Once Again, Why Homeland Security's Domain Name Seizures Are Almost Certainly Not Legal
from the once-more,-with-feeling dept
Earlier this month, in discussing some of the Homeland Security/ICE domain seizures, Karl put together an excellent comment, going through the legal analysis as to why the domain seizures were almost certainly not legal. Karl is not a lawyer, so I sent the comment to a series of lawyers I know who are very much on top of First Amendment issues, and they came back saying that his post was accurate, so I asked him to turn it into a full post, and here it is. With COICA being brought back, the timing is particularly appropriate.
These seizures are the very definition of prior restraint.
The activities that these sites are doing has never been considered criminal infringement. Remember that "evidence of reproduction or distribution of a copyrighted work, by itself, shall not be sufficient to establish willful infringement of a copyright." (17 U.S.C. 506(a)(2)) The state has not met their burden of showing that criminal activity occurred at all.
Moreover, it's pretty hard to claim "willful infringement" when a site has been declared completely legal under its own country's laws -- as is the case with Rojadirecta. If it's infringing, it's at most "innocent infringement," which is in no way a criminal act.
Furthermore, none of these sites are "primary" infringers. To be criminal, they must be considered an accomplice, and that requires much, much more proof than "contributory" or "vicarious" infringement does in tort cases. You must share the primary's actus reus and mens rea -- in layman's terms, you had to actively, intentionally, and directly participate, and moreover you had to know the act was criminal. It's amazingly obvious that this doesn't apply to many of these websites.
Under 17 U.S.C. 512's "safe harbors" provisions, if the sites followed the rules laid out therein, they are not liable for infringement at all, and the only relief available is laid out in 512(j). Nothing in 17 U.S.C. 506 takes those safe harbors away. Even if you wrongly believe it did, obeying the law would (once again) make you an "innocent infringer" at most, thus ineligible for criminal infringement under 506. Yet there was not even an attempt to show that the sites did not follow those rules. And apparently many did.
These seizures were also done ex parte, meaning that the defendants were not given prior notice, and were not given a chance to contest the seizures in a pre-seizure hearing. Nor, for that matter, were they given that chance after the seizures occured.
Fort Wayne Books v. Indiana makes it very clear that an ex parte seizure of potentially protected speech, with the intent to take material out of circulation, is prior restraint:
While a single copy of a book or film may be seized and retained for evidentiary purposes based on a finding of probable cause, books or films may not be taken out of circulation completely until there has been a determination of obscenity after an adversary hearing. The risk of prior restraint, which is the underlying basis for the special Fourth Amendment protection accorded searches for and seizures of First Amendment materials, renders invalid the pretrial seizure here. Even assuming that petitioner's bookstore and its contents are forfeitable when it is proved that they were used in, or derived from, a pattern of violations of the state obscenity laws, the seizure was unconstitutional. Probable cause to believe that there are valid grounds for seizure is insufficient to interrupt the sale of presumptively protected books and films.
Note that even taking the offending material itself out of circulation is prior restraint. These seizures went beyond that, and attempted to take entire websites out of circulation, non-infringing speech and all.
Some rebut with Heller v. New York, but nothing in Heller contradicts Fort Wayne:
A copy of the film was temporarily detained in order to preserve it as evidence. There has been no showing that the seizure of a copy of the film precluded its continued exhibition. Nor, in this case, did temporary restraint in itself "become a form of censorship," even making the doubtful assumption that no other copies of the film existed. [Emphasis in original.]
In other words, Heller only applies when you seize a copy of the work, you do it to preserve it as evidence, and it does not prevent public access to the work itself.
Moreover, Heller quotes United States v. Thirty-seven Photographs, which lays out three requirements for ex parte seizures:
(1) there must be assurance, 'by statute or authoritative judicial construction, that the censor will, within a specified brief period, either issue a license or go to court to restrain showing the film'; (2) '[a]ny restraint imposed in advance of a final judicial determination on the merits must similarly be limited to preservation of the status quo for the shortest fixed period compatible with sound judicial resolution'; and (3) 'the procedure must also assure a prompt final judicial decision' to minimize the impact of possibly erroneous administrative action. [Emphasis mine.]
These seizures fail every single one of those requirements. Those requirements were put in place "so that administrative delay does not in itself become a form of censorship." This is exactly what is happening here. Forfeiture proceedings for the first round of seizures were only initiated six months after the seizures occurred. The majority of sites still have not had a chance to contest them, and some have only recently been contacted by the government, months after the domains were seized.
