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EU Proposes Retroactive Copyright Extension

I Don't Believe in Imaginary Property writes "EU Commissioner Charlie McCreevy has unveiled a plan to retroactively extend musical copyrights by 45 years, which would make EU musical copyrights last 95 years total. Why? They're worried that musicians won't continue to collect royalties when they retire and this will give them an additional 45 years during which they won't have to produce any new music. Perhaps the only good point is that the retroactive extensions won't take effect for any works which aren't marketed in the first year after the extension. Additionally, while there are many non-musical retirees wishing they could get paid for 95 years after they finish working, McCreevy has not announced any new plans to help them."

42 of 514 comments (clear)

  1. Who really gets paid? by clang_jangle · · Score: 5, Insightful

    Plain old "musicians" rarely recieve royalties; royalties are generally paid to songwriters and publishers. Of course usually those royalties end up getting paid to the Big Media companies that manage to obtain ownership of the copyrights and publishing, not to the artists. But "think of the poor, aging artists!" probably elicits a bit more sympathy than "think of the record companies!".

    --
    Caveat Utilitor
    1. Re:Who really gets paid? by DrEldarion · · Score: 3, Insightful

      As the internet changes the face of music distribution and marketing and artists start to distribute independently of the major labels, this will be a good thing. Artists should continue to receive compensation for their creations for as long as people are enjoying them (though copyrights should probably be released after the artists' deaths).

    2. Re:Who really gets paid? by Anonymous Coward · · Score: 4, Insightful

      Should this apply to fundamental truths as well, like mathematical theorems? You're insane if you think that.

    3. Re:Who really gets paid? by robbak · · Score: 5, Insightful

      If you create something, you have a choice whether to show somebody else. You have the choice to distribute it, or not to distribute it.

      Once you give a copy to somebody else, then, for all intents and purposes, you no longer have any control over it.

      Copyright gives you an artificial limited monopoly over distribution - nothing more - simply because this encourages persons to create and distribute works. Once works have been distributed, copyright has done its work. It is then a liability to society.

      Copyright's purpose is to increase the amount of works in the public domain. Anything that reduces the flow of works to the public domain (like copyright extensions) is against the purpose of copyright.

      (With regard to software - for any protection under copyright, I believe that the source code for the work should have to be released. Otherwise, copyright makes no sense, as the works have very limited use when they hit the public domain.)

      --
      Prediction for end of Universe #42: Fencepost error in Quantum_bogosort.cpp
    4. Re:Who really gets paid? by Potor · · Score: 5, Insightful

      Math may be creative in the sense of thinking of new approaches, etc., but I would hold that this creative process only leads to discoveries, not creations. In other words, something that was already there, waiting to be discovered, a truth as you call it. That's different than artistic creation, which does add something that was not there in the first place.

    5. Re:Who really gets paid? by Znork · · Score: 5, Insightful

      for as long as people are enjoying them

      Why? Chairmakers don't receive compensations for as long as people are enjoying their chairs. Builders don't receive compensation for as long as people enjoy their houses.

      How about this; people get paid for working, and the state interfering in the market to create monopolies favouring certain classes of work is a particularly bad idea.

      If you want to argue for why certain groups need extra support, be intellectually honest and handle it as an ordinary welfare system. If you think creative work is particularly heavy and dangerous, or particularly valuable to society, perhaps they should get a lower retirement age? Argue the case and fund it through ordinary state budgets, not hidden away in the uncounted taxation of intellectual monopoly rights.

    6. Re:Who really gets paid? by robbak · · Score: 3, Insightful

      This is interesting. If Ms. mathematician produces a novel-length mathematical model that predicts airflow over North America with unprecedented accuracy, I would like for copyright to exist in that mathematical model. It is a useful science, will be very useful to all humanity when it hits the public domain, and she should become rich on it, as thanks for her useful work.

      However, there is no real difference between her model and E=mc^2, or G=Mm/r^2 - just complexity - a continuous scale of complexity, as well as accuracy (remember, E=mc^2 tells us that G=Mm/r^2 is wrong!) - who is to say that this deserves a copyright, but that doesn't?
       

