More indexterm entries based on the original.

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

diff --git a/freeculture.xml b/freeculture.xml
index 774281598f4bdd4c73518cde13c897762d749c2b..f373e98710e7d7a90175227118035c6275f84208 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -260,6 +260,7 @@ c      INDEX
 <preface id="preface">
 <title>Preface</title>
 <indexterm id='idxpoguedavid' class='startofrange'><primary>Pogue, David</primary></indexterm>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
 <para>
 <emphasis role="bold">At the end</emphasis> of his review of my first
 book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David
@@ -2311,6 +2312,9 @@ entertainment is tragedy.
 </para>
 <indexterm><primary>ABC</primary></indexterm>
 <indexterm><primary>CBS</primary></indexterm>
+<indexterm><primary>Cyber Rights (Godwin)</primary></indexterm>
+<indexterm><primary>Godwin, Mike</primary></indexterm>
+<indexterm id='idxinternetnewseventson' class='startofrange'><primary>Internet</primary><secondary>news events on</secondary></indexterm>
 <para>
 But in addition to this produced news about the <quote>tragedy of September
 11,</quote> those of us tied to the Internet came to see a very different
@@ -2358,6 +2362,7 @@ such as in Japan, it functions very much like a diary. In those
 cultures, it records private facts in a public way&mdash;it's a kind
 of electronic <citetitle>Jerry Springer</citetitle>, available anywhere in the world.
 </para>
+<indexterm startref='idxinternetnewseventson' class='endofrange'/>
 <indexterm><primary>political discourse</primary></indexterm>
 <indexterm id='idxinternetpublicdiscourseconductedon' class='startofrange'><primary>Internet</primary><secondary>public discourse conducted on</secondary></indexterm>
 <para>
@@ -3153,6 +3158,8 @@ then, I could effectively pirate someone else's song without paying
 its composer anything.
 </para>
 <indexterm startref='idxfourneauxhenri' class='endofrange'/>
+<indexterm id='idxkittredgealfred' class='startofrange'><primary>Kittredge, Alfred</primary></indexterm>
+<indexterm id='idxmusicpublishing' class='startofrange'><primary>music publishing</primary></indexterm>
 <para>
 The composers (and publishers) were none too happy about
 <!-- PAGE BREAK 69 -->
@@ -3179,6 +3186,7 @@ Hackensack, N.J.: Rothman Reprints, 1976).
 </para></footnote>
 </para>
 </blockquote>
+<indexterm startref='idxkittredgealfred' class='endofrange'/>
 <indexterm><primary>Sousa, John Philip</primary></indexterm>
 <para>
 The innovators who developed the technology to record other
@@ -3202,6 +3210,7 @@ To Amend and Consolidate the Acts Respecting Copyright, 23
 (statement of John Philip Sousa, composer).
 </para></footnote>
 </para>
+<indexterm startref='idxmusicpublishing' class='endofrange'/>
 <indexterm><primary>American Graphophone Company</primary></indexterm>
 <indexterm><primary>player pianos</primary></indexterm>
 <indexterm><primary>sheet music</primary></indexterm>
@@ -3894,6 +3903,8 @@ carefully than the polarized voices around this debate usually
 do&mdash;the kinds of sharing that file sharing enables, and the kinds
 of harm it entails.
 </para>
+<indexterm id='idxpeertopeerppfilesharingfourtypesof' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>four types of</secondary></indexterm>
+<indexterm><primary>Napster</primary><secondary>range of content on</secondary></indexterm>
 <para>
 <!-- PAGE BREAK 81 -->
 File sharers share different kinds of content. We can divide these
@@ -3947,6 +3958,7 @@ to content that is not copyrighted or that the copyright owner
 wants to give away.
 </para></listitem>
 </orderedlist>
+<indexterm startref='idxpeertopeerppfilesharingfourtypesof' class='endofrange'/>
 <para>
 How do these different types of sharing balance out?
