Law

Student On Probation For Expressing A Negative Opinion About An Instructor On Facebook

This post originally appeared on Techdirt.

A student at the University of Calgary was put on academic probation for making the following post on a group titled, “I no longer fear Hell, I took a course with [instructor's name]:”

[Instructor's name] IS NO LONGER TEACHING ANY COURSES AT THE U OF C!!!!! Remember when she told us she was a long-term prof? Well actually she was only sessional and picked up our class at the last moment because another prof wasn’t able to do it .. lucky us. Well anyways I think we should all congratulate ourselves for leaving a [instructor's name]-free legacy for future [law and society] students.

It’s pretty hard to see how this isn’t just an expression of opinion, but the university thinks it qualifies as non-academic misconduct. The problem is, it’s not at all clear how. The only part of the definition that doesn’t involve injury, damage or theft is “conduct which seriously disrupts the lawful educational and related activities of other students and/or University staff.” It’s hard to see how a Facebook post of this nature “seriously disrupts” much of anything (until someone gets put on probation and the Streisand Effect kicks in). But there’s a nice little “includes but is not limited to” that makes the definition non-exhaustive, which is likely what university officials are relying on. You’d think that other instances of misconduct would be similar (hurting people, breaking stuff, stealing, “serious disruptions”), but apparently “expressions of opinion that we don’t like” can qualify…

A computer science professor interviewed said the posts “can be compared to putting up notices all over the university campus” (quoting the article, not the prof). But this is more like putting up a notice off campus (albeit in public). It may not have been nice, but it’s pretty troubling that a student’s right to express an opinion (free speech much?) on a third-party site is overridden without a clear policy violation.

I’ve had direct experience with this sort of thing. A couple years ago, friends of mine at another university were sent ominous emails and hauled into their department head’s office over some comments about a professor on Facebook (jokes, e.g. “crazy drunk [instructor A] is better than boring stoned [instructor B]!”). The department heads argued that the comments were “visible to the community” (similar to the “notices on campus” argument), but they clearly didn’t understand the context (wall post or message? profile or group?) or privacy settings, and they couldn’t even locate the comments on the site (someone had copied and pasted them into an email). They, too, failed to specify how any policies were actually violated (or even which ones), yet they’d gone ahead and notified the professor of the students’ comments and identities (while there was still grading to be done). We convinced them to back down and apologize, but it took a solid week, mid-semester, to deal with the mess.

Universities should understand and develop policies about social networking sites before they take action against students. If they can’t be clear about what qualifies as misconduct, how can students expect to know? What’s the difference between a Facebook group and study group? An email and a Facebook message? What difference do privacy settings make (hopefully some…)? How was this post on a Facebook group different from a review on RateMyProfessors.com? What’s the difference between off-campus speech and speech on non-school websites? Before policing student speech off-site (problematic in and of itself), universities should at least ask these questions and develop policies first. It doesn’t seem like many of them have. It’s pretty ridiculous to just throw social networking under the ambiguous “but not limited to” umbrella.

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Michael Jackson and Rihanna Both Get Sued Over a 1972 Tune

This article originally appeared on Techdirt.

At 75, an artist may be too old to write a new hit single, but that doesn’t make them too old to sue someone famous with a new hit single for a large sum of money over 10 syllables from a 37-year-old song. Cameroonian artist, Manu Dibango, is suing both Michael Jackson and Rihanna for copyright infringement over his 1972 hit, Soul Makossa. The complicating factor is that Jackson was already sued decades ago for infringing the tune in his 1983 single, Wanna Be Startin’ Something, and he had settled with Dibango, but now he’s under fire again for allegedly licensing the infringing bit to Rihanna for her 2007 hit, Please Don’t Stop the Music, without contacting Dibango to get permission. According to Wikipedia, Soul Makossa features a Duala chant, “Mama-ko, mama-sa, ma-ka-ma-ko-ssa,” while a similar sounding Swahili chant, “Ma Ma Se, Ma Ma Sa, Ma Ma Coo Sa,” appears in both Jackson’s and Rihanna’s song. Dibango is demanding €500,000, and that the courts block the labels from receiving any money from the allegedly infringing tunes until the matter is resolved.

Dibango has a history of making great music, but more recently, he served as President of the Cameroon Music Corporation, where he was known for defending intellectual property rights and fighting piracy. It’s a real shame that you need to hire a law firm to make use of a catchy phrase from another song, but I guess that’s what happens when everyone is focused on “protecting” their rights, rather than on making music.