      --
      Prediction for end of Universe #42: Fencepost error in Quantum_bogosort.cpp
    7. Re:Who really gets paid? by robbak · · Score: 4, Insightful

      Interesting point: One of the reasons for copyrights (and patents too) is to reduce reliance on trade secrets. Reveal your secrets and get (limited) government protection for them.

      Remembering things like that can make patents and copyrights make sense. Not the current implementations, mind you.....

      (I'm commenting a bit much in this discussion)

      --
      Prediction for end of Universe #42: Fencepost error in Quantum_bogosort.cpp
    8. Re:Who really gets paid? by Potor · · Score: 4, Insightful

      You'll note I said nothing about copyright in my post: I suspect we're on the same page there (i.e., I think this proposed plan is insane).

      As a scientific realist, I simply don't want art and science to be seen as aiming at the same end. But anyway, the effects of certain notes will always end in unpredicable results, since the goal is to make people react, and nobody knows how anyone will react. If you read the reviews linked in my sig, you'll discover I have no idea how anyone can listen to top 40 music, and yet that music is made precisely to be universally loved. Nevertheless, it's not, and thus it is a good example of the unpredictability of musical effects.

      On the other hand, the effects that science strives for do not depend on subjective reaction, and thus, at the level of their aim, are predictable, reproduceable, etc.

      So, that is the basis for difference between the two. And thus, whereas the scientist is discovering what is already there (and hence universal), the artist is creating something new - and to that extent offers something novel to the world. Copyright, for better or for worse, is designed to protect and stimulate that use of the notes and scales (etc.) already in the public domain, just as patents are to stimulate and protect commerical applications of scientific discoveries.

    9. Re:Who really gets paid? by MrNaz · · Score: 3, Insightful

      I disagree. There should be a short period of protection, after which the product of your creativity is put into the public domain. The period should be set based on things like how valuable to the wider public that kind of thing is versus the need to create incentives in the first place.

      Pharma for example, does and rightly should, only be protected for a relatively short period, 6 years or so. Beyond that, it's in everybody's interests for medicine to be available at the lowest possible delivery price.

      I don't see why music and movies need such an insanely long period of protection. There should be a short period of exclusivity (say 5 to 10 years) after which it is in the public domain. If your music is good enough that people want it and you can't make a profit in a decade then bad luck.

      You know what you get when you try to set up a complex set of rules protecting the output of human creativity? Modern copyright and intellectual property laws.

      --
      I hate printers.
    10. Re:Who really gets paid? by Katchina'404 · · Score: 5, Insightful

      Musician's right to retirement is pretty much the same as anybody else's :
      * Public (state) welfare if existing in country of legal residence (and usually paid for with taxes on Musician's incomes during working years).
      * Any sort of private savings.

      I'm an IT consultant. When I retire I'll be paid according to the rules above. Why should it be different for other professions ?

      Or shall I invoice, 40 years from now, "maintenance fees" for systems I installed in the last years.

      --
      Ceci n'est pas une signature
    11. Re:Who really gets paid? by I+cant+believe+its+n · · Score: 5, Insightful

      If you have a right to a retirement then why don't they?

      As a developer I don't have the right to retirement any more than you do. I earn my pension by having part of what I make put aside for later use. (Not the code, the money)

      If you are anything like me, you do what you do not in order to make the money, but because you have to, because you love it. I don't mind the money I make, but if all I wanted was a lot of money, I would go and do something else. Since I don't want my soul to die, I'm staying with software. I suppose you would still create your music?

      It is my understanding that the copyright laws where made, not to help artists make a living, but to advance the arts. In my opinion, the proposed law would only hinder new artists in creating what they need/love to do, and not advance the arts in any way at all.

      --
      She made the willows dance
    12. Re:Who really gets paid? by TheRaven64 · · Score: 4, Insightful

      Oh and the rest of the world understands the concept of copyright, especially the creators themselves.

