Sopapipa . . .
by bookindian
“Sandra Aistars is the executive director of the Copyright Alliance, whose members include the Motion Picture Association of America, NBCUniversal, Time Warner, Viacom, ASCAP and BMI.“
SANDRA AISTARS: .
” . . there are criminal websites offshore . . .”
(ME: . . . so go shake down the offshore people . . . )
Between Aistars and Shirky, Jimmy Wales made comment . . . you can read that here (link) . . . we jump to . . .
CLAY SHIRKY:
“Because the biggest producers of content on the internet are not Google and Yahoo!—they’re us—we’re the people getting policed, because in the end, the real threat to the enactment of PIPA and SOPA is our ability to share things with one another. So what PIPA and SOPA risk doing is taking a centuries-old legal content—innocent until proven guilty—and reversing it: guilty until proven innocent.
At this point Clay says, “You can’t share until you show us that you’re not sharing something we don’t like. *this sentence doesn’t make much sense . . . seems Clay was swept up in the moment. He continues:
Suddenly, the burden of proof for legal versus illegally falls affirmatively on us and on the services that might be offering us any new capabilities.
And if it costs even a dime to police a user, that will crush a service with 100 million users. So this is the internet they have in mind.“
To which AISTARS responded:
“The artists and the creators that I represent rely on the internet to share their work, to communicate their work, to communicate with each other, to find new ideas (piracy), to build on each other’s works (theft of intellectual property – sampling).“
And . . .
“This isn’t about people sharing their own works. This is about people abroad in criminal syndicates ripping off U.S. artists’ works and (non-membership = free, slow downloads) selling them back (membership = faster downloads) into the U.S. marketplace without any return going to the creators of those works.“
I added the boldface stuff in parentheses, because the “artists and creators” that AISTARS refers to are as guilty of theft and/or piracy as the fat German known as Dotcom . . .
Look at remakes of movies . . . “covers” of successful music by unknown or less than successful musicians . . . there is no REAL creativity in Hollywood . . .
“Ice Road Truckers” spins-off “World’s Toughest Truckers” . . . “Gold Rush Alaska” shits out “Bering Sea Gold” or something like that . . . “Big Shrimping‘” spawns some Cajun shrimp crap . . . strong>Hollywood “writers” and “producers” need to get their heads and noses out of the moneyed asshole in front of them . . .
“Woman to Woman” is a song written by Joe Cocker and Chris Stainton. It was released on Cocker’s 1972 album Joe Cocker (December 1972). Later, in 1996, the horn-and-piano riff from “Woman to Woman” was sampled by Tupac Shakur in his song “California Love“; it was a smash hit for Tupac, reaching #1 on the Billboard Hot 100.” Wikipedia
So did Tupac credit Cocker and Stainton for the use of the riff from “Woman to Woman” as the background for “California Love” . . . most people who heard the piece thought Shakur and Dre were fucking geniuses . . . they (Tupac and Dre) never stood up and said we built this song on a bit by two white boys . . .
As for movies . . . I don’t waste my time or money . . . and to AISTARS . . . how much $$$ you get paid that lets you shit in the bidet??
From “Los Caprichos” by Francisco Jose de Goya
“Goya described the series as depicting . . . the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual“. Wikipedia
