Remove leftover *.

[text-free-culture-lessig.git] / freeculture.xml

diff --git a/freeculture.xml b/freeculture.xml
index d84fefa565083debdb0f0a165d07c2da4b4489f1..fe4d133f956b08a41da8acee0be2e2e913212f3d 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -3249,6 +3249,10 @@ To Amend and Consolidate the Acts Respecting Copyright, 23
 <indexterm><primary>American Graphophone Company</primary></indexterm>
 <indexterm><primary>player pianos</primary></indexterm>
 <indexterm><primary>sheet music</primary></indexterm>
+<indexterm id='idxcongressusoncopyrightlaws' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressusonrecordingindustry' class='startofrange'><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightlawstatutorylicensesin' class='startofrange'><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
+<indexterm id='idxrecordingindustrystatutorylicensesystemin' class='startofrange'><primary>recording industry</primary><secondary>statutory license system in</secondary></indexterm>
 <para>
 These arguments have familiar echoes in the wars of our day. So, too,
 do the arguments on the other side. The innovators who developed the
@@ -3274,6 +3278,7 @@ memorandum of Philip Mauro, general patent counsel of the American
 Graphophone Company Association).
 </para></footnote>
 </para>
+<indexterm><primary>cover songs</primary></indexterm>
 <para>
 The law soon resolved this battle in favor of the composer
 <emphasis>and</emphasis> the recording artist. Congress amended the
@@ -3289,6 +3294,8 @@ copyright law that makes cover songs possible. Once a composer
 authorizes a recording of his song, others are free to record the same
 song, so long as they pay the original composer a fee set by the law.
 </para>
+<indexterm id='idxcompulsorylicense' class='startofrange'><primary>compulsory license</primary></indexterm>
+<indexterm id='idxstatutorylicenses' class='startofrange'><primary>statutory licenses</primary></indexterm>
 <para>
 American law ordinarily calls this a <quote>compulsory license,</quote> but I will
 refer to it as a <quote>statutory license.</quote> A statutory license is a license
@@ -3297,7 +3304,7 @@ Copyright Act in 1909, record companies were free to distribute copies
 of recordings so long as they paid the composer (or copyright holder)
 the fee set by the statute.
 </para>
-<indexterm><primary>Grisham, John</primary></indexterm>
+<indexterm id='idxgrishamjohn' class='startofrange'><primary>Grisham, John</primary></indexterm>
 <para>
 This is an exception within the law of copyright. When John Grisham
 writes a novel, a publisher is free to publish that novel only if
@@ -3308,6 +3315,7 @@ have no permission to use Grisham's work except with permission of
 Grisham.
 </para>
 <indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>
+<indexterm><primary>Beatles</primary></indexterm>
 <para>
 But the law governing recordings gives recording artists less. And
 thus, in effect, the law <emphasis>subsidizes</emphasis> the recording
@@ -3329,8 +3337,10 @@ sess., 217 (1908) (statement of Senator Reed Smoot, chairman), reprinted
 in <citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. Fulton Brylawski and
 Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, 1976).
 </para></footnote>
-<indexterm><primary>Beatles</primary></indexterm>
 </para>
+<indexterm startref='idxcongressusoncopyrightlaws' class='endofrange'/>
+<indexterm startref='idxcongressusonrecordingindustry' class='endofrange'/>
+<indexterm startref='idxgrishamjohn' class='endofrange'/>
 <para>
 While the recording industry has been quite coy about this recently,
 historically it has been quite a supporter of the statutory license for
@@ -3360,6 +3370,10 @@ March 1967). I am grateful to Glenn Brown for drawing my attention to
 this report.</para></footnote>
 </para>
 </blockquote>
+<indexterm startref='idxcopyrightlawstatutorylicensesin' class='endofrange'/>
+<indexterm startref='idxrecordingindustrystatutorylicensesystemin' class='endofrange'/>
+<indexterm startref='idxcompulsorylicense' class='endofrange'/>
+<indexterm startref='idxstatutorylicenses' class='endofrange'/>
 <para>
 By limiting the rights musicians have, by partially pirating their
 creative work, the record producers, and the public, benefit.
@@ -3367,7 +3381,8 @@ creative work, the record producers, and the public, benefit.