      I make a living from copyright as a writer, and a 95 year term seems ludicrous to me. In China, copyright is not respected because, traditionally, taking credit for great works was not considered polite - the greatest honour you a philosopher or poet could receive was having their works distributed anonymously (or pseudonymously). In Europe, attribution is considered more important. The text of copyright law in the UK contains the phrase 'the natural right of the author to be identified with this work' - being able to take credit for your own work is viewed as a natural right. Even when copyright expires, this right typically persists: prints of public domain works are almost always attributed.

      But the issue is not whether the world understands copyright, it's whether society will benefit from a 95 year copyright term. Copyright (as a government-enforced monopoly) exists as a bargain between creators and the rest of society. I agree to release my works immediately to the public at large and society agrees to enforce my right to charge for them for a limited time. Society benefits because they have immediate (but limited) access to things I create and long-term total access when copyright expires. I, conversely, benefit from being paid.

      I quite like being paid, and I'd like it even more if I could be paid in perpetuity for things I create now. In fact, it would be really great if I just needed to write one thing and could live off it for the rest of my life. Well, maybe not so great for society, because it completely removes the incentive for me to write any more[1]. Ideally, copyright would ensure that I was paid enough to live (comfortably!) while I worked on my next project, and put a little aside for when I eventually retired. I believe something in the seven to fourteen year range would be ample for this, and possibly even shorter. Once a work falls into the public domain, then it can be distributed by anyone to anyone, and as long as the 'natural right' of attribution is preserved then it serves as advertising for my later works. I would, therefore, be in favour of two copyright terms: a short-term monopoly and a longer-term legally-enforced attribution.

      [1] I enjoy writing, as you can see from the hundreds of thousands of words I've posted on Slashdot, but without a financial incentive there is very little reason for me to go to the effort of getting things edited and published.

      --
      I am TheRaven on Soylent News
    13. Re:Who really gets paid? by jd · · Score: 3, Insightful

      In general, artists get paid well below other professions (and well below what they contracted for). Work is intermittent (Jon Pertwee used to say actors spend 95% of their time unemployed). And, let's be blunt, American state pensions might possibly feed a squirrel, but nothing much bigger. I do not believe they should be paid unreasonably large sums, but neither do I believe they should be paid unreasonably small sums. (Unlike the music and film industries, I think artists would be happier and better-able to do their jobs with good food and sensible living conditions. Also unlike the music and film industries, I don't think you can substitute those with sex and drugs and get the same results. All you are likely to get are dead artists.)

      --
      It's a small world and it smells funny; I'd buy another if it wasn't for the money; Take back what I paid (SoM)
    14. Re:Who really gets paid? by S.O.B. · · Score: 5, Insightful

      In general, artists get paid well below other professions (and well below what they contracted for). Work is intermittent (Jon Pertwee used to say actors spend 95% of their time unemployed).

      Well they did choose that line of work didn't they. No one forced them into it.

      And if an artist is still getting royalties after 95 years they're not likely one of the artists on the bottom end of the pay scale that need protecting. As has been mentioned here by others, this extension is to protect the record labels and copyright holders who are very likely not the original artists.

      A 95 year protection would be acceptable to me only if it was to the original artist and not transferable. If you buy the rights maybe you only get 25 years protection.

      --
      Some of what I say is fact, some is conjecture, the rest I'm just blowing out my ass...you guess.
    15. Re:Who really gets paid? by smallfries · · Score: 3, Insightful

      In general, dishwashers get paid well below other professions (and well below what they contracted for). Work is intermittent (A local used to say dishwashers spend 95% of their time unemployed).

      So, sob story aside. Why should musicians get special treatment? They already get to ride one piece of work for 50 years, if that isn't enough then maybe it's time to put the guitar down and get a real job?

      --
      Slashdot: where don knuth is an idiot because he cant grasp the awesome power of php
    16. Re:Who really gets paid? by Mr.+Slippery · · Score: 3, Insightful

      A 95 year protection would be acceptable to me only if it was to the original artist and not transferable.

      Exactly. Under the U.S. Constitution, copyright can be granted to authors of works - there is no power for Congress to grant copyright to their heir or employers or anyone else. We'd all be a lot better off if this was held to.

