Nick Dynice’s Techdirt Profile
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About Nick Dynice 
I am Nick Dynice. I live in Long Beach, Ca. I work for Heavybag Media in Santa Monica, Ca, developing marketing strategies for musical instrument vendors, web application companies, record labels, and book publishers. We then implement these strategies into web applications, social media platforms, and PR outreach. Prior to that I worked in the consumer electronics industry dealing with customer relationship management, customer service, and knowledge management.
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(as Nick Dynice)
Indian developers have been using Skype for years to communicate with people all over the world that hire them. This move is a great way to destroy the independent web economy there.
(as Nick Dynice)
AK-47 patent troll: Hey you! Pay up those licensing fees!
Guy with an AK-47: You talking to me? rat-a-ta-a-ta-ata!
(as Nick Dynice)
With this guy's logic, every time a homeless person dumper dives into a grocery store dumpster and finds edible food, this is a lost sale, because of course, this person has the money, they are just to stingy to spend it. Never mind the humility required to do something like this.
Re: Re: let me make milkshakes, pudding, cookies for free (as Nick Dynice)
This is the dumbest comment I have ever seen here.
1. We already know what these taste like. No need to sample them. New music on the other hand is always differnt and needs to be tasted before purchase.
2. Food is scares resources with fixed marginal cost.
Go away RIAA shill.
Re: (as Nick Dynice)
"You've been making insulting comments about the RIAA for the best part of the last decade and you still don't seem to understand that there is a lot their actions and strategy you have yet to understand."
Is that so? Please enlighten us. If you can't you have a problem and have proven your statement to be wrong.
(as Nick Dynice)
Bill Clinton's next heroic feat should be to rescue people from bad DMCA prosecution.
Re: I see their point (as Nick Dynice)
@James
News gathering will not go away. There will always be a market for it, but you just cannot expect to have the same revenue anymore or for growth with a dated strategy. It is pretty simple: the news organizations that cannot adapt go away, the ones how have adapted stay around. I would say there is more investigative reporting happening today than 10 years ago. Plus, it's much more niche and easier to find.
Re: Swiss Cheese Argument Smells like Guda (as Nick Dynice)
Aren't jailbroken iPhones usually used on networks other than AT&T? If all this is true, I agree that it would not be soemthing that Apple would care about. Can phones on the Android platform be used to take down towers because they are more open? Doubtful.
(as Nick Dynice)
This is a great example of the Broken Windows Theory. http://en.wikipedia.org/wiki/Fixing_Broken_Windows
Re: Missing the Forest... (as Nick Dynice)
... based on content it created and to which it owns the rights.
Ah, so what you are saying is that copyright grants the benefits of positive externalities only to the copyright holder. So when I sing a song under copyright and it makes me happy, happier than the rights holder singing it, then I am violating copyright?
"The exclusive right to benefit from positive externalities" is being interpreted to "promot[ing] 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."
The problem is that there really is no secure way (government granted or otherwise) to keep others 100% from benefiting from externalities. It is a pipe dream.
Re: Free Buzz (as Nick Dynice)
Chris "Wired" Anderson and Chris "TED" Anderson are two differnt people wit the same name.
Re: Re: Re: (as Nick Dynice)
If you the competition for concerts was pretty high, it might make sense to give a free concert. Put it takes time for people to practice, and write songs. It takes money to buy instruments. Venues need to pay rent. Playing free concerts does not scale.
Here is a scenario for free concerts: every alcohol vendor (say Bacardi, Anheuser-Busch) now owns all bars and venues, and everyone has disposable income and they do not need to work early in the morning. If they could just get people inside these venues, they can sell them alcohol. How will they do it? Maybe they can give free concerts. Of course, the staff and performers get paid from the alcohol revenues.
Note: This scenario does not exist everywhere (maybe only in Miami or Long Island?), so it does not make sense to do it. Because:
-alcohol vendor don't own every bar and venue
-everyone does not disposable income
-everyone has to work the next morning
(as Nick Dynice)
It seem there needs to be the equivalent of prior art for copyright.
Re: Re: Re: principles? (as Nick)
I the concept of property really a human instinct? Why habe there been cultures that have no word for "property"? I can see there has been some writing on the subject.
I don't see any mention of property in the Constitution, Article 1, Section 8. So I don't see how there is a clash. There is only principal 1. "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."
Capitalist maximlasit have twisted"securing...writings and discoveries" into "protecting property." Real physical property is scares. When writings and discoveries are no longer being used to "promote the progress of science and useful arts," but only to enslave, suppress, and discourage, something must change.
(as Nick)
How many jobs has open source software created? Hundreds of thousands? More? How many will it create in the future? A lot. Yes, let's get over the fact that people don't always re-contribute. It is a gift economy. And yes, not the entire economy, only part of it.
This argument is almost as ridiculous as someone coming out and saying "these poor open source developers, their work is being stolen! They have the right to be paid for their work!"
(as Nick)
It is a total landgrab, rent seeking behavior on the part of ASCAP. What's next? Paying for a public performance fee for songs playing in my head?
If the game company wants to go ahead and pay ASCAP feeds, then they could. But why should they? Because they like paying more for a "right" that have been getting at no cost? They can negotiate the terms with the composer beforehand, cutting out ASCAP all together. If a composer insists on the game publisher recognizing ASCAP and that the playing of a song is a performance, the game publisher can just choose not to work with the composer.
