By Paul Goldstein
From eighteenth-century copyright legislation, to current-day copyright matters on the web, to tomorrow's “celestial jukebox”—a electronic repository of books, video clips, and track to be had on demand—Paul Goldstein offers an intensive exam of the demanding situations dealing with copyright proprietors and clients. one of many nation's best gurus on highbrow estate legislations, Goldstein bargains an interesting, readable, and clever research of the impact of copyright on American politics, economic system, and culture.Goldstein provides and analyzes key felony battles, together with perfect court docket judgements on domestic taping and a couple of reside Crew's contested sampling of Roy Orbison's “Pretty Woman.” during this revised version, the writer expands the dialogue to hide digital media, together with an exam of contemporary Napster litigation, the electronic Millennium Copyright Act, and the vexed safe electronic tune Initiative, below which list businesses tried to improve potent encryption criteria for his or her products.Praise for the 1st edition:“A shrewdpermanent and colourful publication that strains copyright background from the discovery of the printing press via present demanding situations to copyright from new applied sciences . . . . so much compelling [on] multimedia technologies.”—Sabra Chartrand, the hot York Times"This eminent authority writes with readability, lucidity and a wry humorousness a few topic whose complexities will be daunting."—Jonathan Kirsch, l. a. Times"A splendidly American story of the way legislation, literature, politics and megabucks intersect."—William Petrocelli, San Francisco Chronicle
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Extra resources for Copyright's Highway: From Gutenberg to the Celestial Jukebox
Can, is upon paying a statutorily fixed fee, use an author's work with- out even contacting him. For example, once a song is first recorded with the author's consent, anyone else can record his own version of provided he pays a prescribed royalty of 8 cents for each copy he makes, which may explain why there are so many renditions of popit, ular songs by different artists "covers," as they are called. " But the group did not pursue this line of argument probably because the compulsory license does not encompass travesties or parodies made of an original.
It is every man's natural right, to follow a lawful employment for the support of himself and his family. Printing and bookselling are lawful would intrench employments. " In 1770, Chancery followed the King's Bench decision for Millar and enjoined Taylor's copies. Taylor filed an appeal to the House of Lords, but the booksellers promptly settled with him to end the case. Millar had not lived to see his ultimate victory, and in 1769 his estate sold his newly established perpetual right in The Seasons to a group of printers; in turn, they were soon forced to undertake a battle of their own.
Needed as an incentive American copyright law: produce and distribute to that cre- Among his economic arguments, two stand out: that, even without copyright, an original publisher can ward off unauthowork by threatening to issue a "fighting ediand that, although it costs a pirate less to publish a book than it costs the original publisher, the rized copies of a written tion" priced even lower than the pirate's; has a lead-time advantage that enables it to recoup its costs. Breyer estimated that "by the time a copier chooses a book, prints it, latter and distributes it which time the to retailers, he may be six to eight weeks behind, by publisher will have provided retailers with It is unlikely that a price difference of less initial substantial inventories.
Copyright's Highway: From Gutenberg to the Celestial Jukebox by Paul Goldstein