 </para>
@@ -3984,6 +3996,7 @@ cassette recording is a good example. As a study by Cap Gemini Ernst
 technology, the labels fought it.</quote><footnote><para>
 <!-- f10 -->
 <indexterm><primary>cassette recording</primary></indexterm>
+<indexterm><primary>DAT (digital audio tape)</primary></indexterm>
 See Cap Gemini Ernst &amp; Young, <citetitle>Technology Evolution and the
 Music Industry's Business Model Crisis</citetitle> (2003), 3. This report
 describes the music industry's effort to stigmatize the budding
@@ -4245,6 +4258,9 @@ found only with time.
 <quote>But isn't the war just a war against illegal sharing? Isn't the target
 just what you call type A sharing?</quote>
 </para>
+<indexterm id='idxcopyrightinfringementlawsuitszerotolerancein' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>zero tolerance in</secondary></indexterm>
+<indexterm id='idxnapsterinfringingmaterialblockedby' class='startofrange'><primary>Napster</primary><secondary>infringing material blocked by</secondary></indexterm>
+<indexterm id='idxpeertopeerppfilesharinginfringementprotectionsin' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>infringement protections in</secondary></indexterm>
 <para>
 You would think. And we should hope. But so far, it is not. The effect
 of the war purportedly on type A sharing alone has been felt far
@@ -4268,6 +4284,8 @@ account of the litigation and its toll on Napster, see Joseph Menn,
 York: Crown Business, 2003), 269&ndash;82.
 </para></footnote>
 </para>
+<indexterm startref='idxnapsterinfringingmaterialblockedby' class='endofrange'/>
+<indexterm startref='idxpeertopeerppfilesharinginfringementprotectionsin' class='endofrange'/>
 <para>
 If 99.4 percent is not good enough, then this is a war on file-sharing
 technologies, not a war on copyright infringement. There is no way to
@@ -4279,6 +4297,7 @@ The court's ruling means that we as a society must lose the benefits of
 p2p, even for the totally legal and beneficial uses they serve, simply to
 assure that there are zero copyright infringements caused by p2p.
 </para>
+<indexterm startref='idxcopyrightinfringementlawsuitszerotolerancein' class='endofrange'/>
 <para>
 Zero tolerance has not been our history. It has not produced the
 content industry that we know today. The history of American law has
@@ -4322,6 +4341,7 @@ companies the right to the content, so long as they paid the statutory
 price.
 </para>
 <indexterm startref='idxcongressusonrecordingindustry2' class='endofrange'/>
+<indexterm><primary>copyright law</primary><secondary>two central goals of</secondary></indexterm>
 <para>
 
 <!-- PAGE BREAK 88 -->
@@ -4377,6 +4397,7 @@ for the architecture it chose.
 </para>
 <indexterm id='idxcongressusoncopyrightlaws3' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
 <indexterm><primary>Congress, U.S.</primary><secondary>on VCR technology</secondary></indexterm>
+<indexterm id='idxvalentijackonvcrtechnology' class='startofrange'><primary>Valenti, Jack</primary><secondary>on VCR technology</secondary></indexterm>
 <para>
 MPAA president Jack Valenti became the studios' most vocal
 champion. Valenti called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are
@@ -4437,6 +4458,7 @@ technology.<footnote><para>
 </para></footnote>
 <indexterm><primary>Kozinski, Alex</primary></indexterm>
 </para>
+<indexterm startref='idxvalentijackonvcrtechnology' class='endofrange'/>
 <para>
 But the Supreme Court reversed the decision of the Ninth Circuit.
 
@@ -4512,6 +4534,7 @@ together, a pattern is clear:
 <para>
 In each case throughout our history, a new technology changed the
 way content was distributed.<footnote><para>
+<indexterm><primary>DAT (digital audio tape)</primary></indexterm>
 <!-- f24 -->
 These are the most important instances in our history, but there are other
 cases as well. The technology of digital audio tape (DAT), for example,
@@ -6225,6 +6248,10 @@ Kahle describes,
 </para>
 <blockquote>
 <indexterm><primary>books</primary><secondary>total number of</secondary></indexterm>
+<indexterm><primary>films</primary><secondary>total number of</secondary></indexterm>
+<indexterm><primary>music recordings</primary><see>peer-to-peer (p2p) file sharing</see></indexterm>
+<indexterm><primary>music recordings</primary><see>recording industry</see></indexterm>
+<indexterm><primary>music recordings</primary><secondary>total number of</secondary></indexterm>
 <para>
 It looks like there's about two to three million recordings of music.
