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Podcasting Isn't Webcasting

Brett Faucett gives a brief course, via podcasting, on the podcasting of music that requires the clearance of rights from the RIAA (rather than compliance with a Creative Commons license). Here's a short pile of links you (and I) will need to follow:

Brett's advice is good and useful, but it also has a context: he treats podcasting as a form of webcasting. And he's not alone. To some degree, unavoidably, we all do.

And I think that's a problem, because podcasting is something very different.

It's important to remember that the RIAA, SoundExchange and the other opponents of Internet radio strangled webcasting in the cradle through the CARP (Copyright Arbitration Royalty Panel) process (which Brett calls "open", but wasn't — just ask the webcasters who couldn't afford to high fees required to participate in the process).

The CARP process winnners would, I am sure, love to impose the same regulatory regime on podcasting as they did on webcasting. And they'll succeed if we don't fight them. That fight begins inside our own minds, with the way we conceive and characterize podcasting.

To start, we need to observe that the RIAA characterizes webcasting not as a form of broadcasting, but as a "public performance". SoundExchange's rate information, derived from the CARP's ruling, pertains to "webcasters" and "simulcasters", which was what they were fearing, and hoping to rein in, from the moment the Internet became apparent to them. This fear is what gave us the DMCA in 1998 and the CARP ruling in 2001.

As we know, there is a difference in kind between podcasting and webcasting. If the CARP ruling had never happened, Internet radio would likely have taken off, and podcasting would today be a low-budget branch of that industry. But webcasting didn't take off, because the 'casting of music was essentially prohibited by a regulatory framework so complicated and potentially expensive that even the highly resourceful KPIG (the first commercial radio station on the Net) went off the webwaves. (That it's still available through a special paid subscription to Real only proves my point.) So we have podcasting.

It is critically important that we do not buy into, or adopt, the conceptual framework and language used by the recording industry, or by traditional broadcasing and its regulators (such as the FCC). That framework conceives webcasting and podcasting, as it also conceives the Net, mostly as a piping system for the distribution of the container cargo called "material" or "content".

Podcasters, along with the Netizens who built the Net's practical infrastructure, conceive the Net as a place. You go on the Net, not through it. You have sites, with addresses and locations. You go to its public spaces as you would to a public commons. That commons supports a public marketplace where everybody is fundamentally a peer — so anybody can do business, or make culture, with anybody else. Most notably, anybody can speak freely with protection by the first amendment (at least in the U.S.).

Broadcasting has never been protected by the first amendment because it's conceived both (1) as a shipping system for material, and (2) as a performance venue that so boundaryless that innocents can be offended by what they might hear there. Read the FCC's page on Obscenity, Indecency & Profanity. Note the use of the term "material". Note also the use of the term "audience". There is a line drawn between speech and performance that allows the FCC to fine for "obscenity" and "indecency" in the latter. That line has to do with the greater possibility of "exposure" one finds in performance than in speech.

Translation: we're all peers here. Our relationship, even over a podcast, is symmetrical. Personal. One-to-one, or one-with-one. Despite the numerical asymmetry between speaker and listener, the relationship is symmetrical. It is not the asymmetry of performer-to-audience.

Talk about your "content" or your "audience" and you become much more subject to regulation. You use their language, and their concepts, and you play into their hands.

There's an interesting irony to the Net: visitors to sites and listeners to podcasts have choices about what they see and hear. There are practical boundaries here. The boundaries aren't clear or perfect, but they are there. Not so with SCAN on your car radio, which might expose your kids to the word "fuck" if the FCC didn't fine broadcasters for allowing it.

The distinctions to be made here are complex and sure to be the source of argument. Meanwhile, as we begin to marshal arguments on behalf of keeping podcasting free of the FCC's and the RIAA's tentacles, I advise podcasters to speak about "listeners" rather than "audiences" and about "subjects" or "programs" rather than "content".

There is much more to say here, but I have to go cover CES and finish what I'm writing for the April issue of Linux Journal. Meanwhile, I'll point to this SuitWatch from last September, which has an abundance of links to earlier coverage of the whole CARP debacle.