Others may rebut with Arcara v. Cloud Books, in which an adult bookstore was closed down because of prostitution occuring on its premises. The usual claim is that "the First Amendment is no shield against criminal activity." But Arcara was only constitutional because "the sexual activity carried on in this case manifests absolutely no element of protected expression." Furthermore, "We have also applied First Amendment scrutiny to some statutes which, although directed at activity with no expressive component, impose a disproportionate burden upon those engaged in protected First Amendment activities."
Copyright infringement does, in fact, have "an element of protected expression" -- that is, a First Amendment defense can be raised (it need not be raised successfully). For that reason alone, Arcara does not apply. But even if the activity was not itself protected, the mere fact that it imposes a "disproportionate burden" upon free expression, disqualifies it from Arcara exemptions. Arcara absolutely, positively does not apply to these seizures.
In case you're wondering -- no, obscenity is not any more "presumptively protected" than copyright infringement is. (Hint: child pornography is a subset of "obscenity.") The same seizure rules (18 U.S.C. 46) apply to both; First Amendment challenges can be raised to both; obscenity, unlike infringement, is always a criminal offense; and the punishment for obscenity is about the same as for criminal infringement. (It's all in 18 U.S.C. 71.)
It's also a dodge to claim that domain names are not "presumptively protected speech." First of all, that's not true. Name.Space v. Network Solutions ruled that general top-level domains (just the .com, .net, etc parts) are not protected, solely because they cannot possibly be expressive. When the domain name can possibly be expressive -- such as when it includes the full creative URL -- it is presumptively protected speech, and First Amendment concerns apply. (See: every single "sucks site" case, and the one about Glenn Beck raping and murdering a young girl in 1990.)
But it's even more of a dodge because the domain names are not even allegedly infringing. They were seized solely to prevent the public from accessing the websites themselves. So the TLDs' status as "protected" is completely immaterial; it only matters whether the websites themselves are possibly protected expression.
And, of course, they are. The majority of the speech on some sites (forums, blog posts, comments, etc) is absolutely, 100% protected speech.
Now, about those seizure laws. 17 U.S.C. 506(b) references 18 U.S.C. 2323, which allows the seizing of any "article, the making or trafficking of which" is criminal infringement. Compare this with the ennumerated articles that can be impounded from 17 U.S.C. 503: "all copies or phonorecords," "all plates, molds, matrices, masters, tapes, film negatives, or other articles," and "records documenting the manufacture, sale, or receipt." These laws were clearly to be used for counterfeit goods, not file sharing.
According to 18 U.S.C. 2323(a)(2), the actual procedures for criminal seizure are in 18 U.S.C. 46. There are three sections dealing with civil forfeiture, none of which seem particularly appropriate. It seems that judicial forfeiture is covered exclusively in 18 U.S.C. 985. 985(d) states:ates:
Real property may be seized prior to the entry of an order of forfeiture if--
(A) the Government notifies the court that it intends to seize the property before trial; and
(B) the court--
(i) issues a notice of application for warrant, causes the notice to be served on the property owner and posted on the property, and conducts a hearing in which the property owner has a meaningful opportunity to be heard; or
(ii) makes an ex parte determination that there is probable cause for the forfeiture and that there are exigent circumstances that permit the Government to seize the property without prior notice and an opportunity for the property owner to be heard.
(2) For purposes of paragraph (1)(B)(ii), to establish exigent circumstances, the Government shall show that less restrictive measures such as a lis pendens, restraining order, or bond would not suffice to protect the Government's interests in preventing the sale, destruction, or continued unlawful use of the real property. [Emphasis mine.]
In other words, even with counterfeit goods, you're supposed to allow an adversarial hearing before seizing anything. An ex parte seizure order is the "nuclear option," to be used only when other methods are insufficient. The affidavits claim that these were indeed "exigent circumstances," but that claim is completely laughable on its face -- especially since the sites were operational for years at the same domain name, without risk of "destruction" or "sale," and the seizures did not preserve (or even help gather) any evidence whatsoever. And no, "continued unlawful use" is not an "exigent circumstance" when that "use" involves potentially protected expression, or, for that matter, when the use is not necessarily unlawful in the first place.
...Now, I'm not a lawyer, and I'm only repeating what I've been able to dig up. You can possibly disagree with some of the above. But in order for these seizures to be legal, you have to disagree with all of it. I'm sure some here will try (and many more will just call me a "freetard" or "pro-piracy" or "LOL!" at me). But no matter how you slice it, the legality of these seizures is not obvious. It's not even likely.
