E-Book Watermarking Gains Traction in Europe October 3, 2013Posted by Bill Rosenblatt in DRM, Europe, Publishing, United States, Watermarking.
The firm Rüdiger Wischenbart Content and Consulting has just released the latest version of Global eBook, its overview of the worldwide ebook market. This sweeping, highly informative report is available for free during the month of October.
The report contains lots of information about piracy and rights worldwide — attitudes, public policy initiatives, and technologies. A few conclusions in particular stand out. First, while growth of e-book reading appears to be slowing down, it has reached a level of 20% of book sales in the U.S. market (and even higher by unit volume). This puts e-books firmly in the mainstream of media consumption.
Accordingly, e-book piracy has become a mainstream concern. Publishers — and their trade associations, such as the Börsenverein des Deutschen Buchhandels in Germany, which is the most active on this issue — had been less involved in the online infringement issue than their counterparts in the music and film industries, but that’s changing now. Several studies have been done that generally show e-book piracy levels rising rapidly, but there’s wide disagreement on its volume. And virtually no data at all is available about the promotional vs. detrimental effects of unauthorized file-sharing on legitimate sales. Part of the problem is that e-book files are much smaller than music MP3s or (especially) digital video or games; therefore e-book files are more likely to be shared through email (which can’t be tracked) and less likely to be available through torrent sites.
The lack of quantitative understanding of infringement and its impact has led different countries to pursue different paths, in terms of both legal actions and the use of antipiracy technologies. Perhaps the most surprising of the latter trend — at least to those of us on this side of the Atlantic — is the rapid ascendancy of watermarking (a/k/a “social DRM”) in some European countries. For example:
- Netherlands: Arbeiderspers/Bruna, the country’s largest book publisher, switched from traditional DRM to watermarking for its entire catalog at the beginning of this year.
- Austria: 65% of the e-books available in the country have watermarks embedded, compared to only 35% with DRM.
- Hungary: Watermarking is now the preferred method of content protection.
- Sweden: Virtually all trade ebooks are DRM-free. The e-book distributor eLib (owned by the Swedish media giant Bonnier), uses watermarking for 80% of its titles.
- Italy: watermarking has grown from 15% to 42% of all e-books, overtaking the 35% that use DRM.
(Note that these are, with all due respect to them, second-tier European countries. I have anecdotal evidence that e-book watermarking is on the rise in the UK, but not much evidence of it in France or Germany. At the same time, the above countries are often test beds for technologies that, if successful, spread to larger markets — whether by design or market forces.)
Meanwhile, there’s still a total absence of data on the effects of both DRM and watermarking on users’ e-book behavior — which is why I have been discussing with the Book Industry Study Group the possibility of doing a study on this.
The prevailing attitude among authors is that DRM should still be used. An interesting data point on this came back in January when Lulu, one of the prominent online self-publishing services, decided to stop offering authors the option of DRM protection (using Adobe Content Server, the de facto standard DRM for ebooks outside of the Amazon and Apple ecosystems) for ebooks sold on the Lulu site. Lulu authors would still be able to distribute their titles through Amazon and other services that use DRM.
Lulu announced this in a blog post which elicited large numbers of comments, largely from authors. My pseudo-scientific tally of the authors’ comments showed that they are in favor of DRM — and unhappy with Lulu’s decision to drop it — by more than a two-to-one margin. Many said that they would drop Lulu and move to its competitor Smashwords, which continues to support DRM as an option. Remember that these are independent authors of mostly “long tail” titles in need of exposure, not bestselling authors or major publishers.
One reason for Lulu’s decision to drop DRM was undoubtedly the operational expense. Smashwords’ CEO, Mark Coker, expressed the attitudes of ebook distributors succintly in a Publishers Weekly article covering Lulu’s move when he said, “What’s relevant is whether the cost of DRM (measured by fees to Adobe, [and for consumers] increased complexity, decreased availability, decreased sharing and word of mouth, decreased customer satisfaction) outweigh the benefits[.]” As we used to say over here, that’s the $64,000 question.
Public Knowledge Weighs In on Digital First Sale July 14, 2013Posted by Bill Rosenblatt in Law, United States.
The Internet advocacy group Public Knowledge (PK) recently published Copies, Rights, & Copyrights: Really Owning Your Digital Stuff, a think-piece on first sale for the digital age, authored by Sherwin Siy, PK’s VP of Legal Affairs. PK’s position on digital first sale, characteristically, is that users should have the same types of rights to resell, lend, and give away their digital content as they do physical items such as books and CDs. The law in the United States is at best ambiguous on this point, but as digital content consumption goes mainstream, the need for clarity increases.
This whitepaper, which mixes the scholarly with the pragmatic, should be fun for copyright law geeks to read and pick over. It’s PK’s contribution to what will undoubtedly be years of dialog and argument over what to do about first sale for digital content. It mines the history of first sale-related court decisions for precedents that justify the extrapolation of first sale rights to the digital age.
The doctrine of first sale, section 109 of the Copyright Act, says that once you buy (or otherwise lawfully obtain) a copy of a copyrighted work, it’s yours to do with as you please. As Siy explains, the law evolved through litigation to cover things like the right to repair and publicly display one’s legitimately obtained works without permission from the publisher. In examining how first sale ought to apply in the digital age, Siy considers not just obvious use cases such as reselling or lending downloaded music files or e-books, but also less straightforward scenarios like the right to “lend” access to a database through an Internet login, or to lend a DVD rented from Netflix (which is contrary to Netflix’s terms and conditions).