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Canadian Blank CD Levy To Increase By Another 38%

This post originally appeared on Techdirt.

The Copyright Board of Canada has decided to increase the levy on blank CDs from 21 cents to 29 cents each. The levy is a sort of “you’re a criminal tax” that assumes blank CDs are going to be used for unauthorized copying. Blank CDs in Canada are now often more expensive than blank DVDs (which have no levy and hold more data), and most of that cost goes directly to the record industry. In 2006, about 70% went to the labels, but it seems like even more now, with actual price of CD-Rs dropping. With a 21 cent levy, a pack of 50 CD-Rs sells for about $12 before tax. That’s 24 cents per CD-R — 87.5% of the price goes to the record industry. And that’s before the 8 cent increase.

The board notes that sales of blank CDs are declining, but justifies the increase by arguing that compression allows people to store more songs on a CD. Meanwhile, there’s no levy on digital audio players (the Canadian record industry was worried it would legalize downloading and seemed to prefer to push for tougher copyright legislation instead). What’s going to happen when the Copyright Board realizes that blank CD sales are likely declining, not because everyone is using compression, but because less people are using CDs? This “you’re a criminal tax” has always been a short-term band-aid solution that’s not going to fix the record industry’s problem. Do Canadians really need to pay the record industry $30 million a year for the right to burn a few songs onto a CD every now and then? Luckily, the current government has expressed a desire to cancel the levy, though we’ll have to wait and see if they can follow through.

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Joe Satriani Sues Coldplay For Copyright Infringement

This article originally appeared on Techdirt.

Guitar virtuoso Joe Satriani has sued Coldplay for copyright infringement over claims that their hit single, Viva La Vida, used “substantial original portions” of his song If I Could Fly from 2004, seeking damages for “any and all profits.” The lawsuit has been filed in Los Angeles federal court. Call me a skeptic, but it was just back in June when Techdirt covered a story about a band called Creaky Boards making a similar claim. The difference is that the Creaky Boards didn’t sue. They made a cheeky video and used the opportunity to get some attention (also, later retracting the statement after Coldplay refuted it). However, one notable difference here is that Coldplay was very unlikely to have heard the Creaky Boards song, while Joe Satriani is well known, especially among guitarists. When you listen to this clip, the melodies are certainly very similar:




But does that mean it was copied? Most people’s knee-jerk reaction is to assume it must have been, but here’s an idea: Creaky Boards, Coldplay and Joe Satriani all have a similar melody over a similar chord sequence. When Coldplay responded to Creaky Boards, Chris Martin called it a “simple coincidence.” Is it not plausible that it’s just a somewhat natural melody to sing over those chords? You can’t copyright a chord sequence. If you search YouTube for these sorts of claims, you quickly realize that a lot of songs sound the same. Some cases are blatant infringement, but for most, there are only so many notes in a scale…

Chris Martin has said: “We’re definitely good, but I don’t think you can say we’re that original. I regard us as being incredibly good plagiarists.” I bet he wishes he hadn’t said that now, but to what extent is that true about all of our ideas? Isn’t a certain element of “plagiarism” a natural part of the creative process? Where’s the line between plagiarism and inspiration? Of course, trying to pass someone’s work off as your own is bad because it’s dishonest and you aren’t giving proper credit, and your reputation will likely suffer for it if someone finds out. But even if Coldplay did get the melody from Satriani (whether consciously or unconsciously), how much damage have they done? If you listen to the theme of Satriani’s song and the verse of Coldplay’s, the melodies are very similar, but the songs in their entirety are very different. Coldplay takes the song in a completely different direction in the chorus, while that melody is Satriani’s chorus. Coldplay’s song has lyrics, Satriani’s is instrumental. They appeal to different audiences, they’re very different songs. Even if it is an case of infringement, how significant is it?

That’s saying little about the legal realities though. It’s bound to be a sticky issue in court. Coldplay will likely claim independent creation to try and clear their name (unless they did blatantly rip it off, in which case they might look for a settlement). How do you prove whether or not someone came up with a melody independently? How many notes or rhythms need to be similar to prove that one melody is a derivative of another? This is going to be an interesting case to watch.