(as Nick)
If you can't execute on your novel idea, you don't deserve to own the patent. You don't need just a good idea. You need to implement it and market it and make it work, or the patent should be taken away.
(as Nick)
"Cuomo Uses Informants To Bust Prostitution Ring... Still Blaming Informants"
Maybe craigslist can have law enforcement sign and immunity deal before they cooperate from now on.
(as Nick Dynice)
http://techdirt.com/article.php?sid=20090324/1439024238#c371
1. How is Choruss not like a Trojan Horse on the technology of education, where Choruss can have control over a network that could theoretically grow tighter?
2. What will stops grandstandy, RIAA-sponsored legislators from passing a law that uses the logic: "You are not using Choruss, thus you must have students that are infringing, you will be litigated or you will settle"? Sure, there is due process, but this could be an unnecessary hassle on the university.
3. Will Choruss be able to limit the number of songs downloaded by a specific campus or user? Is it buffet or à la carte? If there is a restriction on the number of songs by campus or user, by what process can users claim they did download the quota or songs Choruss claims they have?
4. Does Choruss care about they effect they will have on limiting the liberties provided by open wifi networks and its benefits to students such as mobility, convenience, access to all parts of the internet?
5. Will Choruss's system be independently accounted and audited?
6. Will Choruss be able to turn on or off access to specific P2P networks, handing a level of control that is above the campus's own IT department? Will Choruss's be able to restrict access to particular artists or songs at the request of labels, publishers, mechanical rights holders, or artists on P2P licenses?
7. Will Choruss be responsible for any additional IT costs, or be liable for any network downtime, losses of educational related files related to false positives, or damages to a campus's network equipment?
8. What security measures are in place to prevent hackers from breaking into Choruss's accounting system, exposing private student data?
9. Has Choruss considered that they might drive students to start sharing music on ad-hoc wifi networks, or share CD-Rs, flash drives, and network drives at "music sharing parties" which will then be untraceable, thus triggering rights holders to engage in Stasi-like activities to discover new methods of unauthorized sharing?
10. Has Choruss considered that new P2P networks, audio formats, and encryption schemes will pop up that attempt to evade Choruss's trackers, creating a cat-and-mouse game for Choruss?
11. Will Choruss have he ability to distinguish downloads between legitimate music stores such as iTunes, Amazon MP3, Napster, Rhapsody, Bleep, Beatport, AmieStreet or EMusic (and others I have left out or have not been developed yet) and what are right now considered illegal P2P networks so students are not double charged? What measure stops Choruss from ignoring these to increase play and download counts? What stops Choruss from saying which companies can and cannot engaged in digital music commerce over a Choruss network now and in the future without being charged double?
12. Will Choruss be able to track song downloads via web browsers? What about legitimately licensed and monetized streams via iTunes, Real, WMP and other apps that have not yet been developed?
13. What measures are in place to stop a Choruss partner form claiming false ownership over independently distributed songs, and by what process will content owners be able to dispute false ownership?
14. What measures are in place to stop Choruss from counting and charging for songs intentionally distributed via P2P by independent labels and artists that are not represented by Choruss partners, and then handing over payment to Choruss partner labels and publishers for this content?
15. What measures are in place to help Choruss identify between multiple licensing and distribution agreements that could be in place for a single song title? A song can be licensed for sale under a Choruss to one party and for free P2P distribution to another party. What about music licensed under Creative Commons?
16. What stops an independent label, publisher, or artists not represented by Choruss from suing students?
17. What will stop Choruss from engage in sharing data with entities like the NSA, DHS, or The Authors Guild, invading further into civili liberties to "stop terrorists," "protect the children," "protect authors," and other political grandstanding opportunities? What measures stops Choruss from being co-opted by the RIAA in order to become even more oppressive?
18. Why, as proud Americans, do Choruss and its partners believe that its commercial interests are more important than the US's ranking in higher education per capita? They could prove otherwise by shuttering Choruss, making it that much easier for students to afford an education.
19. How can we trust an industry to fairly divide up the booty when "... the spreadsheets and financial models dictate that suing customers and partners just makes too much sense." http://www.techcrunch.com/2009/03/08/big-music-will-surrender-but-not-until-at-least-2011/ Is this not the logic of a thug? Sure, Choruss is not the RIAA, but in most consumer's minds, they one and the same. Pay "us" and "we" won't sue. Sounds more like a cartel.
(as Nick)
Here is my remix of Helprin's quote:
So here we have a city -- the hypothetical city and New York itself -- deeply dependent upon what innovationright protects but unaware of the threat it faces, even as, sector by sector, it begins to fall. Are you -- were you -- in the buggy whip business? Are you, or were you, a typesetter? An alchemist, town crier, scribe, lamp lighter, telegraphist, miller, or in a business that brings the work of these people to the public? What have you done to protect your life's blood and to guarantee the continued independence of your old ways? As distressed as you may be now or not long from now, should innovation go the way of all flesh, some of you may soon be unable even to recognize your own profession, if indeed it continues to exist.
I can't help but read this and hear it in my head as lo-fi audio with a man's voice narrating in 1950's American accent.