The more I read the law, the more convinced I become that the seizures were a repulsive abuse of power. ICE did this deliberately to route around safe harbors and the First Amendment. They had no intent of filing criminal charges and were hoping the domain owners would be scared into silence. It is prior restraint, and it is censorship, plain and simple.


Artists themselves
Personally, I agree with both Albini and Amanda. I have no problem if people share my music. (For those albums of mine that are put out on a label, I do politely ask that people respect the labels' wishes, but most of the labels I work with don't give a shit.) I don't feel like file sharing sites (including The Pirate Bay) are "ripping me off" in the slightest. Many, many other artists (most of whom are far more lucrative than I) feel the same way. Even if they don't, I have yet to meet a single artist who believes that filesharing sites are worse than major labels.
Of course, that's not the way the pro-label people spin it. I give this story under an hour before that AC (who I still suspect is Lowery himself) comes here, starts spamming the thread with posts to ridiculous technophobic websites, and starts ranting on about The Pirate Bay.
It's really amazing how many people who claim to be "pro-artist" don't actually listen to the artists themselves. Quite a significant amount of artists don't see file sharing as a threat at all, even when it's infringing. And those "pro-artist" AC's never fail to ignore them, downplay their independent work, or outright insult them.
What's really frustrating about this whole thing is that it paints a picture of artists vs. fans. By claiming to speak for artists, all the naysayers are doing is getting people to hate artists. (Not surprising, since by and large their agenda has nothing to do with actually supporting artists, but with preserving the label system.) But the plain fact is that artists usually aren't the ones ranting about Google being pirates or filesharing being evil incarnate.
There actually isn't much conflict at all between the fans (most of whom are heavy filesharers) and the artists. By creating a false dichotomy, the "piracy"-haters are doing nothing less than driving a wedge between the artists, and the fans they need for support. It's disgusting.
Re: Re: Re: Re: A new first
At the moment there isn't one in the U.S. as far as I'm aware.
There is, actually:
http://en.wikipedia.org/wiki/Audio_Home_Recording_Act
Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: 20 bucks a record?
you can't have liberty without consent.
Copyright law is forcing everyone to limit their own expression, without their consent, according to the demands of copyright holders.
So, I guess you're saying that copyright is against liberty. I'm not too sure I'd go that far, but OK.
you are creating a false dichotomy.
I am not creating any sort of dichotomy whatsoever. If anyone here is doing so, it is you. Either you're supporting the 90's-era music industry, or you're supporting The Pirate Bay. That is the epitome of a false dichotomy.
and, to be clear, the pirate bay is in fact in illegal and unethical business ripping off artists for profit, they were convicted, upheld by their supreme court and are facing jail time, there's no way around those facts.
They are illegal. This is true. That they are unethical means that the law is automatically ethical, merely because it is the law. That is something I'm not willing to accept.
And they were not convicted of "ripping off artists." They were not convicted for stealing. They were convicted for copyright infringement. The two are not the same thing at all. Especially not in this case, where the only thing they did was slap advertisements on a site that let users trade copyrighted material noncommercially.
But, you know what? If you want to believe The Pirate Bay is not just illegal, but immoral, then go for it. Your opinion is not shared by most people (or even all artists), but go ahead and believe it.
Even granting this, then so what? The Pirate Bay has absolutely nothing to do with Amanda. It has absolutely nothing to do with Kickstarter. And much as you want to believe otherwise, it has absolutely nothing to do with YouTube, iTunes, Tunecore, CD Baby, or any of the immense numbers of "tech sites" that absolutely and unquestionably benefit artists.
So why the hell do you feel the need to bring them up every single time Techdirt does a post about successful artists?
The obvious answer is the one I said above. You are trying to create a false dichotomy. You hate any music model that's not the one from the 90's, and you bring up The Pirate Bay as a typical "tech site" in order to slander everyone.
You have zero interest in helping artists. You're just arguing to spread your dystopian propaganda. It's not working, as anyone who reads these comments can see right through your bullshit.
Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: 20 bucks a record?
So the pirate bay profiting from the artists work without consent or compensation is not unethical?
The problem with this argument is that the Pirate Bay isn't doing this.
They are offering a service to people. That service is enabling people to share digital material. That material could be infringing, or it could be non-infringing, but the Pirate Bay works exactly the same either way.
They make money through advertising; it matters not one whit whether the pages that the advertising appears on are infringing or not. They're not charging for content. They're not making money on any specific content.