      --
      Tom Swiss | the infamous tms | my blog
      You cannot wash away blood with blood
    17. Re:Who really gets paid? by alexgieg · · Score: 3, Insightful

      No, it couldn't, sorry. Explaining why would require a full Philosophy course, so I cannot provide the details here as needed to properly show you why this is so. Suffice it to say that all, rigorously all, devices developed in the ancient world that resemble what in Modernity became productive machines (vapor power, for example), were looked at as interesting natural anomalies, cool to interact with as a hobby but unworthy of serious intellectual pursuit. Why? Because intellectual pursuit proper, back then, was discovering and cataloging general properties.

      As for the Enlightenment, it depends on Descartes and Hume, who in turn depended on Occam, who depended on the extreme developments in Logics that happened during the "Dark Ages" and until the end of the Middle Age (notice that the expression "Dark Ages" isn't used anymore among serious scholars of either History of Philosophy or History of Science, there were lots of developments in all intellectual fields in that period). Remove the Middle Age logicians, go back to Aristotelian and Stoic logics, and you won't have any of the advanced intellectual tools used by the 15th century folks to in turn develop the intellectual tools used by the 18th century ones to produce the Enlightenment.

      Carl Sagan, not being an Historian of either Philosophy of Sciences, isn't a good reference in this regards. A good reference on this whole subject is actually Ernst Cassirer. He has a HUGE multi-volume book on the development of the modern scientific method (sorry, I don't remember its title right now), covering in minute details all the ground between the natural sciences of the Middle Ages to the physics of the first half of the 20th century. Try to find it. It's worth reading.

      --
      Conservatism: (n.) love of the existing evils. Liberalism: (n.) desire to substitute new evils for the existing ones.
    18. Re:Who really gets paid? by TheLink · · Score: 3, Insightful

      Anyone who needs a 95 year monopoly in order to survive in this day and age is crap at what they do and should get another job.

      Same goes for companies.

      If some songwriter/composer can't write something better in 95 years, I don't see why society should encourage such people to continue in their line of work. The economists can tell you that.

      It is bad that copyright and patent terms are getting longer and longer instead of getting shorter.

      Nowadays communications and distribution is supposed to be so good - so terms should get shorter.
      If you assume a faster pace of progress, then terms should be getting shorter.

      How about 7 years? Too short? Well I think most people should see that even 50 years is way too long.

      95 years is ridiculous.

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  2. Enforce it how? by damburger · · Score: 4, Insightful

    They can claim copyright for a bazillion years, still won't address the issue that it is impossible to enforce without crushing peoples freedom of speech. Knowing the EU, which is every bit as much a tool of business as the US government, they will do exactly that.

    --
    If we can put a man on the moon, why can't we shoot people for Apollo-related non-sequiturs?
    1. Re:Enforce it how? by Per+Wigren · · Score: 4, Insightful

      Stop complaining about the "anti-americanism". Personally I'm not at all against Americans but very much against American politics (black curtain authorian corporatism and fear mongering). Except for a few nutcases I'm pretty sure that applies to most people you call "anti-american". Putting aside the non-stop war mongering, the biggest reason is that USA (the government, not the people) send armies of lobbyists to Europe trying to close down our freedoms to chase ghosts.

      This law proposal is an obvious result of heavy American lobbyism, and it's just an example out of thousands. Yes, I blame European politicians just as much (if not more) for falling into the trap.

      Thank you for stopping communism, bla bla bla, in the past. Whatever. That doesn't change what is happening right now.

      I know a lot of Americans and they are all fantastic persons. It's all about the government and politics, not the people.

      --
      My other account has a 3-digit UID.
  3. The summary overlooked the other reason by antifoidulus · · Score: 4, Insightful

    since if music is freely available to everyone, the government cannot tax the sales or the income of the artist.

  4. 50 years wasn't long enough?!? by feedayeen · · Score: 5, Insightful

    With a 50 year long copyright, if I produced a song as a teenager, I would still own the rights even after the time that I am eligible for my pension. With a 95 year long copyright, if I produced a song, the recording industry would be profiting off of my works for decades after I am dead.