 Ever. There are about a hundred thousand theatrical releases of
@@ -6271,7 +6298,7 @@ that Kahle and others would exercise.
 <title>Chapter Ten: <quote>Property</quote></title>
 <indexterm><primary>Johnson, Lyndon</primary></indexterm>
 <indexterm><primary>Kennedy, John F.</primary></indexterm>
-<indexterm><primary>Valenti, Jack</primary><secondary>background of</secondary></indexterm>
+<indexterm id='idxvalentijackbackgroundof' class='startofrange'><primary>Valenti, Jack</primary><secondary>background of</secondary></indexterm>
 <para>
 <emphasis role='strong'>Jack Valenti</emphasis> has been the president
 of the Motion Picture Association of America since 1966. He first came
@@ -6283,10 +6310,10 @@ running the MPAA, Valenti has established himself as perhaps the most
 prominent and effective lobbyist in Washington.
 </para>
 <indexterm><primary>Disney, Inc.</primary></indexterm>
-<indexterm><primary>Sony Pictures Entertainment</primary></indexterm>
 <indexterm><primary>MGM</primary></indexterm>
 <indexterm><primary>Paramount Pictures</primary></indexterm>
 <indexterm><primary>Twentieth Century Fox</primary></indexterm>
+<indexterm><primary>Sony Pictures Entertainment</primary></indexterm>
 <indexterm><primary>Universal Pictures</primary></indexterm>
 <indexterm><primary>Warner Brothers</primary></indexterm>
 <para>
@@ -6301,7 +6328,6 @@ in the United States: Walt Disney, Sony Pictures Entertainment, MGM,
 Paramount Pictures, Twentieth Century Fox, Universal Studios, and
 Warner Brothers.
 </para>
-<indexterm id='idxvalentijackbackgroundof' class='startofrange'><primary>Valenti, Jack</primary><secondary>background of</secondary></indexterm>
 <para>
 <!-- PAGE BREAK 128 -->
 Valenti is only the third president of the MPAA. No president before
@@ -6498,6 +6524,8 @@ ought to be. Not <emphasis>whether</emphasis> artists should be paid,
 but whether institutions designed to assure that artists get paid need
 also control how culture develops.
 </para>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
 <indexterm id='idxfreeculturefourmodalitiesofconstrainton' class='startofrange'><primary>free culture</primary><secondary>four modalities of constraint on</secondary></indexterm>
 <indexterm id='idxregulationfourmodalitiesof' class='startofrange'><primary>regulation</primary><secondary>four modalities of</secondary></indexterm>
 <indexterm id='idxcopyrightlawasexpostregulationmodality' class='startofrange'><primary>copyright law</primary><secondary>as ex post regulation modality</secondary></indexterm>
@@ -6515,7 +6543,7 @@ weaken the right or regulation. I represented it with this diagram:
 </para>
 <figure id="fig-1331">
 <title></title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
 </figure>
 <indexterm><primary>Madonna</primary></indexterm>
 <para>
@@ -6627,6 +6655,7 @@ other three is more timidly expressed.  See Lawrence Lessig, <citetitle>Code: An
 Other Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90&ndash;95;
 Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal Studies</citetitle>,
 June 1998.
+<indexterm><primary>Code (Lessig)</primary></indexterm>
 </para></footnote>
 The law, in other words, sometimes operates to increase or decrease
 the constraint of a particular modality.  Thus, the law might be used
@@ -6644,7 +6673,7 @@ driving.
 <indexterm startref='idxspeedingconstraintson' class='endofrange'/>
 <figure id="fig-1361">
 <title></title>
-<graphic fileref="images/1361.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1361.svg" align="center" width="45%"></graphic>
 
 </figure>
 <indexterm><primary>architecture, constraint effected through</primary></indexterm>
@@ -6690,6 +6719,7 @@ effective liberty that each of these groups might face.