Bottom line: As podcasting becomes more popular, and as it's perceived, inevitably, as a way to work around the FCC, the RIAA and the DMCA, it will be attacked. There will be efforts to bring podcasting into the regulatory regime reserved for webcasters. We need to fight that.

And that fight starts in our own minds, and in our own speech.

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Maximo Park

Maximo Park muse mp3 download - Russian Literature, Nosebleed, A Fortnight’s Time...

Law versus Concept

Thanks for the link, Doc. This is an important conversation. I'd agree that, conceptually, podcasting is something apart from webcasting and much more like blogging than broadcasting. But unless you treat podcasting within the existing legal framework (or negotiate your own performance licenses with the record companies), you're leaving a significant chuck of music on the side, out of the podcasting arena. I'd like to see a way to make it work without an act of Congress, which might never come. "Webcasting" was the word we used before in the context of the DMCA discussions because that's all we knew. The language of the statute isn't completely limited to that old concept though, and I think it might be flexible enough to accomodate this new medium. At least that's what I'm looking at now.

Best regards,

Bret

I need to use copyrighted music in my podcasts

I really need to use copyrighted music in my podcasts. This is very important issue and I am ready to pay for such music. However it is beyond my core interests so I kindly ask you Doc or some other brains in blogosphere to solve this problem and made some "How to legally use copyrighted music in Podcasts" guide and let me know!

I really need it. Guys, please solve this problem!

Slyde Phaeder

The reporting and payment requirements of decisions of the U.S. Copyright Office with respect to webcasting were recognized as too onerous to apply to public broadcasting, and NPR managed to negotiate some exemptions. It may be possible for some podcasters to qualify under this umbrella through membership in an organization such as the National Federation of Community Broadcasters, but the territory is tricky and requires research. One place to start is with the list of links on page 6 of the NFCB's "Get Set to Stream!" manual, available in pdf format at http://www.nfcb.org/publications/PDF/streamingmanual.pdf. The September 2, 2004 Suitwatch at http://lists.ssc.com/pipermail/suitwatch/2004-September/000074.html also includes useful links.

Legally use copyrighted music?

I'll have the same problem once I start podcasting too, here. There's a themesong I want to use, and I'll need permissions of various kinds.

As I said, I believe Brett's advice is good. But "clearing rights" is going to be a PITA for all of us, no matter what happens with the fight over what podcasting rights.

Theme song

Why not get someone to write you an original track?

Musicians looking to make music for podcasts

At least some musicians are thinking about podcast music, i.e., music created specifically for podcasts (scroll down a bit).

Links to Free Legal music

Here are a few links to directories of all kinds of Creative Commons Music. This means that you can search what your looking for and LEGALLY use it right away.

creativecommons.org/find/
commoncontent.org
magnatune.com

oh yeah...and the WIRED CD is all up for grabs. High End music for your podcasts by famous artists. FREE! Now!
creativecommons.org/wired/

podcasting . webcasting, and laws about 'em

I totally agree that podcasting isn't webcasting (I originally wrote the Distinction between broadcasting, webcasting, and podcasting section in the podcasting entry on Wikipedia).

But, technically, in terms of the laws about webcasting, podcasting isn't like webcasting because files are available on-demand (IANAL, of course). The "on demand" vs "streaming" aspect of things is a key distinction made in the copyright / license allowances for radio / webcasting.

So, because podcasts are just files that can be downloaded and played at any time, the regulation of podcasts is probably more likely to attract the attention of the folks who are trying to regulate file sharing, rather than those trying to regulate broadcasts / webcasts.

I'd even conjecture that "podcasting" is framed in a safer manner by associating itself with webcasting (by virtue of the name similarities) rather than with file sharing.

But, all that said, there are folks trying to treat these issues like they are part of the broadcast commerce system rather than expressions of free speech, and I think you're right to send everyone a heads-up to not fall into using broadcast language to describe podcasts.

podcasting . webcasting, and laws about 'em

Agreed on all counts.

The problem is (or will be) that podcasting, unlike webcasting, will become a commercial success, and surprisingly soon; and that podcasting's success will get lawyers at the RIAA and the big broadcast houses scrambling for ways to get their heads around the concept of podcasting — along with their hands around the throat of it.