    1. Re:50 years wasn't long enough?!? by malkavian · · Score: 5, Insightful

      Hmm.. I worked for an independent label many a year ago. It's not that the larger industry is effective at marketing their best, it's that they're effective at marketing what makes them the most profit.
      If you don't sign up, you don't get the deal, and don't get advertising and distribution. If you do sign up, it's on the large label's terms (they get most, if not all, and sometimes all and more from the artist too, to cover 'production costs').
      What the recording industry is good at doing is exploiting the wish of people to be famous, and leading them with promises of fame and fortune (by presenting images of the 'successful' pop idols) to sign on the dotted line. Once they do that, they're more often than not pretty screwed.

  5. Retirement by Deltaspectre · · Score: 3, Insightful

    Dang, I wish I could make money for free after my retirement :(

    I should see if my boss wants to consider paying me after I go so I have an extra 45 years I won't have to do any sysadmin work

    --
    My UID is prime... is yours?
  6. Obviously not for the musicians' sake by NoobixCube · · Score: 3, Insightful

    Your average musician would attain fame close to 20 or later (unless they're child-stars). 95 years after that extends revenue to the age of 115, while most people don't live past 80 or 90; if the much-publicised lives of today's musicians are anything to go by, a lot of them won't make it past 50. I refuse to pay just because someone's arrogant-bastard children think they deserve money because their father wrote a song that sold well.

    --
    Admit it. You post strawman arguments as AC so you get modded Insightful for refuting them, rather than Troll
  7. Re:What's different from physical property though? by TorKlingberg · · Score: 5, Insightful

    The concept of "intellectual property" is the problem. The phrase was made up to make it seem like a right rather than a temporary government granted monopoly.

  8. Re:What's different from physical property though? by Baldur_of_Asgard · · Score: 5, Insightful

    Difference 1: If I graze my cattle on your ranch, you will not be able to make use of your ranch - but if I sing a song that you wrote, you will still be able to sing that song.

    Difference 2: If you sell me your ranch, the ranch is mine to do with as I please. If you sell me your song, shouldn't the song be mine to do with as I please? After some profitability, songs and other intellectual property should go into the public domain, especially if a large portion of the public have paid for it.

  9. Re:What's different from physical property though? by theheadlessrabbit · · Score: 4, Insightful

    the difference is, if i take your physical property, you have less.

    if i take your intellectual property, you lose nothing.

    bytes are not atoms.

    --
    -I only code in BASIC.-
  10. No pensions? by Zog+The+Undeniable · · Score: 4, Insightful

    So they should have invested some of the money while they were making it, instead of spending it on Colombian marching powder, groupies and hotel room repairs.

    Everyone else has to save for a pension or end up on income support. Why not musicians?

    --
    When I am king, you will be first against the wall.
  11. Re:Retroactive ? by jabuzz · · Score: 5, Insightful

    No it means that it applies to works that are already in existence. So for example I own a number of audio books of classic works. The words spoken by the actors on the CD's are long out of copyright. However the recording itself has a 50 year term. When I purchased that audio book I entered into a contract, part of which was based on the fact that the copyright in the recording would expire within my lifetime.

    This proposal would change the existing contract of purchase to make me materially worse off. This makes it retroactive.

    This proposal however has to get approval from all 27 member countries, which is a tall order given that some, such as the UK have expressed previously that they saw no reason to extend copyrights on recordings.

  12. Re:What's different from physical property though? by seifried · · Score: 5, Insightful

    Actually you don't own your property in the truest sense of the word (yes technically I acknowledge that you own and possibly have possession of it). Ultimately the government owns your land. Just stop paying the land or property taxes and this point will be made abundantly clear. Now if a copyright holder had to pay a yearly fee based on the value (either intrinsic, or perhaps market or realized, something along those lines) of the work in question to keep the copyright I'd be a lot more supportive of copyright laws.

  13. Re:What's different from physical property though? by KDR_11k · · Score: 3, Insightful

    If I graze my cattle on your ranch, you will not be able to make use of your ranch - but if I sing a song that you wrote, you will still be able to sing that song.