 </section>
 <section id="radio">
 <title>Radio</title>
-<indexterm id='idxartistspayments1' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm id='idxrecordingindustryradiobroadcastand' class='startofrange'><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm id='idxartistsrecordingindustrypaymentsto' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
 <para>
 Radio was also born of piracy.
 </para>
@@ -3431,6 +3446,7 @@ the sale of her CDs. The public performance of her recording is not a
 <emphasis>pirate</emphasis> the value of Madonna's work without paying
 her anything.
 </para>
+<indexterm startref='idxartistsrecordingindustrypaymentsto' class='endofrange'/>
 <indexterm startref='idxmadonna' class='endofrange'/>
 <para>
 No doubt, one might argue that, on balance, the recording artists
@@ -3440,7 +3456,7 @@ ordinarily gives the creator the right to make this choice. By making
 the choice for him or her, the law gives the radio station the right
 to take something for nothing.
 </para>
-<indexterm startref='idxartistspayments1' class='endofrange'/>
+<indexterm startref='idxrecordingindustryradiobroadcastand' class='endofrange'/>
 </section>
 <section id="cabletv">
 <title>Cable TV</title>
@@ -5314,13 +5330,17 @@ protected.
 <indexterm startref='idxunitedkingdomhistoryofcopyrightlawin' class='endofrange'/>
 <indexterm startref='idxcopyrightasnarrowmonopolyright' class='endofrange'/>
 <indexterm startref='idxmonopolycopyrightas' class='endofrange'/>
-<indexterm startref='idxbooksellersenglish' class='endofrange'/>
 <indexterm startref='idxcopyrightdurationof3' class='endofrange'/>
 <indexterm startref='idxdonaldsonvbeckett' class='endofrange'/>
 <!-- PAGE BREAK 106 -->
 </chapter>
 <chapter label="7" id="recorders">
 <title>CHAPTER SEVEN: Recorders</title>
+<indexterm id='idxcopyrightlawfairuseand' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
+<indexterm id='idxdocumentaryfilm' class='startofrange'><primary>documentary film</primary></indexterm>
+<indexterm id='idxelsejon' class='startofrange'><primary>Else, Jon</primary></indexterm>
+<indexterm id='idxfairuseindocumentaryfilm' class='startofrange'><primary>fair use</primary><secondary>in documentary film</secondary></indexterm>
+<indexterm id='idxfilmsfairuseofcopyrightedmaterialin' class='startofrange'><primary>films</primary><secondary>fair use of copyrighted material in</secondary></indexterm>
 <para>
 <emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best
 known for his documentaries and has been very successful in spreading
@@ -5333,6 +5353,8 @@ Else worked on a documentary that I was involved in. At a break,
 he told me a story about the freedom to create with film in America
 today.
 </para>
+<indexterm id='idxwagnerrichard' class='startofrange'><primary>Wagner, Richard</primary></indexterm>
+<indexterm><primary>San Francisco Opera</primary></indexterm>
 <para>
 In 1990, Else was working on a documentary about Wagner's Ring
 Cycle. The focus was stagehands at the San Francisco Opera.
@@ -5340,8 +5362,8 @@ Stagehands are a particularly funny and colorful element of an opera.
 During a show, they hang out below the stage in the grips' lounge and
 in the lighting loft. They make a perfect contrast to the art on the
 stage.
-<indexterm><primary>San Francisco Opera</primary></indexterm>
 </para>
+<indexterm id='idxsimpsonsthe' class='startofrange'><primary>Simpsons, The</primary></indexterm>
 <para>
 During one of the performances, Else was shooting some stagehands
 playing checkers. In one corner of the room was a television set.
@@ -5351,6 +5373,8 @@ and the opera company played Wagner, was <citetitle>The Simpsons</citetitle>. As
 it, this touch of cartoon helped capture the flavor of what was special
 about the scene.
 </para>
+<indexterm startref='idxwagnerrichard' class='endofrange'/>
+<indexterm><primary>films</primary><secondary>multiple copyrights associated with</secondary></indexterm>
 <para>
 Years later, when he finally got funding to complete the film, Else
 attempted to clear the rights for those few seconds of <citetitle>The Simpsons</citetitle>.