 <indexterm><primary>Commons, John R.</primary></indexterm>
 <indexterm><primary>architecture, constraint effected through</primary></indexterm>
 <indexterm><primary>market constraints</primary></indexterm>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
 </para></footnote>
 </para>
 <indexterm startref='idxlawasconstraintmodality2' class='endofrange'/>
@@ -6708,7 +6738,7 @@ Internet:
 </para>
 <figure id="fig-1371">
 <title></title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
 
 </figure>
 <indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
@@ -6754,7 +6784,7 @@ looting that results.
 </para>
 <figure id="fig-1381">
 <title></title>
-<graphic fileref="images/1381.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1381.svg" align="center" width="45%"></graphic>
 
 </figure>
 <indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
@@ -7012,12 +7042,16 @@ The power to establish <quote>creative property</quote> rights is granted to
 Congress in a way that, for our Constitution, at least, is very
 odd. Article I, section 8, clause 8 of our Constitution states that:
 </para>
+<blockquote>
 <para>
 Congress has the power to promote the Progress of Science and
 useful Arts, by securing for limited Times to Authors and Inventors
 the exclusive Right to their respective Writings and Discoveries.
+</para>
+</blockquote>
 
 <!-- PAGE BREAK 142 -->
+<para>
 We can call this the <quote>Progress Clause,</quote> for notice what this clause
 does not say. It does not say Congress has the power to grant
 <quote>creative property rights.</quote> It says that Congress has the power
@@ -7078,14 +7112,14 @@ started here:
 </para>
 <figure id="fig-1441">
 <title></title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
 </figure>
 <para>
 We will end here:
 </para>
 <figure id="fig-1442">
 <title></title>
-<graphic fileref="images/1442.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1442.svg" align="center" width="45%"></graphic>
 </figure>
 <para>
 Let me explain how.
@@ -8454,7 +8488,7 @@ No argument I have can top this picture, but let me try to get close.
 <title>&mdash; On which item have the courts ruled that manufacturers and
 retailers be held responsible for having supplied the
 equipment?</title>
-<graphic fileref="images/vcr-comic.png" align="center" width="65%"></graphic>
+<graphic fileref="images/vcr-comic.png" align="center" width="55%"></graphic>
 </figure>
 <para>
 The anticircumvention provisions of the DMCA target copyright
@@ -8642,6 +8676,7 @@ market's revenues. Overall, just four companies control 90 percent of
 the nation's radio advertising revenues.
 </para>
 <indexterm><primary>cable television</primary></indexterm>
+<indexterm id='idxnewspapersownershipconsolidationof' class='startofrange'><primary>newspapers</primary><secondary>ownership consolidation of</secondary></indexterm>
 <para>
 Newspaper ownership is becoming more concentrated as well.  Today,
 there are six hundred fewer daily newspapers in the United States than
@@ -8678,6 +8713,7 @@ James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic Monthly</c
 </para></footnote>
 </para>
 </blockquote>
+<indexterm startref='idxnewspapersownershipconsolidationof' class='endofrange'/>
 <indexterm startref='idxradioownershipconsolidationin' class='endofrange'/>
 <para>
 The pattern with Murdoch is the pattern of modern media. Not
@@ -8801,6 +8837,7 @@ Moyers, 25 April 2003, edited transcript available at
 </para></footnote>
 </para>
 </blockquote>
+<indexterm><primary>democracy</primary><secondary>media concentration and</secondary></indexterm>
 <para>
 This narrowing has an effect on what is produced. The product of such
 large and concentrated networks is increasingly homogenous.
@@ -8853,6 +8890,7 @@ In addition to the copyright wars, we're in the middle of the drug
 wars. Government policy is strongly directed against the drug cartels;
 criminal and civil courts are filled with the consequences of this battle.
 </para>
+<indexterm><primary>criminal justice system</primary></indexterm>
 <para>
 Let me hereby disqualify myself from any possible appointment to
 any position in government by saying I believe this war is a profound
@@ -9634,6 +9672,8 @@ statement. You could write a poem to express your love, or you could
 weave together a string&mdash;a mash-up&mdash; of songs from your
 favorite artists in a collage and make it available on the Net.
