Management) consumer control is dumb and anyone using it is beating a very dead horse.

It’s simple. Anything which can be seen or heard  can be copied. Period. Full stop.

Now, “In my latest Publishers Weekly column, I explain why I’m not even going to try to sell downloads of the audiobook of the my forthcoming experimental short story collection, With a Little Help,” says Doctorow.

“Apple won’t carry it without DRM; Audible won’t carry it without an abusive EULA; and all the major digital delivery systems are crufty and needlessly complicated.”

It’s no surprise that Apple wants DRM. After all, it practically invented it.

Doctorow goes on >>>

For my next book, Makers, we tried again. This time Audible agreed to carry the title without DRM. Hooray! Except now there was a new problem: Apple refused to allow DRM-free audiobooks in the Apple Store — yes, the same Apple that claims to hate DRM. Okay, we thought, we’ll just sell direct through Audible, at least it’s a relatively painless download process, right? Not quite. It turns out that buying an audiobook from Audible requires a long end-user license agreement (EULA) that bars users from moving their Audible books to any unauthorized device or converting them to other formats.

And, “Instead of DRM, they accomplish the lock-in with a contract,” her says, stating:

“I came up with what I thought was an elegant solution: a benediction to the audio file: ‘Random House Audio and Cory Doctorow, the copyright holders to this recording, grant you permission to use this book in any way consistent with your nation’s copyright laws.’This is a good EULA, I thought, as it stands up for every word of copyright law. Random House was game, too. Audible wasn’t. So we decided not to sell through Audible, which I was intensely bummed about, because I really like Audible.”

On Publishers Weekly,”I used to be a huge Audible customer,” says Doctorow, but, “When I switched operating systems, however, I discovered that Audible’s DRM wouldn’t work on my Linux computer.”

He continues >>>

I’ve spent thousands of dollars on my Audible collection, so I set out to convert it all to MP3. That required playing each book in real-time through the computer’s sound card, recapturing it with the AudioHijack program, and then saving it as an MP3. It took a solid month of running three old Macs 24/7 to get all of my audiobooks out of Audible’s proprietary wrapper and into the universal MP3 format so that I could take my investment with me to a new digital home.

Of course, I probably could have “pirated” the same audiobooks more quickly — after all, it’s not hard to find cracked Audible titles on the Internet. This is why I can’t understand why publishers or writers opt for DRM. It clearly doesn’t stop real pirates from copying, and it locks good customers into the DRM vendor’s ecosystem. I wouldn’t sell my books through a bookseller who demanded readers only enjoy them on a chair from Wal-Mart; why would I sell my audiobooks on terms that insist my listeners only use devices approved by a DRM vendor?

Doctorow adds, “for the record, I’d put my books in Audible and the iTunes Store in a hot second if only they’d sell them on the same terms that I’d be willing to buy them: no DRM and no license agreement except ‘don’t violate copyright law’.”

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craphound – Stupid DRM, abusive EULAs, hopeless ecommerce, December  10, 2009
Publishers Weekly – With a Little Help: Can You Hear Me Now?, December  7, 2009

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]]> http://www.p2pnet.net/story/32418/feed 11 http://www.p2pnet.net/story/30846 http://www.p2pnet.net/story/30846#comments Sat, 07 Nov 2009 16:57:46 +0000 Jon http://www.p2pnet.net/?p=30846 p2pnet news view DRM | P2P | Movies:-  The Hollywood studios want the Federal Communication Commission (FCC) to allow them to start using selectable output control (Soc) DRM consumer control technology.

Soon-to-be-gone MPAA boss Dan Glickman says the anti-piracy effort is “the option” for people “to enjoy movies in a more timely fashion”.

“If the FCC agrees, the MPAA and the movie studios it represents (Paramount, Sony, Fox, Universal, Disney, and Warner Brothers) would be able to ‘turn off’ any output plug they choose, like those on the back of consumer electronics devices of an entertainment system, during special video-on-demand movies on cable television,” said Public Knowledge last year.

