The Piracy Crusade: How the Music Industry's War on Sharing Destroys Markets and Erodes Civil Liberties

Notes

201 N OT E S Introduction: Piracy Crusades Old and New 1. My sources for the histories of Genoa and Tunisia in this section are Harry Hazard, A History of the Crusades, vol. 3: The Fourteenth and Fifteenth Centuries (Madison: University of Wisconsin Press, 1975); and Barbara Tuchman, A Distant Mirror: The Calamitous 14th Century (New York: Ballantine Books, 1978). 2. Hazard, History, 481; Tuchman, Distant Mirror, 463. 3. Tuchman, Distant Mirror, 463, 468. 4. Ibid., 474. 5. Hazard, History, 482. 6. Ibid., 483. 7. Tuchman, Distant Mirror, 462. 8. Ibid., 460. 9. Matthew Belloni, “Supreme Court Refuses to Hear Joel Tenenbaum Appeal in Music Piracy Case,” Hollywood Reporter, May 21, 2012, www .hollywoodreporter.com/thr-esq/supreme-court-joel-tenenbaum-piracy-327266. 10. Raphael Minder, “Pressure Grows on Spain to Curb Digital Piracy,” New York Times, May 17, 2010. 11. Tina Johnson with Robert Mancini, “Court Rules MP3.com Violates Copyrights,” MTV News, April 28, 2000, www.mtv.com/news/articles /1432447/court-rules-mp3com-violates-copyrights.jhtml. 12. Plaintiffs’ post-trial brief concerning remedy and defendants’ first amendment defense. Universal City Studios, Inc., et al. v. Eric Corley a/k/a “Emmanuel Goldstein” and 2600 Enterprises, Inc., August 8, 2000, www.2600.com /dvd/docs/2000/0808-brief2.html. 13. “The Six Business Models for Copyright Infringement,” study commissioned by Google and PRS for Music, June 27, 2012, www.prsformusic .com/aboutus/policyandresearch/researchandeconomics/Documents /TheSixBusinessModelsofCopyrightInfringement.pdf. 14. “MP3.com Settlement: RIAA Hails Victory for Creative Community & Legitimate Marketplace,” RIAA.com, June 9, 2000, http://riaa.com/newsitem .php?id=81022351-3D35-EEE9-B26B-F9DF3239CCDB. 15. “Court Rejects Napster’s Case Rehearing,” RIAA.com, June 26, 2001, http://riaa.com/newsitem.php?id=D55C5B4C-9F5B-7142-81EB-1AF69E3A897A. 16. “RIAAStatementonMGMv.GroksterSupremeCourtRuling,”RIAA.com, June 27, 2005, http://riaa.com/newsitem.php?id=DE79FC7C-A22E-931E-CF31 -59E03950450C. 202 NOTES TO PAGES 5–19 17. “Federal Court Issues Landmark Ruling against LimeWire,” RIAA.com, May 12, 2010, http://riaa.com/newsitem.php?id=B78C8571-0E8D-5861-27C6 -4D2178AEB7D1. 18. See, for instance: Derek Slater, Urs Gasser, Meg Smith, Derek Bambauer, and John Palfrey, “Content and Control: Assessing the Impact of Policy Choices on Potential Online Business Models in the Music and Film Industries,” Berkman Publication Series Paper 2005-01 (2005), http://ssrn.com/abstract=654602; Mike Masnick, “Hadopi Accused of ‘Massaging’ the Numbers to Make Anti-piracy Activity Look Better,” Techdirt, April 4, 2012, www.techdirt.com/articles/ 20120402/12145518337/hadopi-accused-massaging-numbers-to-make-anti -piracy-activity-look-better.shtml. 19. Obviously, colonization and industrialization came at their own significant costs for millions of enslaved and exploited people around the globe, in addition to many other well-documented global and ecological consequences. I am not suggesting that these were “positive” developments in any sense other than the economic and political benefits that accrued to the European powers. 20. Daniel Goffman, The Ottoman Empire and Early Modern Europe (New York: Cambridge University Press, 2002). 21. Nancy Baym, Personal Connections in the Digital Age (Cambridge: Polity, 2010). 22. David Karpf, The MoveOn Effect: The Unexpected Transformation of American Political Advocacy (New York: Oxford University Press, 2012). 23. MGM Studios, Inc. v. Grokster, Ltd., 545 U.S. 913 (2005). 24. Siva Vaidhyanathan, “Afterword: Critical Information Studies,” Cultural Studies 20, no. 2–3 (2006): 292. 25. The book’s online draft is still available to read and comment on at http://mediacommons.futureofthebook.org/mcpress/piracycrusade/. 26. Details of the license’s terms are available at http://creativecommons .org/licenses/by-nc-sa/3.0/. 27. John Williamson and Martin Cloonan, “Rethinking the Music Industry,” Popular Music 26, no. 2 (2007): 305. 28. Patrik Wikström, The Music Industry: Music in the Cloud (Cambridge: Polity Press, 2009), 12. 29. Elisabeth Kübler-Ross, On Death and Dying (London: Routledge, 1969). 1. Stacking the Deck 1. The term was coined by Pierre Bourdieu in his essay “Cultural Reproduction and Social Reproduction,” in Knowledge, Education, and Cultural Change: Papers in the Sociology of Education, ed. Richard Brown, 71–112 (London: Tavistock, 1973) 2. Aram Sinnreich, Mashed Up: Music, Technology, and the Rise of Configurable Culture (Amherst: University of Massachusetts Press, 2010). 3. Mark Changizi, Harnessed: How Language and Music Mimicked Nature and Transformed Ape to Man (Dallas: BanBella Books, 2011), 203. 4. Oliver Sacks, Musicophilia: Tales of Music and the Brain (Toronto: Vintage Canada, 2008). NOTES TO PAGES...