 </para>
+<indexterm><primary>democracy</primary><secondary>digital sharing within</secondary></indexterm>
+<indexterm><primary>Kodak cameras</primary></indexterm>
 <para>
 This digital <quote>capturing and sharing</quote> is in part an extension of the
 capturing and sharing that has always been integral to our culture,
@@ -9697,7 +9737,8 @@ negligently removes the wrong leg in an operation would be liable for
 no more than $250,000 in damages for pain and
 suffering.<footnote>
 <para>
-<!-- f2. --> The bill, modeled after California's tort reform model, was passed in the
+<!-- f2. -->
+The bill, modeled after California's tort reform model, was passed in the
 House of Representatives but defeated in a Senate vote in July 2003. For
 an overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,'
 Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at 
@@ -9706,6 +9747,7 @@ and <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003,
 available at 
 <ulink url="http://free-culture.cc/notes/">link #39</ulink>. President Bush has continued to urge tort reform in
 recent months.
+<indexterm><primary>tort reform</primary></indexterm>
 <indexterm><primary>Bush, George W.</primary></indexterm>
 </para></footnote>
 Can common sense recognize the absurdity in a world where
@@ -10905,6 +10947,7 @@ Brianna a Criminal?</quote> <citetitle>Toronto Star</citetitle>, 18 September 20
 </para></footnote>
 
 </para>
+<indexterm id='idxnapsterrecordingindustrytrackingusersof' class='startofrange'><primary>Napster</primary><secondary>recording industry tracking users of</secondary></indexterm>
 <para>
 Even this understates the espionage that is being waged by the
 RIAA. A report from CNN late last summer described a strategy the
@@ -10965,6 +11008,7 @@ have already learned, our presumptions about innocence disappear in
 the middle of wars of prohibition. This war is no different.
 Says von Lohmann,
 </para>
+<indexterm startref='idxnapsterrecordingindustrytrackingusersof' class='endofrange'/>
 <blockquote>
 <para>
 So when we're talking about numbers like forty to sixty million
@@ -11174,6 +11218,7 @@ Sonny Bono, who, his widow, Mary Bono, says, believed that
 <!-- f2. -->
 <indexterm><primary>Bono, Mary</primary></indexterm>
 <indexterm><primary>Bono, Sonny</primary></indexterm>
+<indexterm><primary>Valenti, Jack</primary><secondary>perpetual copyright term proposed by</secondary></indexterm>
 The full text is: <quote>Sonny [Bono] wanted the term of copyright
 protection to last forever. I am informed by staff that such a change
 would violate the Constitution. I invite all of you to work with me to
@@ -11409,6 +11454,9 @@ Supreme Court's
 decision in 1995 to strike down a law that banned the possession of
 guns near schools.
 </para>
+<indexterm id='idxcommerceinterstate' class='startofrange'><primary>commerce, interstate</primary></indexterm>
+<indexterm id='idxcongressusconstitutionalpowersof2' class='startofrange'><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm id='idxinterstatecommerce' class='startofrange'><primary>interstate commerce</primary></indexterm>
 <para>
 Since 1937, the Supreme Court had interpreted Congress's granted
 powers very broadly; so, while the Constitution grants Congress the
@@ -11427,6 +11475,7 @@ commerce.  A Constitution designed to limit Congress's power was
 instead interpreted to impose no limit.
 </para>
 <indexterm><primary>Rehnquist, William H.</primary></indexterm>
+<indexterm id='idxunitedstatesvlopez' class='startofrange'><primary>United States v. Lopez</primary></indexterm>/
 <para>
 The Supreme Court, under Chief Justice Rehnquist's command, changed
 that in <citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The government had
@@ -11451,8 +11500,11 @@ Congress's power. The decision in <citetitle>Lopez</citetitle> was reaffirmed fi
 later in <citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>.<footnote><para>
 <!-- f7. -->
 <citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 U.S. 598 (2000).