    Depends on what you see as the purpose of the property. If the purpose of the ranch is to graze cattle, yes, it's being denied to you but if you just use it as a vacation home where's the damage? If the purpose of the song is that you just want to sing it there's no damage but if the purpose was to make money then someone else sharing free copies of it make you unable to do so.

    --
    Justice is the sheep getting arrested while an impartial judge declares the vote void.
  14. Thieves and Scoundrels by Detritus · · Score: 3, Insightful

    Who is going to benefit from this? From what I've read, this was the era in which it was common for record producers to acquire all rights to the song in exchange for a flat fee.

    --
    Mea navis aericumbens anguillis abundat
  15. Re:What's different from physical property though? by laffer1 · · Score: 4, Insightful

    Even a yearly renewal after a certain point would be nice. The artist (not the record company) would have to fill out some form every year to retain rights.

  16. The Difference Is Psychological by NickFortune · · Score: 5, Insightful

    The only reason I can't use your car or house when you aren't using it is because of artificial laws saying I can't and granting you protection from such actions - whats the difference?

    I suspect the difference is that laws regarding physical property are strongly tied to the human territorial imperative. Like many other creatures on this planet, we have a strong urge to claim territory as our own, and territorial disputes when they do occur are frequently violent and sometime bloody.

    Having a legal structure that helps minimise such disputes makes sense, since it means that we spend less time organising blood vendettas against our neighbours, and more time on constructive activities. Of course, that may depend on what you consider a constructive activity.

    On the other hand, there doesn't seem to be any similar deep root territoriality to ideas. In fact, I would argue that converse seems to be true. Human beings have a strong urge to propagate information in all its forms. From jokes and stories, to music, to software - sharing abstractions seems to be a part of our make up.

    Which, in my opinion, is why the record labels and studios and software houses are having such a hard time with this. They've coined the term "intellectual property" to try and make it seem as if the human territorial response should apply to information in the same way as it does to tangible assets. But it doesn't; not at the level of human psychology.

    And that, so far as I can see, is the major difference. Property laws for tangible assets work with human psychology, and are respected for that reason. Trying to apply those same principles to information is working against human psychology which is why the practice is so widely opposed. Put another way, the first case has a basis in human behaviour, the second one lacks any such basis, and is more of an attempt at social engineering seeking to change human behaviour to suit a relatively small number of people.

    --
    Don't let THEM immanentize the Eschaton!
  17. Reduce copyrights to 20 years by bestinshow · · Score: 3, Insightful

    Why can someone sit down, drink, take drugs, have groupies and make money for 95 years from a few songs, whilst other people educate themselves, invent something, and only get the right to make money on their invention for 15-20 years afterwards?

    Long copyright terms don't encourage the people with the skills to continually create artistic works of benefit to society and culture. Copyright doesn't exist to benefit the creator of a work of art, it exists to benefit society as a whole by giving incentive to create art.

    The actual truth of the matter is that people would actually still create music, art, stories, etc if there was no copyright concept. In addition, the creators would still benefit a lot from creating - people still prefer to see Iron Maiden live rather than tribute bands like High On Maiden, for example. Performances are where the money is for full time bands as well.

    All of these people who raked in money from when they were big should have put some aside for their retirement, like EVERYBODY ELSE has to.

  18. This is nothing to do with Ireland by PinkyDead · · Score: 4, Insightful

    The facts that you've bundled together there are about as completely wrong as you could get.

    Ireland had a declining population for years (not owing to the Troubles; it was the South that was declining, not the North) due to the endemic corruption, lack of personal freedom, and poor educational opportunities.

    The corruption was a symptom of a high tax economy which was in turn a symptom of bad economic management during hard times. As far as educational opportunities were concerned Ireland had, in spite of itself and taking into account its size, one of the best education systems in the world - which is seen as one of the major contributors to its recent success.

    I'll give you the Iran thing. It's probably not completely far from the truth - certainly up to late '80s.

    The two schemes that you mention have absolutely nothing to do with Ireland's success. If I may, I would suggest that it was caused by (1) Technically educated workforce at the same time as the Internet got big (2) Low corporate tax rate (3) English speaking (4) Heavily committed to EU and Euro (5) Very business friendly politically (6) Zero tolerance of corruption and (7) the Good weather?.