Not only but also, if you use a TiVo, any Slingbox, or a TV manufactured before 2004; connect your TV to your cable box with analog cables (either component or composite); or, have a TV without a digital connection, such as HDMI, you’ll probaby have to replace much if not all of your existing entertainment system, it said.

Nor are consumers the only ones under threat.

There’s “no definition of  ‘a more timely fashion’ — something that theater owners have demanded,” says IMDb, going on:

As of now films are not made available for home viewing until four months after their theatrical run. And, in an interview with today’s (Thursday) Los Angeles Times, John Fithian, president of the National Association of Theater Owners, said that while his group doesn’t oppose the use of Soc, he objects to the fact that the MPAA isn’t “telling the FCC or anyone else how early they want to go, so there’s no way of telling what the impact is on the cinema industry and our consumers.”

But, it adds, “industry analysts have observed that the barn door was already unlocked by peer-to-peer technology, which has made bootlegged versions of movies available online at about the same time they are released in theaters — or even earlier.”

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

Soon-to-be-gone – MPAA boss pressures UK on 3 strikes scheme, October 26, 2009
IMDb – MPAA Asks FCC For Permission To Launch New Technology, November 5, 2009

Anything which can be seen or heard can be copied by one means or another.

And Henrik Andersen was so tired of Denmark’s  intellectual property laws he turned himself into local cops and admitted copying 100 movies and 10 seasons of a TV series.

But he hadn’t downloaded them.

He’d bought them

Nor was he confessing for copying them — doing so for personal use is legal in Denmark.

Rather, he was owning up to having broken DRM (Digital Restrictions Management) consumer control technology, which is against the law, there, says BusinessDK, noting the ministry of culture had intended to update local laws regarding  “copy protection” to enable people to make copies for personal use.

Says TorrentFreak, “However, as Henrik points out, while this might be the government`s plan, the movie industry has failed to live up to this vision, hence his intended piracy martyrdom to draw attention to the issue.

“As the culture minister sees no reason to change the law, she must, in my opinion, not understand the problem, therefore I choose to confess to you, to see whether you are prepared to get the legislation tested in court,” says Henrik as he concludes his confession.

Henrik has given anti-pirate outfit Antipiratgruppen until December 1to respond,” it says, adding:

“Even given a prosecution on a plate, it`s extremely unlikely they will take him up on his offer.”

(Cheers, Lars)

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

BusinessDK – Dansker har meldt sig selv for piratkopiering, November 4, 2009
TorrentFreak - DRM Breaker Reports Himself To Anti-Piracy Group, November 4, 2009

It wants to convince “music and film footage rights owners to make advertising revenue from their content rather than remove it from the video-sharing site for breach of copyright,” says the Guardian.

And it hopes to do that with ContentID, a “fingerprinting system for rights holders that means YouTube can identify their material even when it has been altered and made part of user-generated content such as wedding videos or satirical clips”.

With it, Google’s computers compare all the material uploaded to YouTube around 20 hours every minute against “ID files” from a 100,000-hour library of reference material from the rights holders,” says the story, going on »»»

The system creates reports of what is viewed where and how often.

Rights holders then have the choice to either block their content or make money from it. That means putting advertising alongside the video and sharing the revenues with YouTube, which takes a small cut. They can also make money by linking to sites selling DVDs, downloads and CDs of the original content.

Three years after Google bought the site for $1.65bn, “it has yet to turn a profit and there are concerns the division is devouring the internet group’s cash reserves,” says the Guardian, going on:

“Analysts say the company has struggled to sell online advertising against YouTube’s eclectic content and they estimate that it is losing Google at least $175m a year as a result. Less conservative estimates suggest the figure could be as high as $470m.”

YouTube says it streams seven billin videos a week, nut, “only 1bn of those are monetised”, says the story, adding:

“Of those 1bn, a third make money through the ContentID system.”

The dilemma must be driving Gargle marketing bosses insane.

Like Fa$ebook, GooTube claims to be a service, and that’s the way users use it instead of flocking / clicking in droves, damnit it!