+<indexterm><primary>United States v. Morrison</primary></indexterm>
 </para></footnote>
 </para>
+<indexterm startref='idxcommerceinterstate' class='endofrange'/>
+<indexterm startref='idxunitedstatesvlopez' class='endofrange'/>
 <para>
 If a principle were at work here, then it should apply to the Progress
 Clause as much as the Commerce Clause.<footnote><para>
@@ -11477,6 +11529,9 @@ limit. Thus, the same principle applied to the power to grant
 copyrights should entail that Congress is not allowed to extend the
 term of existing copyrights.
 </para>
+<indexterm startref='idxinterstatecommerce' class='endofrange'/>
+<indexterm id='idxcongressussupremecourtrestrainton2' class='startofrange'><primary>Congress, U.S.</primary><secondary>Supreme Court restraint on</secondary></indexterm>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
 <para>
 <emphasis>If</emphasis>, that is, the principle announced in <citetitle>Lopez</citetitle>
 stood for a principle.  Many believed the decision in <citetitle>Lopez</citetitle> stood for
@@ -11490,6 +11545,7 @@ its politics struck me as extraordinarily boring.  I was not going to
 devote my life to teaching constitutional law if these nine Justices
 were going to be petty politicians.
 </para>
+<indexterm startref='idxcongressusconstitutionalpowersof2' class='endofrange'/>
 <indexterm><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
 <indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
 <indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
@@ -11541,6 +11597,8 @@ have created the perfect storm for the public domain. Copyrights have
 not expired, and will not expire, so long as Congress is free to be
 bought to extend them again.
 </para>
+<indexterm startref='idxcongressussupremecourtrestrainton2' class='endofrange'/>
+
 <para>
 <emphasis role='strong'>It is valuable</emphasis> copyrights that are
 responsible for terms being extended.  Mickey Mouse and
@@ -12222,8 +12280,17 @@ favorites, through copyright, with who has the right to speak.
 was little I did beyond preparing for this case. Early on, as I said,
 I set the strategy.
 </para>
+<indexterm><primary>Kennedy, Anthony</primary></indexterm>
+<indexterm><primary>O'Connor, Sandra Day</primary></indexterm>
 <indexterm><primary>Rehnquist, William H.</primary></indexterm>
 <indexterm><primary>O'Connor, Sandra Day</primary></indexterm>
+<indexterm><primary>Thomas, Clarence</primary></indexterm>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
+<indexterm><primary>United States v. Morrison</primary></indexterm>
+<indexterm><primary>Scalia, Antonin</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>Supreme Court restraint on</secondary></indexterm>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>congressional actions restrained by</secondary></indexterm>
+<indexterm id='idxsupremecourtusfactionsof' class='startofrange'><primary>Supreme Court, U.S.</primary><secondary>factions of</secondary></indexterm>
 <para>
 The Supreme Court was divided into two important camps. One camp we
 called <quote>the Conservatives.</quote> The other we called <quote>the Rest.</quote>  The
@@ -12268,6 +12335,7 @@ also very sensitive to free speech concerns. And as we strongly
 believed, there was a very important free speech argument against
 these retrospective extensions.
 </para>
+<indexterm startref='idxsupremecourtusfactionsof' class='endofrange'/>
 <indexterm startref='idxginsburg' class='endofrange'/>
 <para>
 The only vote we could be confident about was that of Justice
@@ -12287,6 +12355,13 @@ argument that Judge Sentelle had relied upon in the Court of Appeals,
 that Congress's power must be interpreted so that its enumerated
 powers have limits.
 </para>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
+<indexterm><primary>commerce, interstate</primary></indexterm>
+<indexterm><primary>interstate commerce</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>in constitutional Progress Clause</secondary></indexterm>
+<indexterm><primary>Progress Clause</primary></indexterm>
+<indexterm id='idxcongressuscopyrighttermsextendedby5' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
 <para>
 This then was the core of our strategy&mdash;a strategy for which I am
 responsible. We would get the Court to see that just as with the
@@ -12309,6 +12384,7 @@ beginning, Congress has been extending the term of existing
 copyrights. So, the government argued, the Court should not now say
 that practice is unconstitutional.