One mystifying aspect of this document is that despite the June 27 publication date, it is completely silent about the recent summary judgment against the MP3 resale startup ReDigi, which happened in a New York federal court three months previous. This is tantamount to writing a piece on domestic terrorism without mentioning the Boston Marathon bombings. One can’t help but wonder whether the omission was intentional, given that PK can’t have liked the way that case went, or if Siy is saving his ammunition for an amicus brief to be filed in ReDigi’s appeal.
At the heart of Siy’s analysis is the notion of copies made as “essential steps” in the normal usage of a copyrighted work. If you rebind a book and put a new cover on it, for example, the law says that the result is a “derivative work” — a specific type of copy in legal terms — of the original book. But one court decision said that you have the right to do this because of the essentiality of the derivative work to the functioning of the original.
Analogously, various copies of software or digital content that are made in the RAM of a PC or other devices can be argued to be made as essential steps in the use of the software or content. Few people notice or care about such RAM copies. They aren’t given much consideration in copyright law, and end-user license agreements (EULAs) usually don’t explicitly give users permission to make them. In legal terms, they are de minimis copies.
ReDigi’s software — at least the version of it for which the court found ReDigi liable — made a copy of a music file as part of the process of making it available for resale. It deleted the original copy in the process of making the new one, and it took steps to ensure that the user didn’t try to keep additional copies after the file was resold; but still, it made a new copy. And the judge in the ReDigi case specifically ruled that the new copy was infringing. In other words, the ReDigi opinion implied that the copy made for resale purposes was not essential to the normal use of digital music files.
In its white paper, PK, proposes short term fixes to the copyright law. It also discusses longer term implications of first sale in an age where the concepts of copies of and access to content are increasingly muddy. The short term fix focuses on adding language to the law that make “essential step” copies — including those made for transfer of ownership — presumptively legal. Siy suggests that if publishers want to limit this at all, they can do so by putting terms into EULAs.
In addition, Siy proposes codifying distribution of files for transfer of ownership as part of the normal use of digital content:
“…the law could allow the lawful owners of lawful copies to make reproductions of the works necessary to the transfer of ownership of a copy to one other party, provided that the other party be the only one in possession of a copy at the end of the transfer, and that no more than one of the parties has the use of the work at one time.”
In other words, it should be legal to do this as long as the original copy disappears. Siy adds:
“Skeptics of this approach might note that the copyright holder would have to rely upon the goodwill of the transferring parties not to make more permanent reproductions in the course of the transfer and just keep the copy they claim to have sold to someone else. This is true. However, it is not a significant change from the state of play now. Photocopiers continue to operate without licenses from copyright holders despite the fact that they may be used for infringing reproductions.”
Here’s where his analysis starts to lose credibility. First, the U.S. Copyright Office investigated this very issue in a 2001 report on digital first sale. It decided that while it’s possible to build a mechanism to delete the original when making a copy — a “forward and delete” scheme similar to ReDigi’s — it would be neither prudent to trust people to do this nor practical to mandate such a mechanism. Given that the Copyright Office is the advisor to Congress on copyright law, this report is tantamount to Congress’s last word on the subject. (The Copyright Office hasn’t been asked to revise the report since 2001.) Siy doesn’t mention this.
Secondly, there are two things wrong with Siy’s photocopying analogy. First, while publishers don’t bother trying to seek licenses for photocopying from individuals, they do seek licenses from institutions via the Copyright Clearance Center that are based on an institution’s size, industry, and other factors; the vast majority of the Fortune 500, for example, pays fees for such licenses. Second, and most fundamentally, a photocopy is not the same as the original, whereas a bit-for-bit copy of a digital file is. This difference has to be relevant, as it was to Judge Sullivan in his ReDigi opinion. I’d argue that the exactness of digital copies has to be at the heart of any debate on the future of first sale in the digital age, yet Siy doesn’t touch this issue.
After his suggested short-term solutions, Siy surveys the emerging landscape of content distribution models that focus more on access than on copies, and he wonders — quite appropriately — whether copies are still the most appropriate measure of the usage of copyrighted works. Looking creatively at the present and future of content business models, he says:
“As technology advances, we can see the relationship diminishing between the structure of the Copyright Act and the reality of how authors and audiences alike value and use copyrighted works. … increasingly, consumption of copyrighted works comes not through the distribution of fixed copies, or even the distribution of digital ones. People listen to music via subscriptions to Spotify, pay for online access to the New York Times and Wall Street Journal, and ‘rent’ (actually, pay for streaming access to) digital movies from Amazon. Access, not copies, seems to be more the question. We own copies now; we don’t necessarily own access. Should we be able to trade access … ? This is actually more than just a fix for the first sale doctrine; it’s a realignment of how we think of copyright and what the value of the thing is.”
Yet at the end of the day, Siy decides that focusing on copies is still the most sensible approach to laws intended to balance the interests of content creators and the public. The alternative would be to enable content distributors to grant or deny rights on every conceivable type of content access, including, for example, the ability to flip back and forth or search through text. He says that this could lead to a future that is “at best tedious and at worst dystopian,” and uses that as a rationale to conclude that maybe focusing on copies isn’t so bad after all.