That does not mean they're legal, of course. Obviously, they're not. Nor does it mean that they're not engaging in secondary liability for infringement. I've always said they should have obeyed takedown requests; and if they had, probably they would never have been charged in the first place.
But this is hardly "ripping artists off" in the way you suggest. They don't remove any choices from artists: the artists still have the right and ability to sell their records, to charge money for performances, to engage in licensing, etc. And it's not like any artist's bank account balance declines when their records are shared. Even the notion that it causes a decline in revenue is arguable at best.
But, "immoral?" No, not at all. If you think The Pirate Bay is "immoral," then you think libraries are "immoral." They're both doing essentially the same thing: allowing people to experience culture for free. The Pirate Bay is essentially doing what Jesus did in the parable of the loaves and fishes. It's just that they're doing it with culture instead of food.
The idea that artists have the right to control what happens when their artwork reaches the public is not moral. It is certainly necessary; but it is a necessary evil. Confusing necessity with morality is a huge mistake, and one I'm not willing to make.
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Addendum:
I think Amanda is a special, rare, and unique talent which is also why this model will not work for most bands who are, let's just say, less theatrical...
Well, we agree about Amanda, at least.
And, if you substitute "less theatrical" for "generic," then we agree completely.
Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re:
If Amanda has raised close to one million herself, and she's still going to be broke, I'm fairly certain it's not absurd that a label would have easily spent multiples of millions over three albums. As Amanda's own numbers indicate, it's not cheap to finance the creation of music and support it.
It's expensive to make an expensive LP, art book, and tour. None of the previous records that Roadrunner did even approached this level of expense. And I doubt very much that a first-time band (even one as popular as The Dresden Dolls) managed to score over $333,333 per record as an advance. Plus, you're ignoring the fact that Amanda fronted all the recording costs of her solo record (which Roadrunner was supposed to pay back but didn't).
So, even if they hadn't kept all the money from record sales - which they did - they wouldn't have spent "multiples of millions."
I would suggest that you actually educate yourself.
Yeah, thanks for the patronizing bullshit, but I'm pretty aware of how the music industry works, thanks. Not only did I work in it at one time (admittedly at the grunt level), but I personally know several people who were on major labels, and I also know a couple IP lawyers.
Not that it makes a difference. Even if I never knew nobody in the industry, your arguments are still wrong.
Re:
Too big to be legal. What a wonderful defense.
Well, except that they are legal. So, that's a pretty good defense. What they're trying to avoid is stupid laws that would make them illegal.
Considering how much artists get paid by YouTube (hello, ContentID), and how much the major labels need to use their infrastructure (hello, Vevo), I'd say that it's in everyone's best interest to keep YouTube legal.
Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re:
Amanda's experiment works in the same way the NIN and Radiohead experiments worked... because of all the millions of dollars in label funding that created that she didn't have to spend.
- http://www.hypebot.com/hypebot/2009/07/an-insiders-view-of-amanda-palmers-success.htmlThis has been debunked plenty of times, but I'll humor you and do so again:
And, seriously, "millions?" That's just completely absurd. The Dresden Dolls put out two records on Roadrunner; Amanda put out one (and she paid for the recording costs out-of-pocket on that one, by the way). None of them approached the packaging and artwork of this release. And as far as I know, neither Amanda nor Brian have received a single penny in royalties from any of them. So, "millions" is pretty much total bullshit.
"Statistical Proof That DIY Doesn't Pay"
All this says is that having a team has its advantages. That's hardly newsworthy - Amanda has a team too. And it doesn't support a single thing you're saying.
Here's the thing: in order to get to the level of having a team, you're going to have to work hard to get to that level. Before the internet, the only way to do that was to hope that a label somewhere offered you a "golden ticket." Even if you got one, you were likely going to be one of the 90% of bands on a major label that was unrecouped. Which means that you got nothing from recording artists' royalties. (If you were also a songwriter, you probably also got mechanicals - at a reduced rate, thanks to controlled composition clauses.) In return, you lost the rights to your music, and often lost many of the creative aspects of your music.
That worked for very few. I don't know the BLS statistics for the 1990's (they recently redesigned their site and don't make old info available anymore). But in 2010, there were 176,200 workers who were musicians and singers. The vast majority of these worked for performing arts companies (think: orchestras/theaters) or "Religious, grantmaking, civic, professional, and similar organizations." The number of musicians who worked in the "Motion picture, video, and sound recording industries" were just 0.1% of professional musicians - or, roughly 400 people. (Source [Excel file].)