 </para>
+<indexterm startref='idxcongressuscopyrighttermsextendedby5' class='endofrange'/>
 <para>
 There was some truth to the government's claim, but not much. We
 certainly agreed that Congress had extended existing terms in 1831
@@ -12473,6 +12549,7 @@ number of briefs had been written about it. He wanted to hear it. And
 here was the place Don Ayer's advice should have mattered. This was a
 softball; my answer was a swing and a miss.
 </para>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
 <para>
 The second came from the Chief, for whom the whole case had been
 crafted. For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling,
@@ -12569,6 +12646,7 @@ money in the world against <emphasis>reasoning</emphasis>. And here
 was the last naïve law professor, scouring the pages, looking for
 reasoning.
 </para>
+<indexterm id='idxunitedstatesvlopez2' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
 <para>
 I first scoured the opinion, looking for how the Court would
 distinguish the principle in this case from the principle in
@@ -12601,6 +12679,7 @@ talk about the two together.  There was therefore no principle that
 followed from the <citetitle>Lopez</citetitle> case: In that context, Congress's power would
 be limited, but in this context it would not.
 </para>
+<indexterm startref='idxunitedstatesvlopez2' class='endofrange'/>
 <para>
 Yet by what right did they get to choose which of the framers' values
 they would respect? By what right did they&mdash;the silent
@@ -12637,6 +12716,7 @@ way, the point was clear: If the Constitution said a term had to be
 <quote>limited,</quote> and the existing term was so long as to be effectively
 unlimited, then it was unconstitutional.
 </para>
+<indexterm id='idxunitedstatesvlopez3' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
 <para>
 These two justices understood all the arguments we had made. But
 because neither believed in the <citetitle>Lopez</citetitle> case, neither was willing to push
@@ -12664,6 +12744,7 @@ light of the structure of the Constitution. That method had produced
 <citetitle>Lopez</citetitle> and many other <quote>originalist</quote> rulings. Where was their
 <quote>originalism</quote> now?
 </para>
+<indexterm startref='idxunitedstatesvlopez3' class='endofrange'/>
 <para>
 Here, they had joined an opinion that never once tried to explain
 what the framers had meant by crafting the Progress Clause as they
@@ -12849,6 +12930,8 @@ Congress allows for those works where its worth is at least $1. But for
 everything else, let the content go.
 </para>
 <indexterm><primary>Forbes, Steve</primary></indexterm>
+<indexterm><primary>Democratic Party</primary></indexterm>
+<indexterm><primary>Republican Party</primary></indexterm>
 <para>
 The reaction to this idea was amazingly strong. Steve Forbes endorsed
 it in an editorial. I received an avalanche of e-mail and letters
@@ -13067,6 +13150,7 @@ introduced. On May 16, I posted on the Eldred Act blog, <quote>we are
 close.</quote> There was a general reaction in the blog community that
 something good might happen here.
 </para>
+<indexterm><primary>Valenti, Jack</primary><secondary>Eldred Act opposed by</secondary></indexterm>
 <para>
 But at this stage, the lobbyists began to intervene. Jack Valenti and
 the MPAA general counsel came to the congresswoman's office to give
@@ -14664,6 +14748,9 @@ doesn't follow that the government must actually administer the
 role. Instead, we should be creating incentives for private parties to
 serve the public, subject to standards that the government sets.
 </para>
+<indexterm><primary>domain names</primary></indexterm>
+<indexterm><primary>Internet</primary><secondary>domain name registration on</secondary></indexterm>
+<indexterm><primary>Web sites, domain name registration of</primary></indexterm>
 <para>
 In the context of registration, one obvious model is the Internet.
 There are at least 32 million Web sites registered around the world.
@@ -15319,6 +15406,8 @@ controlling access.
 </para>
 <indexterm startref='idxpromisestokeepfisher' class='endofrange'/>
 <indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>semiotic democracy</primary></indexterm>
+<indexterm><primary>democracy</primary><secondary>semiotic</secondary></indexterm>
 <para>
 Fisher would balk at the idea of allowing the system to lapse. His aim
 is not just to ensure that artists are paid, but also to ensure that