Another landmark case in the world of digital first sale, which Siy does mention, is Vernor v. Autodesk. In my discussion of that case, I suggested that specifying such fine-grained limitations in a EULA amounts to “verbal DRM,” which in a way is worse than technological DRM because of its potential for ambiguity and thus legal risk to users. Commercial content distributors need to make their services easy to understand and use, because the alternative is irrelevance, not to mention piracy. Just as importantly, digital content and software developers should know that byzantine usage restrictions in EULAs without technological measures to back them up are virtually impossible to enforce; users will merely ignore and/or complain about them.
Therefore I’m not so concerned about Sherwin Siy’s “tedious” and “dystopian” future, and I continue to wonder whether there’s a better way forward than looking at copies.
The Coming Two-Tiered World of Libary E-book Lending June 4, 2013Posted by Bill Rosenblatt in Libraries, Publishing, Services, United States.
A group of public libraries in California recently launched a beta version of EnkiLibrary, an e-book lending system that the libraries run themselves. EnkiLibrary is modeled on the Douglas County Libraries system in Colorado. It enables libraries to acquire e-book titles for lending in a model that approximates print book acquisition more closely than the existing model.
Small independent publishers are making their catalogs available to these library-owned systems on liberal terms, including low prices and a package of rights that emulates ownership. In contrast, major trade publishers license content to white-label service providers such as OverDrive under a varied, changing, and often confusing array of conditions — including limited catalog, higher prices than those charged to consumers, and limitations on the number of loans. The vast majority of public libraries in the United States use these systems: they choose which titles to license and offer those to their patrons.
Welcome to the coming two-tiered world of library e-book lending. E-lending systems like EnkiLibrary may well proliferate, but they are unlikely to take over; instead they will coexist with — or, in EnkiLibrary’s own words, “complement” — those used by the major publishers.
The reason for this is simple: indie publishers — and authors, working through publisher/aggregators like Smashwords — prioritize exposure over revenue, while for major publishers it’s the other way around. If more liberal rights granted to libraries means that borrowers “overshare” e-books, then so be it: some of that oversharing has promotional value that could translate into incremental, cost-free sales.
In some ways, the emerging dichotomy in library e-lending is like the dichotomy between major and indie labels regarding Internet music sales. Before 2009, the world of (legal) music downloads was divided into two camps: iTunes sold both major and indie music and used DRM that tied files to the Apple ecosystem; smaller services like eMusic sold only indie music, but the files were DRM-free MP3s that could be played on any device and copied freely. That year, iTunes dropped DRM, Amazon expanded its DRM-free MP3 download service to major-label music, and eventually eMusic tapered off into irrelevance.
Yet it would be a mistake to stretch the analogy too far. Major publishers are unlikely to license e-books for library lending on the liberal terms of a system like EnkiLibrary or Douglas County’s in the foreseeable future; the market dynamics are just not the same.
In 2008, iTunes had an inordinately large share of the music download market; the major labels had no leverage to negotiate more favorable licensing terms, such as the ability to charge variable prices for music. The majors had tried and failed to nurture viable competitors to iTunes. Amazon was their last and best hope. iTunes already had an easy-to-use system that was tightly integrated with Apple’s own highly popular devices. It became clear that the only meaningful advantage that another retailer could have over iTunes was lack of DRM. So the major labels were compelled to give up DRM in order to get Amazon on board. By 2009, DRM-free music from all labels became available through all major retailers.
No such competitive pressures exist in the library market. On the contrary, libraries themselves are under competition from the private sector, including Amazon. Furthermore, arguments that e-book lending under liberal terms leads to increased sales for small publishers won’t apply very much to major publishers, for reasons given above.
Therefore, unless libraries get e-lending rights under copyright law instead of relying on “publishers’ good graces” (as I put it at the recent IDPF Digital Book 2013 conference) for e-lending permission, it’s likely that libraries will have to labor under a two-tiered system for the foreseeable future. Douglas County Libraries director Jamie LaRue — increasingly seen as a revolutionary force in the library community — captured the attitude of many when he said, “It isn’t the job of libraries to keep publishers in business.” He’s right. Ergo the stalemate should continue for some time to come.
Capitol Records Prevails in ReDigi Case April 1, 2013Posted by Bill Rosenblatt in Law, Music, United States.
A federal court in New York City handed down summary judgment against ReDigi over the weekend in its legal fight with Capitol Records. In his ruling , Judge Richard Sullivan found the digital resale service liable for primary and secondary copyright infringement. He rejected ReDigi’s arguments that its service, which enables users to resell music tracks purchased on iTunes, is legal under the doctrines of fair use and first sale.
The decision is a surprising blow to the Boston-based startup, especially given that Judge Sullivan refused Capitol’s request for a preliminary injuction early on in the case.
The central holding in Judge Sullivan’s opinion was that in order to resell a digital file, a user has to make another copy of it — even if the original copy disappears, and even if two copies never coexist simultaneously. He based this holding on a literal interpretation of the phrase “copies are material objects” from Section 101 of the Copyright Act.
Once Judge Sullivan established that the ReDigi system causes another copy to be made as part of the resale process, the rest of his opinion flowed from there:
- The user didn’t have a right to make that new copy, therefore it’s infringement — specifically of Capitol’s reproduction and distribution rights under copyright law.
- ReDigi knowingly aided and abetted, and benefited from, users’ acts of infringement, therefore it’s secondary as well as primary infringement.
- The user resold the new copy, not the original one, therefore it’s not protected under first sale (which says that a consumer can do whatever she wants with a copy of a copyrighted work that she lawfully obtains).
- The “new” copies made in the ReDigi process don’t qualify as fair use: they are identical to the originals and thus aren’t “transformative”; they are made for commercial purposes; they undercut the originals and thus diminish the market for them.