@@ -5358,7 +5382,8 @@ For of course, those few seconds are copyrighted; and of course, to use
 copyrighted material you need the permission of the copyright owner,
 unless <quote>fair use</quote> or some other privilege applies.
 </para>
-<indexterm><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxgraciefilms' class='startofrange'><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxgroeningmatt' class='startofrange'><primary>Groening, Matt</primary></indexterm>
 <para>
 Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office to get permission.
 Groening approved the shot. The shot was a four-and-a-halfsecond image
@@ -5366,7 +5391,7 @@ on a tiny television set in the corner of the room. How could it hurt?
 Groening was happy to have it in the film, but he told Else to contact
 Gracie Films, the company that produces the program.
 </para>
-<indexterm><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxfoxfilmcompany' class='startofrange'><primary>Fox (film company)</primary></indexterm>
 <para>
 Gracie Films was okay with it, too, but they, like Groening, wanted
 to be careful. So they told Else to contact Fox, Gracie's parent company.
@@ -5374,6 +5399,7 @@ Else called Fox and told them about the clip in the corner of the one
 room shot of the film. Matt Groening had already given permission,
 Else said. He was just confirming the permission with Fox.
 </para>
+<indexterm startref='idxgraciefilms' class='endofrange'/>
 <para>
 Then, as Else told me, <quote>two things happened. First we discovered
 &hellip; that Matt Groening doesn't own his own creation&mdash;or at
@@ -5382,7 +5408,9 @@ And second, Fox <quote>wanted ten thousand dollars as a licensing fee for us
 to use this four-point-five seconds of &hellip; entirely unsolicited
 <citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
 </para>
-<indexterm><primary>Herrera, Rebecca</primary></indexterm>
+<indexterm startref='idxgroeningmatt' class='endofrange'/>
+<indexterm startref='idxfoxfilmcompany' class='endofrange'/>
+<indexterm id='idxherrerarebecca' class='startofrange'><primary>Herrera, Rebecca</primary></indexterm>
 <para>
 Else was certain there was a mistake. He worked his way up to someone
 he thought was a vice president for licensing, Rebecca Herrera.  He
@@ -5391,6 +5419,7 @@ asking for your educational rate on this.</quote> That was the educational
 rate, Herrera told Else. A day or so later, Else called again to
 confirm what he had been told.
 </para>
+<indexterm><primary>Wagner, Richard</primary></indexterm>
 <para>
 <quote>I wanted to make sure I had my facts straight,</quote> he told me. <quote>Yes, you
 have your facts straight,</quote> she said. It would cost $10,000 to use the
@@ -5403,6 +5432,7 @@ if you quote me, I'll turn you over to our attorneys.</quote> As an assistant
 to Herrera told Else later on, <quote>They don't give a shit. They just want
 the money.</quote>
 </para>
+<indexterm startref='idxherrerarebecca' class='endofrange'/>
 <indexterm><primary>San Francisco Opera</primary></indexterm>
 <indexterm><primary>Day After Trinity, The</primary></indexterm>
 <para>
@@ -5413,6 +5443,8 @@ very last minute before the film was to be released, Else digitally
 replaced the shot with a clip from another film that he had worked on,
 <citetitle>The Day After Trinity</citetitle>, from ten years before.
 </para>
+<indexterm id='idxfoxfilmcompany2' class='startofrange'><primary>Fox (film company)</primary></indexterm>
+<indexterm id='idxgroeningmatt2' class='startofrange'><primary>Groening, Matt</primary></indexterm>
 <para>
 There's no doubt that someone, whether Matt Groening or Fox, owns the
 copyright to <citetitle>The Simpsons</citetitle>. That copyright is their property.  To use
@@ -5447,11 +5479,14 @@ Else's use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</cit
 episode is clearly a fair use of <citetitle>The Simpsons</citetitle>&mdash;and fair use does
 not require the permission of anyone.
