No related posts.


Is Compromise on Encryption Possible? Why Bill C-22’s “Minor Opening” Leaves the Central Question Unanswered
The Wrong Target: Why the CBC Should Be Asking About the Yom Kippur Protesters, Not the Journalist Who Reported on Them
Buried in Bill C-39: The Enabling Digital Trade Act Brings Canada Its First Federal Electronic Trade Documents Law
A Definition That Meets the Moment: Federal Government Recognizes Antisemitism Includes Anti-Zionism
Nobody Can Say They Weren’t Warned: Canada’s Threat Assessments Predicted the Belleville Yom Kippur Attack
Michael Geist
mgeist@uottawa.ca
This web site is licensed under a Creative Commons License, although certain works referenced herein may be separately licensed.
The music company lawsuit against Ireland
The music company lawsuit against Ireland
Finally the music companies are suing Ireland for failure to have any implementable copyright legislation;
http://entertainment.ie/music/news/EMI-launches-lawsuit-against-Irish-state/97275.htm
Even the most “cynical/daring” comments on this topic really don’t get it. Ireland has not been run as a normal state since 1998 or so, and there was every indication from back then that the music industry – in the mid 90’s perhaps the biggest in the world pro capita – began to be used for the creation of huge scams
We can start with the admittedly labyrinthine narrative on
http://seanonuallain.com/id2.html
To summarize; musicians start to notice that their song copyright registrations are altered when they attempt to repatriate them from Britain and the USA to the nascent Irish music “rights” organization (IMRO). Companies close to the government suddenly “own” part of the songs. The musicians check further, and notice that they are credited with writing songs that don’t exist, often spelled in Gaelic with a letter missing.
They get the police involved; one of the police is made a job offer he can’t refuse, but parliamentary questions keep the investigation going. It is possible that the government simply wanted to find out what we knew.
Then someone in IMRO’s London counterpart panics and – lo and behold! – it is revealed that Shay Hennessy, chair of IMRO, HAD STOLEN HUNDREDS OF COPYRIGHTS AND WAS USING IMRO TO PERPETUATE THE THEFT. Quis cutodies cutodiet? AS it happens, the police investigation was aborted with a leak to the papers
http://www.politics.ie/forum/current-affairs/36672-corruption-dpps-office.html
Hennessy was the main advisor on the copyright act that has caused this snafu;
http://www.allbusiness.com/retail-trade/miscellaneous-retail-retail-stores-not/4602230-1.html
It is important to remember that, when referring to Ireland 1997-2011, we are not talking about a modern democracy; it is a third world country, with the prime minister paying a fortune of taxpayers’ money to promote the musical and other “artistic” careers of his daughters and their partners, including the horrible “PS I love you”.
U2, among many others, took advantage of the artists destroyers’ exemption, which allowed them trade with dissolved companies and steal at will from far better musicians than them;
http://davemarsh.us/?p=951