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Senior Editor

Pub Talk

By James Sturdivant

About James

 

Publishers' Dojo

Linda Ruth
Classic Print Business Models Influence Convergent Media: CNOW.tv Adopts a Magazine Subscription Model
Apr 18, 2014

Like everyone else in our business, I get drawn in to the ongoing conversation about this dying and that dying....



Publisher's Paradox

Andrew Davis
Publisher's Paradox: Leveraging Email to Inspire Action
Apr 7, 2014

Instead of sending your audience passive content, send your audience something they can take action on. If you read last...



Media Vent

Bob Sacks
It's Not All Good News for Magazine Publishers
Apr 1, 2014

Sometimes I just have to put the tequila aside and deliver a sobering report to the industry to offset some...



Industry Insiders

The Insiders
Publishers: Take a Lesson from the Louvre
Mar 21, 2014

Today, few premium publishers can compete with the rest of the Internet. But being the most trusted source of news and...



B2B Beat

Andy Kowl
What Bloggers Can Teach B2B
Jan 23, 2014

Blogs were pronounced dead in Fast Company in December of 2012 and in New Republic in April of 2013. And just before the New...



The Digital Market

Thea Selby
A Critique Of Yahoo's Digital Magazine Strategy
Jan 14, 2014

Small Business Trends writer Shawn Hessinger and I have a completely different view of the news that Yahoo was starting...



Profit from Publishing!

Thaddeus B. Kubis
Media Conference Exhibitors Should Go Deeper to Engage
Oct 9, 2013

It has been a few weeks since I attended (as the guest of the event organizer) the Publishing Business Conference...



The Next Steps For Digital Content

 

Over the past two weeks, my 9-year-old daughter has purchased (with her parents' consent) three songs from iTunes: Vanessa Carlton's "A Thousand Miles," Sara Bareilles' "Uncharted," and "Safe and Sound" by Taylor Swift and The Civil Wars. None of these are played on the local pop radio station she listens to, and one of them is decidedly before her time ("A Thousand Miles" was released in 2002). She would never have known about them were it not for their being featured in YouTube videos she likes to watch—videos which, as far as the copyright holders of these songs are concerned, are using the music illegally.

There are millions of kids out there like my daughter, and it doesn't take a young techie with an anti-SOPA banner on their Twitter page to know that such scenarios are normal, pervasive—and maybe even good for the music industry. Take the singer Neil Young, who at 66 is pretty well clued in to how things work in the digital age. "Piracy is the new radio," he said bluntly last week, at All Things Digital's D: Dive Into Media conference in California. "That's how music gets around. That's the real world for kids."

Young's comparison to radio is apt, because the Internet has replaced radio as the main forum for young people to be exposed to music—many of whom will buy the song they've just discovered (as well as other songs by the same artist). As I've pointed out in previous blogs, this type of sharing has always gone on (formerly through taping, which the music industry was apoplectic about in the 1980s), and is an important way for fans to discover new songs and artists.

None of which is to say media companies do not have a legitimate beef with the type of piracy that has less to do with fan enthusiasm and more with illegally profiting from another's work. So where do these parallel trends leave us, in the post-SOPA landscape?

To manage and monetize digital content in a way that's good for all, work needs to be done on both sides of the piracy debate.

Websites, search engines and ISPs
, for their part, must get serious about putting in place mechanisms to detect and, where appropriate, flag or weed out illegal content—whether libelous, pirated or worse (child porn, sex trafficking). Google's ContentID system is a good example of such a mechanism. Failure to take the problem seriously will only lead to more attempts to legislate what we are allowed to see online—as the recent backlash against Backpage.com for their sex ads policy demonstrates. While Village Voice Media is technically correct to assert its right to host any and all content without liability (per the 1996 Communications Decency Act), to avoid further legal trouble, they need to tighten up their website monitoring standards.  

Publishers and media companies, for their part, must embrace the reality (and opportunity) of the free and open Web, and not crack down on casual, social sharing of copyrighted content. Such sharing has always been good for the media industry and attempts to squelch it have always backfired, pitting businesses against their audience and facilitating new forms of piracy, rather than stemming the flow. Energy should go into prosecuting larger-scale operations, foreign and domestic, designed to profit illegally from stolen content. 

Copyright holders also must not attempt to use legislation to shrink the public domain or tighten up the definition of fair use. Fair use is a critical societal resource, and attempts to chip away at it for short term gain creates a long-term loss for science, culture and the arts. This is true equally for magazine and book publishing, as argued by ClickZ's Sean Carton in his blog 8 Obstacles That Ad-Supported E-Publishing Must Overcome.

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