John Naughton had a nice column last week in The Observer (at the guardian) trashing the British Phonographic Industry. Triggered by their spokesperson’s statement that “For years, ISPs have built a business on other people’s music,” Naughton awarded it “Fatuous Statement of the Month” and went on to excoriate their arrogance and the legislation they’re pushing to mandate ISPs to deal with copyright infringement. And properly Naughton pointed out that “ISPs have indeed ‘built a business’. They’ve done it by providing an internet connection for upwards of a billion individuals and businesses across the planet.”
But what I thought was funny was the spectacle of the phonographic industry, which represents record companies, complaining about someone else “building a business on other people’s music”. The irony kills.
Many “Daily Show” fans (well, okay, me) have been concerned about the future of “This Week in God” now that Stephen Colbert is leaving “The Daily Show” for his own spinoff. Today’s NYT (10/12) explains that the segment is going to stay, but with a new correspondent — apparently, because of divine licensing:
“God has an exclusive licensing agreement with ‘The Daily Show,’ ” Mr. Colbert said. “We’re trying to get the Devil for our show.”
In completely unrelated entertainment news, Slate informs us (10/5) that the Gang of Four is covering their own songs on what is effectively a tribute album by the Gang of Four, in tribute to the Gang of Four. (Hey, I think they’re worth it.) Go4 was a little less happy with their licensing arrangement than God, apparently:
A sraightforward repackaging of the old recordings, such as a compilation or box set, would only serve to enrich EMI, their original record company in the United Kingdom. And that’s something Gang of Four didn’t want to happen. “We have never made any money at all from record sales with EMI and still have unrecouped advances,” King wrote in an e-mail. “So we didn’t want them to benefit as they did nothing to support us.” As for their original American record company, Warner Bros., King claims that they deleted Entertainment!—easily one of the 50 most powerful and influential rock albums of all time—in 1993 and only rereleased it in 2005 in response to Gang of Four’s having become a fashionable reference point. Rerecording the songs—something that contracts typically allow artists to do after 20 years—puts Gang of Four in a strong bargaining position for negotiating a new deal with superior royalty rates. “It is our way of reasserting ownership of our own material,” says King.