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Small Business Owners Track Down Dumb Criminals Online

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Looks like cops aren’t the only ones looking online for evidence of crime. Just in the past week, we’ve seen two stories of small businesses using the web to do some detective work of their own. Canadian retailers in Cape Breton are hiring loss preventional specialists who are making use of social networking tools to track down shoplifters, finding dumb criminals bragging about items they’ve stolen on YouTube and then using Facebook to help identify the thieves. When a shoplifter has been identified, that information is shared with other members in the retail association who may choose to block that person from their stores. One of the mall owners interviewed also notes in the comments that Facebook is especially useful in checking for potential accomplices (friends who were there at the time of the theft). Despite the effectiveness of using the internet as a crime fighting tool, politicians elsewhere have been trying to get evidence of crime removed from YouTube even though it helps police — and now retailers — to catch dumb criminals.

The second story involves an Australian restaurant owner who tracked down bill dodgers using Facebook. The group of five diners stepped outside for a smoke and never returned after racking up a bill of $340 USD. Restaurant staff recalled that one of the diners had inquired about a former waitress when the group arrived. They contacted the waitress, searched a few names on Facebook and came across a profile belonging to one of the diners, who was pictured with his girlfriend (also in the group). Facebook showed that they worked at a restaurant down the street. They contacted the manager and, within hours, the diner returned to pay the bill (along with a generous tip and an apology). Later, the restaurant was notified that the man and his girlfriend had both been fired. No criminal charges were filed.

Whether it’s dumb criminals who can’t resist bragging or sloppy criminals giving away clues to their identity, the web makes it a lot easier for law enforcement and victims to track them down.

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Toronto Police Seek To Solve Murder Cases With Online Tips

[This post originally appeared on Techdirt.]

Last week, the Toronto Police Homicide Squad launched a new website containing profiles of unsolved murder cases and wanted persons. Each profile contains details of the investigation — a written synopsis, photos and links to Google maps or even YouTube videos — and allows visitors to submit tips directly to the police. It serves not only as an appeal for information, but also as a resource for grieving families. Some of the “cold cases” date back decades, and the police are hoping that increased attention on the web (or even from the press on the website launch) might lead to a break in an investigation.

Police have long since used online tools to search for evidence themselves, but we’re starting to see them engaging online communities and developing tools and methods to appeal to the public for information through the web. A few years back, a cop from a neighboring city received a lot of press for uploading a surveillance video to YouTube, and now Toronto’s Crime Stoppers service has its own YouTube channel and Facebook page. Though, in the surveillance video case, the media coverage of the YouTube angle seemed to help a lot more than the actual video (and comments on some of the Crime Stoppers videos make you wish the comment audio preview was mandatory.) The Toronto police have found a lot of success in solving and preventing crime using these tools, and they recently presented their methods to an Interpol audience.

It’s great to see law enforcement embracing the web as a means of two-way communication with the public, though it may take some time before these latest efforts pay off. The new site looks like it could use some more design work, and previous success has involved engaging a largely younger audience on social networks, rather than trying to draw witnesses to a separate site. As long as they continue to experiment, police are bound to find the right methods to make these tools useful.

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Apple Forgets About the Moron In A Hurry Test, Threatens School With An Apple In Its Logo

[This post originally appeared on Techdirt.]

It was just a few years ago when Apple used the moron in a hurry test to defend itself against a trademark suit, but their own legal department seems to have forgotten about it already. Apple has sent a cease and desist letter to the Victoria School of Business and Technology for the use of a blue and green apple element in their logo. The Canadian school has created a comparison page on their website in an attempt to highlight the differences between the logos, hoping to dissuade Apple from launching a lawsuit by building public support. The page also contains the legal correspondence to date, including a letter in which the school’s president asks if Apple is “suggesting that anyone using any variation of an apple for technology education related use is infringing on Apple’s trademark.”

The legal question is really about consumer confusion, as the Canadian Supreme Court has understood in the past. Trademark law doesn’t grant the holder an exclusive right over every use of a mark, just the right to prevent confusing or misleading use of it. The school is a technology school, but they’re also a school — an apple is a pretty common symbol for education. It seems like “even a moron in a hurry” would recognize the difference between the two logos, especially since the acronym “VSBT” is part of the school’s. The real problem here seems to be the requirement of trademark law that the holder of a mark actively polices its use. This requirement encourages these sorts of cease and desist letters, even if it seems like a comparison between apples and oranges.

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Quebec Lawsuit Highlights Problems With The Software Procurement Process

[This post originally appeared on Techdirt.]

