Digium, the parent company that hosts and maintains the open source telephony & PBX project called Asterisk, recently replaced the on-hold music featured in their distributions to CC BY-SA licensed works from OpSound. Using freely licensed CC music in open source projects has always made sense to us, but Digium’s John Todd discusses why they finally made the switch on the company’s blog:
In some nations (Australia and France, to pick two that have been brought to our attention) there are some who are claiming that we do not have the rights outlined above, and that our users therefore are in a similar situation where they may be in violation of license terms.
John goes on to explain that since CC licenses are easy to use, well defined, and accepted internationally, the choice was clear to them:
This is very far outside of Digium’s ability or interest to manage, nor do we wish to become involved in the protracted series of legal proceedings required to sort out this licensing issue. So we have chosen another path that is more clear to us: we will eliminate the files of questionable license from Asterisk, and replace them with music that has clearly defined and more acceptable licensing terms which are compatible with both the Asterisk license, and with any reasonable redistribution methods that might be used by others who re-package Asterisk.
Just think, the next time you get placed on hold, there’s a good chance you’ll be listening to some copyleft music!8 Comments »
Colin Mutchler is one of the original CC success stories. Back in 2003, he posted his song, My Life, to Opsound under a CC BY-SA license. A month later a violinist name Nora Beth added a violin track, calling the new work My Life Changed. It was one of the first instances of CC facilitating unsolicited collaboration, laying the ground work for the amazing remix culture we have seen develop over the past 5 years. Mutchler has since expanded his resume, working on photography and media production as well as his music. We caught up with him recently to find more about what he has been up to since we last checked in – needless to say, it has been a while.
Can you give us some background on yourself and your music? How did you get started as a musician? What are your major influences?
My first 7 years in Bellingham WA were filled with my parents’ sounds from the Grateful Dead and George Winston. But it wasn’t until I first started playing guitar in college that I began to write lyrics, initially inspired by people like Ben Harper, Ani Difranco, and Bob Dylan. Silvio Rodriguez was also an influence ever since I lived in Bolivia in 1998. Then when I saw Saul Williams in the movie Slam in 1999, it became clear that the most powerful voices of our generation would come through Hip Hop and spoken word. Other influential voices for me were Sarah Jones and Alix Olson. For a while I imagined myself becoming a kind of folk-hop version Mos Def and Talib Kweli (still do), but with a full time job in digital marketing and a vision for a crowdfunding media tool for social entrepreneurs, I’m still fighting that daily choice to actually be an artist and musician.