    If you doubt this, look at what happened to investigative journalists like Guerin and Taoiseachs like Bertie Ahearn.

    The criminal gangs in Ireland existed like in any other country. And like in other countries Veronica Guerin was shot because she was investigating them - nothing special there.

    Bertie on the other hand had no criminal connections. His problems came because he divorced his wife and was basically taken to the cleaners. Individual businessmen gave him a ton of cash to help him out - unfortunately at the same time Bertie pontificated in the Dail (parliment) that it was reprehensible that any politician should be beholden to outside interests. And unfortunately he got caught - it was illegal, but not in the 'Criminal gangs' sense.

    The upshot is that shills like McCreevy are trying to keep the artists on board by proposing that they get something which no other professional gets, (if 95 years copyright for a writer, why not 95 years for a patent?) hoping that Ireland will benefit in some way from tax collection. Apple is also strongly represented In Ireland and can presumably afford lobbyists.

    Charlie McCreevy is just doing his job - as Commissioner for Internal Markets, and most other countries reckon he's doing OK at it. He's applying his own philosophy to it which is very much pro IP rights - which is why he's a darling of Microsoft and the Record Companies. (I'm not saying I agree with him).

    As you say in Ireland there is no tax for artists - but that means no revenue for government, so that point is a contradiction. There also aren't any record companies her - so you're 0 for 2 there.

    The economic downturn and the gradual ending of EU structural funding (supposedly for building railways and roads but actually diverted to building country houses for the rich Irish) is putting a strain on the Irish economy. They need the money.

    The downturn in Ireland is, like everywhere else, caused by a combination of High Oil Prices, Low Consumer Confidence and a Global Credit Crunch. Nothing to do with structural funding, which did make a lot of people rich, as you would expect - but not in the corrupt way you are suggesting.

    Ireland needs to pay for a very high public service bill - but that will need to be achieved by cutting the bill, not by getting a few more quid off an aging Bono.

    --
    Genesis 1:32 And God typed :wq!
  19. Re:What's different from physical property though? by Tom · · Score: 3, Insightful

    yet if that property is intellectual rather than physical, there is huge outcry.
    Why the double standard?

    Because intellectual "property" isn't. It has none of the elements that make up "property" in physical things. Most importantly, it is not exclusive.

    People fend off, fight for and die for land because if you use it, then I can't. That's not true of music, we can both have a copy of the same song and be happy.

    That's why the double standard.

    --
    Assorted stuff I do sometimes: Lemuria.org
  20. 95 years from the copyright date. by Comboman · · Score: 4, Insightful

    The summory[sic] makes a stupid statement about getting royalties 95 years after they stop working. Did they even read their own summory[sic]???? It's about extending it 45 years because say you work 60 years, common with musicians, then retire you still get paid for your earlier work.

    Your math is as bad as your spelling. Let's be generous and say a musician starts his professional career at the age of 15. If he works for 60 years as you say, then he retires at 75 (possible I guess). The 45 year extension means he can still collect royalties when he's 110 (despite advances in medical science, I can't imagine most hard-living musicians are going to live that long). Of course that's just for the work they did at 15. They can collect royalties on the work they did at age 40 when they're 135, and they can collect on the work they did just before their retirement when they're 170. Tell me again how this makes sense?

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  21. Ahem. I would like to address Mr. McCreevy. by Greyfox · · Score: 4, Insightful
    Copyright was never meant to be a permanent meal ticket. Especially not for some corporation. You fucking fucker.

    That is all.

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    I'm trying to teach myself to set people on fire with my mind... Is it hot in here?

  22. Re:Retroactive extension = breaking the deal by Tim+C · · Score: 3, Insightful

    bingo. that's what kids today see.

    I very much doubt that the average kid sees anything other than the chance to get stuff for free with little or no fear of being caught. In fact given that it's so prevalent, I expect they don't even consciously register that they're doing anything wrong (in any sense, morally or legally)

    Honestly, in my experience very few people outside of slashdot think about it *at all*. As much as we like to think that most people are sticking it to the man because of industry corruption and deal-breaking, it really isn't like that.