FACIL, a free software advocacy group based in Quebec, recently filed a lawsuit against the provincial government (via Michael Geist) for favoring proprietary software without considering the free and open source alternatives. This story got plenty of attention a few weeks ago, but it’s important to break down the details to understand what’s really happening here.

The government is required by law to place contracts over $25,000 for tender, yet FACIL cites over $25 million worth of contracts between February and June 2008 alone in which no bids were solicited. The government is not being sued for buying proprietary software, as some headlines suggest (via Slashdot), but for failing to adequately evaluate the other options.

The lawsuit highlights a larger problem the procurement process has dealing with software. In the procurement process, the government publishes specifications for what it wants, companies submit bids and an open and transparent method is used to determine the best offer. This is mandatory except in a few special cases, like when only one supplier can meet the requirement. So, if the government publishes specs for Microsoft Office, rather than “office productivity software” then only one supplier can meet the requirement. It would be like seeking bids on a Ford Taurus. It’s obvious which company is going to win.

This process may work well for tangible goods, but it’s awkward for software because governments tend to use the process to acquire licenses, rather than “software.” Everyone is automatically licensed to use free software, so the process isn’t even needed here — and since only the copyright holder (or someone they’ve authorized) can sell a proprietary software license, the whole process isn’t even legally required. The important decision isn’t where to obtain a license, but which software to use in the first place. In other words, the process has a huge loophole. As long as the gov’t defines what it needs as “Microsoft Office” rather than “office productivity software,” no competitive bid is necessary, and the law isn’t broken. The copyright loophole for proprietary software basically turns the procurement process into an announcement system.

So, the real problem isn’t that the gov’t broke the rules, but that the rules are set up with this huge loophole due to the nature of software.

The process should really be adapted so that it can evaluate both proprietary and free options in the open and transparent setting it’s supposed to facilitate. The government should solicit bids for office productivity software rather than for Microsoft Office specifically — and the process itself should be more open so that the “bid” isn’t limited to just one offering. The answer is more complex though, since one contract has implications for another throughout the software stack (open standards can help) and the financial incentives for participants need to be reconsidered (not all companies sell software), but finding a solution is imperative for the government to truly act within the spirit of the law. That’s what the lawsuit is really about.

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Video: Remix Culture

Michael Wesch has an amazing video called An Anthropological Introduction to YouTube. Though it’s well worth watching the full hour, I wanted to highlight a particular moment which really stood out for me. The overlay of the video, Us (which is already a remix of Regina Spektor and popular films), with Wesch’s commentary and part of a speech by Lawrence Lessig raises the hair on my free culture arms.

Remix Culture

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Songwriters and musicians disappointed with Bill C-61

I’m proud to be a member of both the Songwriters Association of Canada (SAC) and the Canadian Music Creators Coalition (CMCC). Both organizations have expressed their disappointment with Bill C-61. It’s not that hard, really, but it’s noteworthy since the bill is supposed to be “protecting artists.”

The SAC is concerned about their proposal to monetize peer-to-peer file sharing (aka the music tax), which I’ve described as a forward thinking approach from backward thinking minds. The proposal has the right idea (to embrace the technology), it just goes about things the wrong way (namely, the fee is involuntary). Bill C-61 would completely undermine any attempt to accommodate the technology. The SAC’s response to the bill is quite critical:

C-61’s intent to halt [unauthorized file sharing] will be very expensive, will erode the good relationships we have with music lovers and will not be effective…

Where the SAC music file sharing proposal is consumer friendly in that it embraces file sharing… bill C-61 is unfriendly to music file sharing and would make this very popular activity clearly illegal;

Where our proposal is economically viable and is designed to generate income for creators and rights holders, the bill C-61 approach to file sharing is not economic for rights holders. Money generated through lawsuits would simply go to legal costs;

Where our proposal is practical and sensible in that it builds on existing activities… the bill C-61 regime would be impractical relying as it does on enforcement and punishment to reverse how many consumers access our music.

The CMCC’s response is even harsher:

It’s all locks and lawsuits… Suing fans won’t make it 1992 again. It’s a new world for the music business and this is an old approach… The question is, who gains from this bill? It’s not musicians. Musicians don’t need lawsuits, we don’t need DRM protection. These aren’t the things that help us or our careers.

If artists are against Bill C-61, who is it supposed to be protecting?

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This work by Blaise Alleyne is licensed under a Creative Commons Attribution-ShareAlike 2.5 Canada.