In sum, as Judge Sullivan put it bluntly, “ReDigi, by virtue of its design, is incapable of compliance with the law.” At the same time, he was quick to point out that his was a narrow ruling based on a literal interpretation of the law, saying that “this is a court of law and not a congressional subcommittee or technology blog[.]” He investigated Congress’s intent regarding digital first sale and found that it hadn’t advanced since the U.S. Copyright Office — the copyright advisors to Congress — had counseled against allowing digital resale back in 2001.
I’ve always assumed that any district court decision in this case would be minimally relevant, as it would be appealed. ReDigi has already stated that it will appeal. And the opinion does contain patches of daylight through which an appeal could possibly be launched.
Most important is the opinion’s focus on the making of a “new copy” during the resale process. It’s hard to see how this gibes with the many “new copies” of digital files made during normal content distribution processes, including streaming as well as downloads.
In other words, if ReDigi is making “new copies” without authorization, then so are countless other technologies. Some such copies might be covered under fair use or the DMCA safe harbors. Other “new copies” are considered “incidental” (not requiring permission from the copyright holder); the judge didn’t explain why copies made by the ReDigi system don’t qualify as incidental. ReDigi did make a similar argument; the judge didn’t buy it because it didn’t involve the issues in this case, but a higher court, looking at the broader picture of digital first sale, might see things differently.
Judge Sullivan’s reliance on the Copyright Office’s 2001 report on digital first sale is also somewhat problematic. The Copyright Office believed that a “forward-and-delete” mechanism — not unlike what ReDigi has built — could actually support digital first sale. The Copyright Office simply concluded that such a mechanism would not be practical to implement. This does not comport with Judge Sullivan’s assertion that “forward-and-delete” requires a new copy to be made and thus cannot qualify as first sale in the first place.
Another notable feature of Judge Sullivan’s opinion is his assertion that “a ReDigi user owns the phonorecord that was created when she purchased and downloaded a song from iTunes to her hard disk.” The assertion that a user “owns” a digital download is itself controversial and not based on legal precedent. Judge Sullivan found no legal precedent for digital first sale, but somehow he did find a basis for asserting that digital downloads are “owned.”
Retailers of digital goods believe that they don’t actually sell them in the way that books, CDs, or DVDs are sold; instead they license them to users under terms that may resemble sale. The question of sale vs. licensing of copyrighted digital content is a gray area in the law, and it wasn’t up for examination here: Apple, for example, wasn’t a party to the case and remained silent throughout. But if Apple (or another digital content retailer) ever objects to its content being “resold” through a third-party service, it will have to deal with Judge Sullivan’s language; and once again, it may be harder for a higher court to ignore this aspect of digital resale when determining its legality.
It remains to be seen whether the above issues can be forged into a legal theory that can convince the Second Circuit appeals court to reverse Judge Sullivan’s ruling. Yet even if ReDigi throws in the towel and ceases operations, its very existence has called a lot of attention to the idea of digital resale. The mechanisms are in place today: beyond ReDigi, there’s at least one more startup (the NYC-based ReKiosk); and Amazon was recently granted a patent for resale of digital goods. Indie music labels and a few e-book publishers, at first, will most likely experiment with it.
This court ruling won’t eliminate digital resale; if let stand, it will simply restrict it to content that copyright owners have given permission to resell — permission that will probably include say over pricing, timing, and other factors. This will complicate the lives of resellers, but it will ensure that digital resale doesn’t harm copyright holders. In other words, ReDigi has let the digital resale genie out of the lamp. It’s bound to happen, one way or another.
Supreme Court Affirms First Sale in Kirtsaeng Case March 20, 2013Posted by Bill Rosenblatt in Law, Libraries, United States.
The copyleft was jubilant, and Big Media disgruntled, at the Supreme Court’s opinion on Tuesday in Kirtsaeng v. Wiley, a case about the first sale doctrine in US copyright law. First sale, known as “exhaustion” outside of the US, states that the publisher of a copyrighted work has no say or control in distribution of it after the first sale. The law says that if you have obtained a copy of a work legally, you can sell it, lend it, give it away, use it to line a birdcage, or anything else, without consent of the original publisher.
The Kirtsaeng case existed firmly in the realm of physical products. It concerned a tension in the law between first sale (section 109) and another provision (section 602) that makes it illegal to import copyrighted works from outside the US into the country without permission.
Supap Kirtsaeng, a Thai citizen living in the US, got his friends and family to buy textbooks published in his native land at prices that were much lower than those charged here. They sent him the books; he resold them here and pocketed the difference. The books were published by a subsidiary of John Wiley & Sons and were virtually identical to titles published by Wiley in the US. (Disclosure: Wiley is the publisher of one of my books.)
Wiley sued, claiming that Kirtsaeng was infringing under section 602. Kirtsaeng claimed first sale rights to resell the books. Kirtsaeng lost in the lower courts, but the Supreme Court reversed. Now the case goes back to the Second Circuit in New York for a re-hearing consistent with Tuesday’s decision.
Many people are asking me what impact this decision may have on digital first sale, and more specifically, the fortunes of the digital resale startup ReDigi, which is fighting a lawsuit brought by Capitol Records. While I’m not in the business of reading Supreme Court tea leaves, I’d say there are two ways to look at it.
