One of the English language’s most recognized and performed songs is Happy Birthday to You (HBTY), which likely first appeared between 1893 and 1912 as new age-grading standards in American schools increased the need for a common celebratory song. Historian Elizabeth Pleck’s work shows birthday parties as a common practice had only come into vogue around the 1830s, while confection-lovers would wait another 20 years before the modern birthday cake emerged in the 1850s. HBTY is a derivative work combing generally-assumed-to-be-folk lyrics with the tune of Good Morning to All (GMTA) a melody written by and copyright to Mildred J. Hill in 1893. The original GMTA lyrics were penned by her sister, Patty Smith Hill.

Good Morning to All sheet music

Today, after a series of mergers and acquisitions the Warner Music Group claims copyright on HBTY, and current law states it will remain rightful owner in the U.S. Until 2030. This assertion is contested in detail by Professor Robert Brauneis in his paper Copyright and the World’s Most Popular Song. In spite of common belief that it remains under copyright, Braunies’ archival research indicates that HBTY may actual be a public domain work. By recapping his arguments (after the jump), I hope to help other artists understand the importance of documentation and proper registration of works should they seek to obtain copyright protection – as well as to consider problems that can arise from the continued extension of copyright term limits and in turn, the estate-based control of past works. Lastly, I’d like readers to become more aware of the general contributions made by Patty and Mildred Hill to the respective fields of education and musicology.

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Last Friday, TechCrunch posted an article provocatively titled, Did Last.fm Just Hand Over User Listening Data To the RIAA?. Based on a friend-of-a-friend tip, the piece alleged that Last.fm had “handed over” user data to facilitate the identification of U2 fans with leaked copies of the band’s forthcoming album, No Line on the Horizon. (This was before Universal Music Group copped to leaking the album and U2 started streaming it voluntarily.)

Within an hour and a half – midnight for the London-based Last.fm – the allegations were debunked. Employees responded to concerned readers directly,

“[Last.fm would] never personally identify our users to a third party.”

Last.fm’s reputation is saved, TechCrunch are lying liars, the RIAA still sucks, and then I found five dollars. Right?

Not quite. Last.fm, purchased by CBS Interactive in 2007, represents the tension driving this era in computing culture, a constant negotiation of value and privacy. I’ll enrich your database by telling you how many times I’ve rewound Las Mulas De Moreno today (five and counting) and you tell me about similar artists to obsess over tomorrow.

Billboard and Soundscan look like halfblind guesswork in comparison with the charts made possible by this kind of deep data collection. Last.fm’s revenue may draw largely from advertising but if they were to start selling custom data packages to interested corporations, would anyone stop scrobbling?

Like many FCers, I was initially so alarmed at the notion that Last.fm would “hand over” user data that I ignored the fact that Last.fm’s core operations are basically in a constant state of dry snitching on its users. Want to know who is listening to “Las Mulas”? Click the Listeners tab, and start crawling profiles for identifying information.

For some of us, this is reason enough to cease participation. In fact, several FC members have already begun brainstorming a non-commercial, decentralized alternative. Others propose ruining the data reported to Last.fm by deliberately spoofing the scrobbler software with falsified metadata.

But what about those FCers who use Last.fm, enjoy the services it provides, and accept its exchange of privacy for value? Do we demand they sacrifice this pleasure? To what end?

Rather than struggle against enjoyment of Last.fm, what if we were to maximize it? What would an enthusiastic embrace and exploration of a service like Last.fm reveal? Would we find its boundaries and be inspired to develop a successor with even greater capacity? Would it reveal new entrepreneurial opportunities that better protect user privacy without sacrificing the potential benefits of an enormous dataset?

Is this a positive, proactive, fanatic activism? Or surrender to an uncritical consumption?

BOOMBOX from Ely Kim on Vimeo.

Consider the case of YouTube, where thousands of people have been recently burned by spurious copyright claims. Every day YouTube users create and upload videos like the one above that incidentally infringe one or more copyrights. Quite often the videos – again, like the one above – are disabled because of a DMCA takedown notice. If the email we receive at YouTomb is any indication, these users rarely intended to flaunt the law or make a stand for free culture. Rather, they come to us confused at being disciplined for behaving in a way that felt ethically appropriate.

When large copyright holding organizations attempt to withdraw from popular web services, as Warner Music Group has done with both Last.fm and YouTube, they can no longer paint the users of those services as pirates, outsiders, or radicals as they once did with Napster and now do with the Pirate Bay. Instead, their withdrawal brands them perverse, confused, and out of step with widely accepted social practice.

What implications might this reversal have for the free culture activist?

Do we want those YouTube users to familiarize themselves with the arcane constraints of copyright law and the numerous variations we’ve made available? Or should the users be left alone and the regulatory institutions be compelled to struggle with a set of laws and expectations ill-suited to contemporary media ethics?

Imagine a free culture pro-activism that consistently supports, encourages, defends, and extends the everyday practices of users of services like Last.fm and YouTube. What might we gain through such radical participation?

As YouTube’s instability continues to frustrate community members, video makers are forced to adapt. Fanvidders have been highly proactive in both anticipating and managing the constraints presented by YouTube’s copyright policy.

Initially, vidders developed codes for discussing their videos. panswendyy recounts one such strategy,

[My friend] uses the first letter of the character’s names, like B for Buffy, so if it were a Fuffy, she’d just put B/F.

Unfortunately, such codes are ineffective responses to the automated Video Identification system deployed by Google in 2007. With no voice with which to argue fair use, many users sacrifice the incomparably large community on YouTube for friendlier service elsewhere.

Before setting sail for imeem (or Vimeo, blip, dailymotion, etc), prolific YouTube users like cmspillane post videos explaining the reasons for their departure. (Ironically, because of its background music, we should expect the signoff itself to disappear.)

In response to an earlier blog post about preserving comments on disabled videos, Dean writes that YouTube might prefer that users are “unable to de-facto redirect to other versions of infringing material.” This should come as no surprise.

Mirroring videos is the most powerful immediate action that video makers can take to protect their rights as authors.

The gradual disappearance of videos from YouTube over the last 18 months progressed largely undetected because of an emergent practice distributed among thousands of community members. A few common searches reveals that the most popular videos are frequently ripped and re-upped under a variety of accounts. Like bees unwittingly pollinating a field of wild flowers, these re-ups are often executed by spammers looking for more hits on their other videos. The preservation of threatened videos is merely a by-product of their unscrupulous pursuit of views!

Moving to another service allows creators to continue practicing their craft but does little to challenge the irresponsible, wasteful industry practice of issuing copyright claims willy-nilly.

Can proactive re-upping and mirroring be an effective response to the accelerating disappearance of fanvids, remixes, home videos, and rare finds from the YouTube collection?

What would an automated mirroring / re-upping tool look like? Could YouTomb data be mobilized toward such an effort?

Remember, a DMCA takedown is not a judgement. YouTube disables access to videos based on mere claims of infringement. If you have had a video identified, the EFF wants to hear from you. Please do not let the short-sighted actions of a frightened industry intimidate you from participating in the creation of your culture!

(Cross-posted to the YouTomb blog.)