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

Guardian – Google seeks to turn a profit from YouTube copyright clashes, November 1, 2009

That’s always assuming they’re in any danger in the first place,  of course.

Microsoft has won a US patent for a distributed DRM system which works over peer-to-peer networks, using encrypted public and private keys as the licensing mechanism, says InformationWeek.

With it, P2P networks could, “reemerge as viable, albeit protected, content sources,” says the story.

Granted yesterday, but filed six years ago, the patent 7,594,275 abstract reads

A public licensing infrastructure (PLI) for a digital rights management (DRM) system is described. In an implementation, a method includes generating a formal license for content. The formal license includes a decryption key for decrypting the content and access rules for accessing the content. A plurality of license authorities is configured to provide a plurality of partial licenses. The plurality of partial licenses is combinable to form the formal license. Each license authority provides a respective partial license.

On the one hand, the story goes on, “the RIAA’s aggressive legal pursuit of song-downloading grandmas squandered the precious little sympathy the record companies might have had. But at the same time, the marketplace essentially moved beyond DRM. Consumers became more sophisticated, and most slowly became inured to the idea they should pay for their music.”

But it wasn’t so much that the market moved beyond DRM, was it? Rather, Digital Restrictions Management never had a chance in the first place because put simply, anything which can be seen or heard can be copied.

Period.

Anyway, “a time when peer-to-peer networks reemerge from their current sub-rosa position and become popular, brand, public-facing methods of distributing content”  could be on its way, says InformationWeek. And, “When they do, Microsoft may be positioned to reap some serious royalties.”

Here’s how Microsoft describes the peer-to-peer distributed angle, in the “background” section of the patent:

In a conventional DRM system, license acquisition requests are processed by a centralized license server. This makes the centralized license server heavy-loaded, complex, and expensive to run and maintain, and makes it a weak link in the DRM system. For example, failure of the centralized license server may disrupt normal DRM services. Additionally, small content providers, such as a peer in a peer-to-peer network, may not be able to afford the cost of providing and/or utilizing the services of the centralized license server.

Peer-to-peer networks have emerged as a popular way to share large amounts of data, such as by peers downloading songs that are referenced as being available for download through a peer-to-peer website. Most peer-to-peer networks, however, do not have digital rights management or access control. Consequently, peer-to-peer networks can be liable for contributing to the infringement of the copyright in works that are referenced as being available for download by the peer-to-peer networks.

Accordingly, “there is a continuing need for a distributed public licensing infrastructure for digital rights management systems,” it adds.

As surfer once summed it p,  DRM Doesn’t Really Matter  and on top of that, it’s Dumb, Really Moronic.

And as Sony boss Howard Stringer, who`s never been able to live down the rootkit spyware scandal, has regretfully admitted, DRM was a big mistake —- We can no longer say that we`re right and our customers are wrong.”

No need to stay tuned.

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

InformationWeek – Microsoft DRM Patent Could Revive Peer-to-Peer Music Nets, September 22, 2009
Dumb, Really Moronic – DRM is Dead, Part Duex, July 21, 2009
big mistake – DRM a big mistake, admits Sony boss, May 14, 2009

D – E – A – D  dead!

But they never stop trying, ‘they’  being the various corporate content owners.

It’s dead simple: if you can see or hear something, you can copy it in any number of ways, analog and/or digital.

But they never learn and now the beeb admits it is under fire for wanting to encrypt Freeview HD data.

“Under plans submitted to regulator Ofcom, the broadcaster has requested that it be allowed to encrypt certain information on set top boxes,” says the BBC, going on that only “trusted manufacturers” would be offered the decryption keys.

But opponents say the move would, “limit consumer choice,” the story states, continuing

The BBC argues it will prevent piracy.

The BBC said it made the request to Ofcom in response to pressure from rights holders to offer copy protection on all its high-definition broadcasts.

Under licensing rules, the BBC is not allowed to encrypt the actual video or audio streams.

So instead it is requesting that it be allowed to encrypt the data associated with TV listings without which set-top boxes are not able to decode the TV content.

“We are committed to ensuring that public service content remains free to air i.e. unencrypted.