The narrower view is: not very much. Justice Stephen Breyer’s opinion was an exemplar of judicial restraint. It spent a lot of time analyzing key words in the first sale law (specifically that a copy had to be “lawfully made under this title” to qualify for first sale) and the factors specific to its geographic interpretation vis-a-vis section 602. It also focused on divining Congress’s intent in making the law in the first place and emphasized the law’s “impeccable common law pedigree” dating back over 100 years. It’s no wonder that the 6-3 majority crossed “party lines,” with conservative Justices Roberts, Thomas, and Alito joining liberals Breyer, Kagan, and Sotomayor.
The opinion also concerned itself with the decision’s impact on libraries and museums, saying that if the case went Wiley’s way, it would place undue burdens on them to get permission before they could lend or exhibit foreign-made works.
What Breyer did not do was spend much time discussing the business implications of the case. He said little about both the impact on publishers and Kirtsaeng’s right to carry on his resale business. Justice Ruth Bader Ginsburg’s dissenting opinion focused much more on those aspects.
That leads me to believe that if and when the Supreme Court revisits first sale, it will be more receptive to arguments from the library and museum communities than those about industry factions, which often suffuse high-profile copyright litigation. And libraries especially face difficulties without clear digital first sale rights. The Owners Rights Initiative, a lobbying organization set up specifically to deal with this case, turns out to have done the right thing by enlisting library organizations to be part of its “public face” rather than the likes of CCIA and eBay. (The list of organizations that submitted or signed on to amicus briefs in this case is a mile long.)
The other possible view of the Kirtsaeng decision is the bigger-picture one: that the Supreme Court is taking a broad view of first sale by refusing to weigh it down with exceptions like those in section 602, and therefore the Court may take the same broad view when it’s asked to opine on digital first sale — that is, when it’s asked to interpret another group of words in the copyright act: “‘Copies’ are material objects…”
(Props to Andrew Bridges of Fenwick & West for his insights.)
The DMCA and Presidential Politics, Part 2 March 4, 2013Posted by Bill Rosenblatt in Law, United States.
add a comment
A minor war of words broke out yesterday in the U.S. government over consumers’ rights to “jailbreak” (unlock) their mobile phones. The White House and the FCC both made public statements in which they politely condemned the U.S. Copyright Office’s decision not to renew the DMCA 1201 exception for jailbreaking and stood in favor of unlocking mobile phones for the purpose of switching wireless carriers.
This is what happens when a government process that’s supposed to be confined to relatively arcane business interests spills over into the public sphere. The question is, why are we even talking about this at all?
A little background for those who need it: the Digital Millennium Copyright Act of 1998 has two parts. The part that has gotten most of the attention over the past few years is the second part (Title II, section 512), which includes the “notice and takedown” regime that online services have to follow to avoid copyright liability for files that users upload. This part of the DMCA has been the subject of several recent high-profile litigations, such as Viacom v. Google, EMI v. MP3Tunes, and UMG v. Veoh.
The first part of the DMCA, section 1201, makes it illegal to crack DRMs. This law was originally used to go after DRM hackers such as those who distributed DVD ripping software, in cases such as Universal v. Reimerdes. But that was many years ago.
Since then, we’ve only heard about how this law has been distended out of shape by the likes of makers of garage door openers and laser printer toner cartridges. And soon after Apple ushered in the smartphone revolution with the introduction of the iPhone in 2007, the major wireless carriers appropriated it to cover mobile phone jailbreaking. Let’s be clear: these are all abuses of a law that’s dubious to begin with.
There is a provision in DMCA 1201 that requires the U.S. Copyright Office — the agency that advises Congress on the copyright law — to conduct a “rulemaking” every three years to consider whether any exemptions to the anti-hacking law should be made. Anyone may submit proposals for such exemptions, though the requirements are fairly rigid. The Office evaluates the proposed exemptions and may approve some of them, but the approved exemptions only last three years, until the next rulemaking. They must be proposed and approved again in order to last longer.
In 2009, the Copyright Office approved an exemption for mobile phone jailbreaking. In the subsequent 2012 rulemaking, the Office chose not to renew it; instead they listened to wireless industry lobbyists who persuaded them that consumer choice and competition were doing fine, and therefore that jailbreaking wasn’t necessary. The 2009 exemption expired at the end of January 2013.
An entrepreneur named Sina Khanifar decided to do something about this: he submitted a petition to the White House, through its We the People online petition system, which has a policy of responding to petitions that get over 100,000 signatures within 30 days. The petition did cross that threshold, and the White House did respond.
It would be nice to do something to curtail these abuses of the DMCA. Right now, the DMCA is only “useful” in that it keeps actual DRM hacks in the shadows and prevents things like a “Convert from Nook” option in your Kindle (or vice versa).
But does anyone seriously expect any results from the White House’s populist grandstanding on this issue? The executive branch has no power to implement changes in the DMCA, and it’s unlikely that the FCC (also part of the executive branch) has any relevant authority either. Only Congress can change the law, and the Copyright Office is Congress’s legal advisor. The Office’s own statement on the matter (released via email, not yet available on the Office’s website) basically said “The White House is right, this is a bigger public policy matter than the arcane issues we usually deal with in these rulemakings” — in other words, that they’ve simply done their job according to the law.
The connection between mobile phone jailbreaking and the original intent of DMCA 1201 is tenuous at best. Maybe Khanifar’s petition will spur Congress to act, but I’m not holding my breath.
Publisher-Library Feud over E-Books Heats Up October 1, 2012Posted by Bill Rosenblatt in Law, Libraries, Publishing, Rights Licensing, United States.