Unless you're one of those people, you'd be completely out of luck. But now, you can do things like a Kickstarter campaign (or IndieGoGo or Sellaband or whatever), sell stuff through CD Baby, etc.
Hell, even though you made fun of Tunecore, those ~300 people who made minimum wage from that site alone looks better and better in comparison.
The old system was based almost entirely on a "golden ticket" myth - the notion that if you just get discovered by a big label, you'll be a success. That, of course, was always a lie. And, if you're thinking that the newer music models are also some sort of "golden ticket," then you're going to be very disappointed.
But nobody here ever said it would be. Techdirt in particular has said very vocally that there is no such thing as a "golden ticket." It has always been hard to make a living off of music. It's always been hard to even break even.
But for most musicians, it's slightly easier now than it used to be. The fact that it's still immensely difficult - and that most musicians won't succeed - doesn't change that fact.
Now, if you want to actually help musicians, instead of just bitching about how that damn series of tubes is vacuuming up your wallet, then you should ignore complete tripe like that Trichordist site (assuming, of course, that you're not actually David Lowery yourself). I would suggest starting with the Tunecore blog, New Music Strategies, or Hypebot. Or at least some sites that actually offer answers instead of just throwing around accusations, insults, and slander.
Re: Re: Re: Re: Re: Re: Re: Re: Re:
illegal exploitation of artists work without consent or compensation is the issue
Actually, the issue is how all of us artists can learn from Amanda's Kickstarter campaign.
You just derailed the entire conversation, like you always do.
Now, go away.
Re: Re: Re: Re: Re: Re: Re: Re: 20 bucks a record?
Like you.
Incidentally, I did a little digging on this whole thing.
I'm going to assume that our idiotic friend here is also the prime author of The Trichordist. I assume this because the only thing this asshole does is come here and attempt to call everyone names while puking out links to this awful, misinformed rant site.
It's especially aggravating because he only posts in stories about successful musicians, dragging every one of these stories into the gutter, and totally ruining any sort of productive discussion we could ever have about these (or any other) artists. It is not just disrespectful to Techdirt, it is disrespectful to the artists themselves.
Well, wouldn't you know it. After a bit of digging on Google, I found this:
And where, precisely, did I find this?
On Cracker's website.
You remember Cracker, right? That's the band that is fronted by David Lowery. If you don't recall, Mike took Lowery to task for a Facebook post that hated on the "new music model," without actually making any sense whatsoever. And in return, Lowery himself came on here and acted like a douchebag, talking lawsuits, calling people "fuckface," etc.
Interesting. Apparently the man just can't stop being an asshole.
Maybe someone should take him bowling.
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All well and good, but how does that factor into her Kickstarter campaign?
How does it not, exactly? These are the costs to produce the very things she promised to supporters of her Kickstarter campaign.
"Wasted expenses" in my view, nothing more. Personally I'm after great new music.
I guess you view anything more than a blank CD labeled with a felt-tip to be "wasted expenses." Good for you. Not everyone agrees with you.
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For glitzy packaging and art books, not music. That's what I consider to be wasted money.
I know quite a few visual artists who would vehemently disagree with you.
Amanda has always been about much more than just the music. Her live shows are just as much theater as a musical performance (and in fact she's actually authored several musical plays). She is a musician first, certainly, but she's basically a multimedia artist.
You can dislike her music. You can dislike the other artists whose hard work went into the other portions of this project. That's fine. But calling them all "wasted expenses" is ludicrous.
Also, the "rich girl" criticism is just ridiculous. You don't need to be poor to produce good art. That is one of those ages-old myths that deserves to die.
It's also not very accurate; she didn't grow up in poverty by any means, but she's not some product of wealthy nepotism, like, say, Lily Allen. She worked immensely hard for what she accomplished - and that's all that matters in this regard.
Re: Re: Re: Re: Re: Re: Re: 20 bucks a record?
99% of all tunecore artist make less than minimum wage...
And in the 90's, 100% of those artists would make nothing whatsoever.
Re: Re: Re: Re: 20 bucks a record?
...And, once again, I got suckered into responding to a troll. I really need to cut that out.
Re: Re: Re: Re: Re: Re: Re: Re: Re: 20 bucks a record?
take it up with Ted Cohen and Midem...
Ha ha, priceless. Here's the last paragraph of that article:
Re: Re: Re: Re: Re: Re: Re: 20 bucks a record?
anyone who disagrees with TD "hive mind" must be a douchebag troll, I see.