 </para>
+<indexterm startref='idxfoxfilmcompany2' class='endofrange'/>
+<indexterm startref='idxgroeningmatt2' class='endofrange'/>
 <para>
 <!-- PAGE BREAK 109 -->
 So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's his reply:
 </para>
 <blockquote>
+<indexterm id='idxfairuselegalintimidationtacticsagainst' class='startofrange'><primary>fair use</primary><secondary>legal intimidation tactics against</secondary></indexterm>
 <para>
 The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the gulf between what
 lawyers find irrelevant in some abstract sense, and what is crushingly
@@ -5461,7 +5496,9 @@ fair use</quote> in an absolute legal sense. But I couldn't rely on the
 concept in any concrete way. Here's why:
 </para>
 <orderedlist numeration="arabic">
-<listitem><para>
+<listitem>
+<indexterm><primary>Errors and Omissions insurance</primary></indexterm>
+<para>
 <!-- 1. -->
 Before our films can be broadcast, the network requires that we buy
 Errors and Omissions insurance. The carriers require a detailed
@@ -5470,8 +5507,10 @@ shot in the film. They take a dim view of <quote>fair use,</quote> and a claim o
 <quote>fair use</quote> can grind the application process to a halt.
 </para></listitem>
 <listitem>
-<indexterm><primary><citetitle>Star Wars</citetitle></primary></indexterm>
+<indexterm id='idxfoxfilmcompany3' class='startofrange'><primary>Fox (film company)</primary></indexterm>
+<indexterm><primary>Groening, Matt</primary></indexterm>
 <indexterm><primary>Lucas, George</primary></indexterm>
+<indexterm><primary><citetitle>Star Wars</citetitle></primary></indexterm>
 <para>
 <!-- 2. -->
 I probably never should have asked Matt Groening in the first
@@ -5493,7 +5532,9 @@ life,</quote> regardless of the merits of my claim. He made clear that it
 would boil down to who had the bigger legal department and the deeper
 pockets, me or them.
 <!-- PAGE BREAK 110 -->
-</para></listitem>
+</para>
+<indexterm startref='idxfoxfilmcompany3' class='endofrange'/>
+</listitem>
 <listitem><para>
 <!-- 4. -->
 The question of fair use usually comes up at the end of the
@@ -5502,6 +5543,7 @@ money.
 </para></listitem>
 </orderedlist>
 </blockquote>
+<indexterm startref='idxsimpsonsthe' class='endofrange'/>
 <para>
 In theory, fair use means you need no permission. The theory therefore
 supports free culture and insulates against a permission culture.  But
@@ -5517,6 +5559,12 @@ publishers' profits against the unfair competition of a pirate. It has
 matured into a sword that interferes with any use, transformative or
 not.
 </para>
+<indexterm startref='idxcopyrightlawfairuseand' class='endofrange'/>
+<indexterm startref='idxdocumentaryfilm' class='endofrange'/>
+<indexterm startref='idxelsejon' class='endofrange'/>
+<indexterm startref='idxfairuseindocumentaryfilm' class='endofrange'/>
+<indexterm startref='idxfilmsfairuseofcopyrightedmaterialin' class='endofrange'/>
+<indexterm startref='idxfairuselegalintimidationtacticsagainst' class='endofrange'/>
 <!-- PAGE BREAK 111 -->
 </chapter>
 <chapter label="8" id="transformers">
@@ -8088,7 +8136,7 @@ following report:
 Wonderland</quote>.</title>
 <graphic fileref="images/1641.png"></graphic>
 </figure>
-<beginpage pagenum="164"/>
+<!-- PAGE BREAK 164-->
 <para>
 Here was a public domain children's book that you were not allowed to
 copy, not allowed to lend, not allowed to give, and, as the
@@ -13424,11 +13472,13 @@ intellectual property. Examples include the Internet and the World
 Wide Web, both of which were developed on the basis of protocols in
 the public domain. It included an emerging trend to support open
 academic journals, including the Public Library of Science project
-that I describe in the Afterword. It included a project to develop
-single nucleotide polymorphisms (SNPs), which are thought to have
-great significance in biomedical research. (That nonprofit project
-comprised a consortium of the Wellcome Trust and pharmaceutical and
-technological companies, including Amersham Biosciences, AstraZeneca,
+that I describe in chapter 
+<xref xrefstyle="select: labelnumber" linkend="c-afterword"/>.  It
+included a project to develop single nucleotide polymorphisms (SNPs),
+which are thought to have great significance in biomedical
+research. (That nonprofit project comprised a consortium of the
+Wellcome Trust and pharmaceutical and technological companies,
+including Amersham Biosciences, AstraZeneca,
 <!-- PAGE BREAK 270 -->
 Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche,
 Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, and Searle.) It