The US trade associations for public libraries and book publishers exchanged heated words last week regarding the growing impasse over e-book lending. The American Library Association’s (ALA) newly-installed president, Maureen Sullivan, issued an open letter to trade publishers such as Simon & Schuster, Macmillan and Penguin demanding that they license e-books for digital lending. The Association of American Publishers (AAP) issued a response saying, in effect, “Sorry, our hands are tied.”
An article I wrote last year explains the legal background of this issue. Thanks to a legal doctrine known in the US as First Sale, libraries can buy print books and lend them without permission from publishers. But because First Sale doesn’t apply to digital downloads, libraries must get licenses from publishers to acquire e-books for lending. Thus some of the major trade (consumer) book publishers are refusing to license e-books to libraries or are placing restrictions on lending terms.
But that’s not all. E-book technology is also enabling companies like Amazon to supplant some library functions in the private sector, while indie authors and publishers are likely to increase giveaways of their content in digital form, in hopes of exposure. More and more people are reading digitally, while libraries may face a future of lending hardcopy books only. Library patrons will lose, and it’s far from clear that any (legal) private-sector function will completely fill in the gaps.
The good news is that public libraries are finally waking up from the what-me-worry stance they appeared to affect a year ago; Digital Book World says that Sullivan’s “open letter” was borne out of libraries’ frustration about the way things are going.
The bad news is that this situation is going to get worse before it gets better… if it ever does.
The problem with “open letters” is that they are often tacit admissions of powerlessness. Sullivan’s open letter is primarily an attempt to explain the value proposition of libraries to publishers. Yet that aspect of it contains little that publishers haven’t heard before. It also attempts to convince publishers that they, together with libraries, have a special role in society to spread information and culture that they must maintain. This aspect of it is likely to fall on deaf ears.
The heart of the problem is that libraries aren’t comfortable acting like businesses, while the major publishers are. Yet libraries are being forced into discussions with publishers about business terms instead of relying on laws like First Sale. Many library people find such discussions distasteful or distracting, because they believe (rightly) that theirs is a greater mission than being a “channel” for publishers. Moreover, the reality is that such discussions are unlikely to lead to satisfactory conclusions for libraries.
Library gurus such as Robert Darnton of Harvard have suggested innovative models for libraries and e-books. It’s possible that as wireless broadband and connected devices become more pervasive, publishers and libraries may be able to come to some arrangement that involves licensing e-books for time-limited cloud-based reading, instead of relying on downloads of DRM-packaged e-book files as they do now. But if publishers require that such deals reflect libraries’ true value in book sales, then the numbers may well come up short for libraries. They can argue (again, rightly) that they help publishers sell books in general by promoting reading, but it’s hard to quantify that benefit sufficiently.
The AAP’s don’t-look-at-us response to the ALA open letter is at least honest. Trade associations already labor under constant antitrust restrictions. Not for nothing does every trade association meeting begin with what lawyers call an “antitrust benediction” warning participants not to say anything that could be interpreted as collusion; talks I give at trade associations’ events have to be scrubbed by their antitrust attorneys. Furthermore, the Justice Department’s recent investigations into collusion with Apple over e-book price-setting have made it even more for difficult for publishers to collaborate, whether under the AAP banner or otherwise.
Publishers’ lack of ability to agree on library lending terms will only lead to more and more confusion and complexity for libraries and their patrons. In fact, publishers may be loathe to work together to create a workable solution for libraries precisely because it could backfire: if the ALA doesn’t like the terms on offer, it could sue on antitrust grounds.
Libraries may have better luck on the legal front than with technology or business terms. As I have explained, getting First Sale to apply to digital content in general (so that anyone can lend, sell, or give away lawfully obtained digital content) is virtually unthinkable. Yet it might be possible to get Congress to pass a narrower change in the law — specifically to Section 108 of the Copyright Act — that would give lending libraries statutory licenses to lend digital content without affecting First Sale rights in general. It remains to be seen whether the political climate in Washington could entertain such legislation, but it may be libraries’ best hope of survival in the e-reading age.
The DMCA and Presidential Politics July 29, 2012Posted by Bill Rosenblatt in Fingerprinting, Law, Music, United States.
A minor firestorm has hit the techblogosphere over the past several days regarding the removal of a Mitt Romney campaign ad on YouTube that contained a short clip of President Obama singing Al Green’s “Let’s Stay Together” (while at a campaign stop at the Apollo Theater in Harlem). Commentators used this as an occasion to blast an aspect of DMCA 512, the U.S. law that provides for “notice and takedown.” The knee-jerk reactions to this incident have been wrong-headed and a little bit depressing.
The law says that if a copyright owner sends a proper notice to a site operator (in this case Google for YouTube) about an unauthorized content item, then the operator may take the item down to avoid liability. The law enables the operator to provide counternotice but stipulates that the operator must wait 10 days after issuing the counternotice for a reply period before it can repost the item without risk of liability.
Sites like Public Knowledge and Ars Technica have focused on the fact that the five-second clip in the Romney ad is highly likely to be fair use, how dare BMG Music Publishing do this, etc., etc. Public Knowledge also complained that the counternotice period forced the political ad off the air for too long a time and thus constituted abuse of copyright.
There’s no question that the clip makes a fair use of the song snippet; the “fair use analyses” done by people like Public Knowledge’s Sherwin Siy are beside the point. More importantly, it’s wrong to blame the “evil music company” for instigating the takedown.