“However, HD content holders have begun to expect a degree of content management on the Freeview HD platform and therefore broadcasters have recognised that a form of copy protection is needed,” read a statement from the BBC.

But, “Critics of the BBC’s request say that open source licenses are incompatible with the regulations because DRM locks down software so that it cannot be altered by the user,” it says. “As a result, it would be harder for manufacturers which use open source software to obtain the necessary permissions from the BBC, effectively pushing them out of the market.”

The deadline for responses to the proposal closed today and,  “Ofcom will then consider its response,” Aunty adds.

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BBC – BBC looks to copy protect content, September 16, 2009

Crosbie said: “Rights cannot be sold. They can be suspended by the government (in creating the privilege of a monopoly), but no-one should have to pay for their restoration. Artists can sell their work, but they shouldn`t sell their privileges — they should simply neutralise them.”

But IMO, there are a few problems with that scenario:

Most people — even creative artists and software designers — don’t understand the history or stated purpose of things like copyright and patents.

They don’t understand the importance of the Public Domain, and often times — like Sonny Bono — are likely to think of so-called “Intellectual” property as analagous to PHYSICAL property, in which case they’ll view the expiration of copyright as a form of expropriation.

We can thank years of corporate-funded misinformation campaigns, and a general lack of historical consciousness, for this state of affairs, but that doesn’t stop it from being horribly annoying at best — and outright dangerous at worst.

Such ignorance becomes dangerous  when it leads “small fish” (unsigned musicians, smaller software designers, relatively-unknown authors, etc) into supporting the Status Quo, simply because they believe supporting the RIAA or its equivalent is actually a way to safeguard what they’ve been trained to believe are their ‘rights’ (as opposed to mere privileges of limited duration and scope.)

I came up against this first-hand when “Sam I Am” mentioned how he hated the RIAA as much as we did because they ‘extorted’ him every time he wanted to use some of ‘their’ music for one of his fashion-shows, but he’d support their actions anyway, because the expiration of copyright-term would ostensibly ‘take’ something from his daughter.

Sam is basically a troll who goes around spamming various p2p/copyright-reform related message boards with recycled RIAA talking points, and leaving trolls aside, how exactly does one counter years of disinformation, and also soothe the inevitable fear of change that these issues bring up?

Another difficulty is: most folks are still at least implicitly wedded to business-models involving the sale of copies.  Never mind the fact that this doesn’t (and can’t) translate to the idea of selling digital copies (with total fidelity, the distinction between ‘originals’ and ‘copies’ vanishes.)

Never mind that digital copies essentially ‘cost’ nothing to produce — a few keystrokes, maybe?  Given the fact making digital copies is just so damn easy, why would anybody bother to pay for particular copies?

It’s not that the ‘content’ embodied in the various digital copies lacks “value”, so much as it lacks any justifiable ‘price’.

The copy cost essentially $0 to make, so any price you assign — even 1 cent — inevitably ends up looking like a really drastic markup that nobody much sees a point in paying.

Digital media are just so damned easy to copy

Back in the analog era, people didn’t have these kinds of problems because third or fourth generation copies were pretty degraded and unusable. But as I said before, in the digital domain, ‘copies’ are exactly like ‘originals’, such that thousandth-generation ‘copy’ would (in principle) retain total fidelity to the original.  (Barring, of course, damage to any of the copies in between.)

Enter DRM — making digital media ‘imitate’ analog media, such that a particular digital ‘copy’ is ‘welded’ to a particular physical  location.  This is extremely clunky, and — rightly — pisses everybody off.  It limits interoperability, portability, and basically only ‘duplicates’ the cumbersome disadvantages of analog media while lacking even the portability of being able to play an analog cassette-tape on multiple machines.

Nobody likes DRM — at least, nobody in their right mind.