Podcasting will succeed once broadcasters (both terrestrial and satellite) start using podcasts as program material. When that happens, we want to work two sides of this thing: 1) fighting those who wish to define, and regulate, podcasting as a division of webcasting; and 3) leveraging what good there may be in the regulatory regimes already in place.

I have a hope that the RIAA and the various related bodies (including lobbyists and Congress) will realize that there's a lot more money to be made by embrasing and supporting the Free Internet than by finding ways to prevent it from happening, which is what the DMCA and CARP were essentially about.

That said, my hope resides mostly in their economic motivations, rather than in any principled stands they might take. There are Good and Bad sides to this thing. Principles matter. We have to stand for them. If we're surprised to find who might come stand with us, all the better.

Success, not even commercial

I don't know if the situation is different than with webcasting, as much as the bad things that happened to webcasting are still there and ready to get worse for any webcasting or podcasting that keeps trying to go foward to the obvious destination of every individual being enabled to produce and globally distribute any form of media; and likewise receive it from any other, remix it, etc.

Webcasting got squashed by the CARP licensing thing, and that was either because it was successful commerically, or because it was perceived of as being a threat (to $$ going into the existing copyright / broadcast system) even without success.

Back in the late 1990s. I used to do a lot of webcasting internal to an enterprise (i.e., intranet/extranet webcasting), and we also did something that was technically like podcasting, but using RAM (RealAudio meta) over email instead of RSS over HTTP. Like many things that have happened with webcasting, everything about it seemed very successful, as long as the bandwidth was there.

It's always seemed like this would spill out all over the Internet as soon as the bandwidth was there (which it has been for a few years now). Without CARP, I think it would have been a widely commercial success as well. (And, nevertheless, there are some great webcasts from radio stations that are able to pay the bills.)

Podcasting seems to be naturally picking up where webcasting got stopped, which is moving to the blog post level (size / simplicity) of creation. But, it will face the same (or worse) regulation if it gets into using RIAA material.

But, I guess the place where I see hope is that there were only a few thousand, disconnected webcasters who got squashed by CARP. A few ten thousand or hundred thousand interconnected podcasters could approach these concerns a lot differently.

If the broadcasters begin sna

If the broadcasters begin snapping up material and programs from podcasters will they not also demand that the podcasters stop podcasting? Sounds complicated, I know. But I'm thinking that if podcasting is going to be anything, it is going to be a recruiting ground for new talent, not necessarily a market for their programs. I'm not convinced of anything surrounding podcasting other than this: it will cause radio to be better. Related: I've been spending some time over at the Public Radio Exchange and have been blown away by the quality of programming on display there, programming that is not making it onto NPR. The established pros make it, but there are an awful lot good young talented unexposed producers - sounding awfully unNPR-like. The point being that there is a great desire to make audio - radio or poddio - and it's a very personal thing. Which is precisely what's missing in radio today. That one to one relationship, if you will. You know what I mean.

But because of the nature of the podcast - recorded, delayed - there are limits on what podcasting can be, even if the RIAA and FCC decided to completely ignore the phenomenon.

And, I'm not clear on where you see the commercial potential of this beast though.

Make your own material

I believe the best method for podcasters to resist attack is:
1) Make Your own material &/or use audio you have permission to use (ex. some Creative Commons audio or work you have written permission to use)
2) Retain Your own Copyright
3) License Your work under the Creative Commons.
Do not use audio that you do not have permission to use. Resist the urge to use audio you know isn’t “RIAA free

Expand the legal territory

Good points.

I'll hate not using the theme music I'd love to use, but not using it will certainly make me more creative, no?

We need to expand the legal ground. At some point the tide turns.

DIY

Not only are you avoiding the RIAA, you're going to be forced to be much more creative.

DIY is right!

Doing it yourself is the way to go. It's true... not every one has the time, the skill, or drive to make music themselves. But this can all be overcome. Computer software makes it very easy to construct a bit of music or sound.

If this won't work, ask a friend who is a musician to write you a piece or put a request for tunes on your blog. Look at the process of finding the legal music you want as being a producer of a movie. You need to find all the parts of the puzzle for it to work. Search tirelessly. Do It Yourself!