Here’s a much more likely explanation of what happened: The Obama campaign contacted the copyright owner and asked them to issue the takedown notice, as a tactical response to Romney’s attack ad. BMGMP issued the notice as a routine clerical matter, as it does all the time at the request of songwriters or their management. The notice triggered YouTube’s automated system, which took the clip down.
Mike Masnick at TechDirt — the only one here who appears to have done some actual investigation instead of mere grandstanding — noticed that other YouTube clips of Obama singing the song remained up for a while until they were taken down as well. He also found that other singers’ versions of the 1972 classic hit remained up. Masnick attributed this to overzealous lawyers at BMGMP ”doubl[ing] down” on takedowns for the sake of consistency.
Uh,no. The truth, once again, most likely lies in campaign tactics. The Romney campaign (or allied interests) probably tried to re-post the ad several times with different titles or metadata. The Obama camp then responded by asking BMGMP to use YouTube’s automated Content ID scheme (based on fingerprinting), which would find all instances of the singing president and get them taken down as well. And once again, BMGMP would have handled this as a routine request. This was the only way that the Obamians could have ensured that the attack ad would not reappear.
It’s also worth pointing out here that the DMCA 512 does not obligate anyone to take content down; it only enables someone to avoid liability by doing so. YouTube automates 512 takedowns to minimize risk of liability and do so as efficiently as possible.
In other words, YouTube also responded to this situation in a routine fashion. I would venture to guess that if a lawyer at YouTube actually looked at BMGMP’s takedown notice, he or she would have left the clip up, secure in the knowledge that no one would bother to file an actual copyright lawsuit against it. (Similarly, I’m convinced that no one with a legal brain at BMGMP looked at this initially either.)
In other words, if anyone is liable for abuse of copyright — which is itself actionable — it’s the Obama campaign, which simply used routine mechanisms at both BMGMP and YouTube to accomplish its aims. (Disclosure: I plan to vote for Obama in November.) Otherwise, the errors were of omission, not commission; no actual human beings at BMGMP or YouTube appear to have thought or cared about, let alone considered the fair use implications of, this incident.
Meanwhile, clips of Obama’s Apollo Theater performance have been restored to YouTube. Yes, it took time, but that’s what you get when humans have to decide questions of Fair Use.
P.S. Romney’s ad has always been available elsewhere, just not on YouTube.
A Nail in Public Libraries’ Coffins May 20, 2012Posted by Bill Rosenblatt in Libraries, Publishing, Services, United States.
There it was, on the entire back page of the A section of the New York Times a few days ago, at a likely cost of over US $100,000: a full-page ad from Amazon touting free “lending” of all of the Harry Potter e-books for members of Amazon’s $79/year Amazon Prime program who own Kindle e-readers, starting next month.
I wrote last December about the challenges that public libraries face as e-reading becomes popular and major trade book publishers increase restrictions on public library e-lending of their titles. Copyright law allows publishers to set license terms for digital content, so instead of giving e-book buyers the standard “copyright bundle” of rights, publishers can dictate whatever terms they want — including refusal to license content at all. Currently five of the Big 6 trade publishers restrict library e-book lending in some way, including two of them that don’t allow it at all. Libraries have little leverage against publishers to change this state of affairs.
I also discussed Amazon’s Kindle Owners’ Lending Library (KOLL), which is one of the benefits of Amazon Prime membership (along with free shipping and access to streaming video content), as a step toward the private sector invading the turf of public libraries. In case anyone doesn’t see this, Amazon makes it quite clear in its press release:
“With the Kindle Owners’ Lending Library, there are no due dates, books can be borrowed as frequently as once a month, and there are no limits on how many people can simultaneously borrow the same title—so readers never have to wait in line for the book they want.”
In other words, Amazon has implemented a model of ”one e-book per user at a time, not more than one per month.” It can configure any such model on its servers and enforce it through its DRM.
KOLL’s selection had been limited to a few thousand titles from smaller publishers. Recently Amazon has been moving aggressively to increase the KOLL catalog, despite lack of permission from some publishers and authors; it now claims a catalog of over 145,000 titles. Amazon did make a deal with Pottermore, the organization that distributes J.K. Rowling’s Harry Potter titles in digital form, to include those titles in KOLL. Pottermore admits that Amazon paid it “a large amount of money” to do so. Taken together, these steps take KOLL to the next level.
Of course, there are several reasons why the Harry Potter case is exceptional. The only way to purchase Harry Potter e-books is on the Pottermore site, and Amazon wanted to find some way of luring Potter fans back to its own site; Harry Potter is a series of seven books, and Pottermore believes that allowing users to borrow one title per month will lead to increased sales of other titles; The Amazon Prime and public library demographics may not overlap much.
But still, this deal is an example of Amazon using content to make its devices and seo services more valuable. The company is subsidizing a bestselling author’s work to induce people to buy Kindles and Amazon Prime memberships. This kind of arrangement is likely to become more commonplace as authors, publishers, and retailers all get more information about the value of private-sector e-lending and learn how to make such deals strategically.
This is nice for already-famous authors, but it doesn’t benefit the multitude of authors who haven’t made it to J.K. Rowling’s rarified level. It’s not something that libraries are able to replicate — neither the subsidies nor the full-page ads in the New York Times.
Roots of the Online Upheaval of SOPA/PIPA May 13, 2012Posted by Bill Rosenblatt in DRM, Law, United States.
add a comment
I’m in the middle of reading a new book called Hollywood’s Copyright Wars: From Edison to the Internet, by University of Pennsylvania professor Peter DeCherney. I’ll report back on this book later; today I want to talk about a PhD dissertation that appears in a footnote in this book.