Now, it would be nice to believe people will just ‘neutralise’ their monopoly privileges when confronted with the real history of copyright/patents, and the nature of digital media itself, but it’s exceedingly unlikely for several reasons:

Nina Paley nails one of the least respectable reasons in an article over on http://www.questioncopyright.org:

As she says:

“This may be hard to hear, but: many artists who claim they just want to eat and pay rent are lying (perhaps to themselves). Most artists don’t want a living wage — they want to win the lottery. Suggest to most filmmakers and musicians that “success” is about $75,000 a year, and they’ll turn up their noses. You call that a jackpot? They’re only in it for the millions, baby. If that means working a day job and remaining obscure, so be it. Millions need to be poor so that one can be rich; they’re willing to do their time being poor, so that one day they can be rich at the expense of others. Their turn will come, they think.”

http://questioncopyright.org/compensation

This is especially ironic when ’small fish’ get on board the RIAA’s copyright-fascism train: too many of them still cherish fantasies of being the next Nickelback, Amy Winehouse, or Microsoft.

That’s where www.sellyourrights.com is such a good idea:

1. It reassures folks who think that, absent the monopoly privileges of copyright and patent, they won’t get paid, that, yes, people do actually value their effort.

2. The use of Creative-commons licences (as opposed to straight-out ceding to the Public Domain) allows people to still impose conditions (noderivs, noncommercial, etc.) which allows them to retain a sense of ‘creative control’ which, if their stuff just went public domain, they wouldn’t retain.

3. It ‘incentivizes’ the use of Creative Commons licenses, making them more attrractive to folks outside the percieved “utopian’ free culture/copyright reform movement.  (Like it or not, even questioning stuff like copyright — much less advocating reform/repeal, strikes many as ‘utopian.’)

Don’t get me wrong here: the emerging ‘participatory culture’ vibe will only increase over time, eventually becoming the new ‘norm’ against which people’s actions are judged.  In twenty or thirty years, copyright fetishists will — rightly — be viewed as ‘hoarders’, and their stuff won’t be propagated throught he info-sphere with anything approaching the success of those who want their stuff to spread.

By that point, the idea of selling digital copies will also be viewed as self-evidently absurd, and people will barely be able to understand  the p2p/copyright-reform debates going on today.

But we’re not there yet, folks.

http://www.sellyourrights.com and other similar ideas strike me as a great way to ease the transition.

We’re right in the middle of a Thomas Kuhn-style ‘paradigm shift’, and the more ways we can ease the transition, the better.

Henry Emrich – p2pnet
[Emrich says he's, "just some guy," sometime musician, wannabe writer, sporadic blogger, and (hopefully) good-natured person.  He and his wife live in Pennsylvania with two cats, and, "entirely too many record albums".]

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September, 2009

The statement came from the EFF’s Fred von Lohman, commenting on the ruling, which says RealNetworks can’t sell its $30 RealDVD, created to allow consumers to make copies of DVDs they paid good money for.

“Although free DVD ripping software is readily available online, Real raised the hackles of Hollywood executives in 2008 because it paid for a license to the DVD Copy Control Association, believing that it could be interpreted to allow the services they wanted to provide,” says The Guardian, going on »»»

In her ruling, Judge Marilyn Hall Patel said that the complex meant that it was not illegal for consumers to copy their own DVDs just illegal to produce a program that allowed them to do so.

“While it may well be fair use for an individual consumer to store a backup copy of a personally-owned DVD on that individual’s computer, a federal law has nonetheless made it illegal to manufacture or traffic in a device or tool that permits a consumer to make such copies.”

The case was brought by the Motion Picture Association of America – the consortium representing Hollywood studios that has become notoriously litigious in the face of unauthorised downloading and online file sharing.

Von Lohmann is quoted as saying he expects Real to appeal the ruling.

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$30 RealDVD – RealNetworks `surprised` by MPAA lawsuit, March 24, 2009
The Guardian – Judge rules that DVD copying software is illegal, August 12, 2009

“We reject the view,” the story quotes him as saying in a letter to the office, “that copyright owners and their licensees are required to provide consumers with perpetual access to creative works. No other product or service providers are held to such lofty standards. No one expects computers or other electronics devices to work properly in perpetuity, and there is no reason that any particular mode of distributing copyrighted works should be required to do so.”