No, just people who have no intention of actually engaging in any sort of debate, and merely come here to post more links to some idiotic, hate-filled anti-tech rant blog.
Like you.
Re: Re: Re: 20 bucks a record?
but when labels charge $20 for it's unfair even though the label has to pay the artist from that same price.
It costs significantly less than this to make a typical album. Amanda is making something far more extravagant than a CD in a standard jewel case with a 4-color 2-panel insert. Yet the labels charged $20 for those, too.
but when the artist pockets all the money, without a third party, then that's fair?
Yep. We support artists because they create art we like. We have no problem if they keep the profits. We have problems with people who don't create anything taking all of the money that we pay, and keeping it without paying artists anything. (And by "we," I mean people in general, not just Techdirt folks.)
And please spare us the "then why do you support The Pirate Bay" bullshit that you'll inevitably spout back at us. If you could prove for one moment that The Pirate Bay actually takes money out of artists' pockets, we wouldn't support them. But they don't. They serve advertising on a site that provides a service to everyone, musicians and non-musicians alike.
And please keep in mind that posting links to ignorant, hate-filled rant sites the "the trichordist" or "pop up pirates" is not proof of anything.
Plus, not everyone here supports them. Myself included. I think they should have always followed the DMCA. But if they did, then I wouldn't have a problem with them at all.
But even those who think they're doing things the wrong way aren't stupid enough to believe they're actually "ripping off musicians." I don't think they ever believed what they were doing actually hurt musicians at all (and they might be right), and certainly, they've recently focused specifically on ways they could help (by e.g. the Promo Bay).
They are primarily ideology-driven, dedicated to an absolutist vision of free expression (of both the "free beer" and "free speech" varieties). And that is something that even professional artists can get behind. Whatever the Pirate Bay's flaws (and there are many), they're doing something that is fundamentally good for society, and everyone knows it (artists included).
And this is the problem. It is certainly possible to criticize the Pirate Bay. But because the major labels are so much worse for artists, and have the political clout to push through laws that are horrifying for all of society, that The Pirate Bay looks like angels in comparison. Big Media has made it a "you're either with us, or you're with the Pirate Bay" situation. It's no surprise that most people (and many artists) side with the Pirate Bay.
Incidentally, you're doing exactly the same thing if you use The Pirate Bay and "the tech industry" in the same sentence.
Re: Re: Re: Re: Re: 20 bucks a record?
http://thetrichordist
Oh, you're that douchebag troll.
Reported.
Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Pirate Dan
He downloaded something he didn't need that some other creative person had worked hard on.
That makes him a fist class jerk.
Why do you hate software programmers?
Just to clarify something here.
Whether what Bull did was right or not, I've yet to meet a single musician who did not do exactly the same thing in the 90's. And I've known hundreds of musicians, from "pro" to amateur.
In every case, it follows the same kind of trajectory: They pirate the software because they can't afford it. Then they either a) get good enough jobs to buy that software, b) get successful enough so that people pay for their recordings, or c) use something else that isn't pirated (open source, shareware/freeware, etc).
And as long as the software isn't used professionally - that is, by commercial recording studios - then nobody really gives a shit about it. They know that if and when the musicians start making money, they will pay for it; and that if more people use the software, that means less people willing to switch (and learn entirely new software) when they can pay.
And, by the way, I'm also studying to be a software programmer. Software programmers, by and large, side ideologically with the open source/free software philosophy, since they (and their companies) use those tools every single day to make money, often without having to pay a dime.
So, no, I don't believe that Dan Bull is a "first class jerk." Nobody who is actually a software programmer does, either. It's a bit naughty, but not a big deal.
For you to keep bringing it up shows us all that a) you don't respect musicians, and b) you don't respect the actual software engineers, either.
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kindly do me the favor of providing links to same.
An analysis was actually done by Harvard law professor Jonathan Zittrain:
http://www.techdirt.com/articles/20111207/04193216996/harvard-law-professor-explains-why- felony-streaming-provisions-do-put-justin-bieber-risk-jail.shtml
Andrew Bridges (of Fenwick and West) said the same thing to Forbes:
http://www.forbes.com/sites/kenrapoza/2012/01/20/under-sopa-justin-beiber-would-be-in-jail/
the DOJ does not as a general rule act precipitously and with casual disregard for the rule of law.
Considering the colossal failure that is Operation In Our Sites, it's hard to read that with a straight face.