Bill Herman’s dissertation at Penn’s Annenberg School of Communication is called The Battle over Digital Rights Management: A Multi-Method Study of the Politics of Copyright Management Technologies. It was written in 2009, and it presciently anticipates the online movement that led to the downfall of SOPA and PIPA two years later.
Herman — now a professor of film and media at Hunter College in NYC — looked at four legislative developments in U.S. digital copyright policy and measured how they were influenced by three types of communication: direct communications with legislators (e.g., lobbying), the press, and online. The four developments were the Audio Home Recording Act (1992), the anticircumvention provision of the Digital Millennium Copyright Act (1998), efforts to revise the DMCA (2003-2005), and the FCC Broadcast Flag regulation (2006).
Herman’s research analyzes communications in those three arenas and grades them according to whether they tilt “strong copyright” or “strong fair use.” He finds that communications with congress, which tilted strongly “strong copyright,” predominated in the earlier years; press reporting (in the Washington Post and New York Times) was roughly balanced, with a slight “strong fair use” tilt; then online communication took over the debate with a forty-to-one “strong fair use” slant and influenced the repeal of the FCC Broadcast Flag regulation in 2007. Although Herman is unabashedly on the “strong fair use” side, his methodologies for identifying and characterizing these various communications are rigorous and do not show bias.
In his introduction, Herman writes: “While the time period under study does not include their ultimate triumph at the bargaining table — as of this writing, what I describe as the strong fair use coalition still has not won a major legislative victory — it does include the beginning of their time as a genuine force at that table.” As a prediction of the online and copyleft communities killing SOPA and PIPA, this is pretty impressive.
Herman’s thesis goes into great detail about the ways in which the “strong fair use” axis posted lots of material online to feed the debate, while the other side didn’t. It’s a trove of factual evidence about how to shape policy debate in the Internet age (and how not to). It also, in effect, shoots holes in the theory held by some strong-copyright people that a Google-led cabal caused the defeat of SOPA and PIPA.
I admit not to having read the entire 400-plus pages of the dissertation, though it contains a much more manageable 27-page introduction that summarizes the methodology and results. With that caveat in mind, I can identify one shortcoming in Herman’s methodology that, if he had corrected it, might have changed the nature of his conclusions.
Herman tracked press stories that specifically covered the four legislative developments mentioned above. But he didn’t track stories that covered the real-world marketplace of the technologies being regulated – articles by the likes of David Pogue in the Times and Walter Mossberg in the Wall Street Journal. (Nor did he track online content about the same, from the likes of TechCrunch, CNet, etc., not to mention Internet ideologues like Cory Doctorow and thousands or millions of blogs.)
If he had done this, he would have found a much more anti-DRM tilt in the press during the early-mid 2000s than he did. Articles from this period (and thereafter) took a populist, pro-consumer viewpoint: after all, people read Pogue, Mossberg, and CNet to help them choose the best digital content services and devices. The job of these writers isn’t to defend the interests of copyright owners or content creators; it’s to help sell newspapers and drive traffic to websites.
These sources routinely praise digital content services and devices that offer as many rights to as much content for as little money as possible. DRM can be used to enable new content distribution models, but it can also be used to force consumers to pay, limit interoperability, and restrict uses of content that are allowed under copyright law. Thus it makes sense that these writers would paint DRM in a negative light.
One has to wonder how much the pro-consumer point of view in this press coverage influenced legislation. The journalists who covered legislative developments during the period Herman studied did not overlap much with those who covered products and services. For example, Jenna Wortham, Jonathan Weisman, and Brian Stelter provided the bulk of legislative coverage at the Times, while over at CNet, Declan McCullagh wrote about policy and legislation while Greg Sandoval did (and does) most of the marketplace coverage.
Herman attributes the “strong fair use” coalition’s increased legislative influence to its greater effectiveness than the “strong copyright” community in putting its message out online. But I would suggest that they had a lot of help from both professional and amateur writers about consumer media technologies, who led people to wonder why technologies like DRM exist and then what role government plays in them.
It might not be as easy to gauge that influence, but it was — and is — surely significant; and that means that the press could well influence digital copyright legislation more strongly than Herman surmises. Herman seems eager to glorify the power of the Internet by itself. While there’s no doubt that Internet forces killed SOPA and PIPA, what Herman calls the “strong fair use” movement has roots outside of the copyleft academia and advocacy groups that he credits (he was an intern at Public Knowledge and considers Larry Lessig a hero).
Regardless, the defeat of SOPA and PIPA has made it clear that the online community now has a lot of power over policy debate. Gary Shapiro of the Consumer Electronics Association wrote a letter to the editor in the Times admitting that “back rooms do not exist on the Internet.” I would suggest that if the RIAAs and MPAAs of the world want to understand how to engage the online public in order to shape future legislation, Herman’s thesis ought to be required reading for them.
As a postscript, there is now a bit of overlap in coverage of digital content products and services and legislative policy, now that people are digging through the post-SOPA/PIPA wreckage and considering what to do next. David Pogue, for example, got around to actually reading the legislation back in January as it was failing. He made two badly-needed observations: that many of the objectors to SOPA and PIPA didn’t like it simply because it could cut off their supply of free content, and that such people generally didn’t have a clue about the actual legislation and acted on misinformation about it. Let’s hope that now that Pogue has connected the dots, more people will follow that train of thought to some reasonable policy developments.