Like so many of the things to do with the entertainment industry, it’s a complete waste of time and money for everyone involved — except the lawyers, of course — because consumer control through Digital Restrictions Management (DRM) is a dead horse.

“But the entertainment and software cartels keep on beating it,” p2pnet posted almost exactly a year back, going on, “Anything which can be seen or heard can be copied by one means or another.

“Full stop.”

However, “DRM is still alive and well on streaming music and most video streams and downloads,” says the Ars story. “Metalitz doesn’t want his clients to face a situation where decryption tools can be produced under the proposed exemption, then widely distributed. How could such decryption tools be limited to those who have actually suffered from authentication servers going dark, he wonders?

“But the Copyright Office indicated that it may grant the exemption, asking Metalitz and other respondents to “assume that” the case has been made. Metalitz declined to assume this, writing that ‘we cannot accept this invitation to assume that the Register [of Copyright] will recommend that the Librarian [of Congress] violate his statutory duty by recognizing Exemption 10B’.”

‘MP3s dusted with a dash of obfuscation’

The p2pnet story cited above centres on thoughts from the EFF`s (Flectronic Frontier Foundation) Fred von Lohmann on the music end of things.

Two leading on-demand streaming sites, iMeem and LaLa, aren’t using DRM on their audio streams, “instead sending the music as MP3s dusted with a dash of obfuscation, says Fred, continuing »»»

This is significant because both sites have been licensed by all the major record labels — the very same record labels that were just last year pushing Congress to require DRM on all noninteractive webcasts. So it looks like the RIAA companies have changed their minds, dropping DRM requirements for the on-demand streaming music services.

This should put an end to legislation to mandate DRM on noninteractive webcasters. After all, why should these webcasters be in a worse position than the free, on-demand music services like LaLa and iMeem?

This also undermines the argument that DRM for music is necessary for subscription services. If the major labels have given up DRM for free, ad-supported, on-demand streaming services like LaLa and iMeem, there`s no plausible reason to insist on DRM for paid subscription services like Rhapsody and Napster 2.0. After all, there`s no reason to think that those who prefer commercial-free subscriptions like Rhapsody are more likely to pirate streams than those who prefer ad-supported services like LaLa.

LaLa and iMeem each take slightly different approaches to streaming music. LaLa uses HTTP to download each requested song as an MP3 to your browser, but relies on aggressive no-cache headers and pre-expired date stamps to suggest that your browser not make a copy of the file on your hard drive. Using a packet sniffer to capture the entire HTTP session, however, easily reveals the complete MP3 embedded right after the HTTP headers.

iMeem also downloads and caches each requested song, but sends the MP3 as the audio track of a Flash Video file. This FLV file is typically saved (cached) on your hard drive as an obscurely named temporary file, which is overwritten when you request your next song (we mentioned iMeem`s approach back in January, and it`s essentially unchanged). Copy this temp file, however, and you can easily extract the audio track from the Flash video, saving it as a stand-alone MP3 file.

(The location of this TemporaryItems folder, and its equivalent on other operating systems, varies significantly depending on operating system and version. On some operating systems it`s buried deep within the directory hierarchy, but it can be found automatically with standard tools.)

While the light obfuscation used by iMeem and LaLa might create a speed bump of inconvenience for users who want to keep the MP3 files, it doesn`t rise to the level of a technical protection measure protected by the DMCA. In short, this is yet another example of why there is no legitimate business case for DRM on music — it doesn`t prevent piracy and it`s not necessary to enable new business models like subscription or ad-supported music. (Of course, as the movie industry has demonstrated, DRM can still be valuable for impeding competition and putting the brakes on disruptive innovation. But it`s hard to see how the law should protect those goals.)

Stay tuned.

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First they ignore you, then they laugh at you, then they fight you, then you win ~ Mahatma Gandhi

Ars Technica – Big Content: ludicrous to expect DRMed music to work forever, July 29, 2009
p2pnet – DRM for streaming: d-e-a-d dead, August 18, 2008
EFF – DRM for Streaming Music Dies a Quiet Death, August 15, 2008