CC is doing a five week series on the Affiliate Team project grants. Last week, you heard about the exciting events and activties from CC’s African region, and today we are featuring those from the Arab World. You’ll learn about a book about Arabic iconic figures that is first of its kind, videos explaining CC in a simple and exciting format, a book on open technology and media production, and an open source platform for stories of hope and change led by a group of Palestinian rappers and spoken word artists.
Algeria: Arabic Icons
by Meryl Mohan (project lead: Faiza Souici)
CC Algeria is currently finalizing its project agreement. With Faiza Souici as lead, the team will prepare an Arabic book under CC licenses, telling the stories of iconic Arabic figures who have had a positive influences in countries throughout the Arab World. They plan to include as many as 20 participants from the community, each writing about the distinctive personality of his or her country. CC Algeria plans to introduce the book at the next CC Salon.
Lebanon: CC Explained Simply in Arabic
by project lead Maya Zankoul
We’re working on two explainer videos for Creative Commons in Arabic. The first movie explains to people with no background whatsoever what Creative Commons is, how it started, and why there is a strong need for Creative Commons. The second movie is focused on licensing, explaining in Arabic what are the different types of licenses and how they can be used.
Our first movie is ready; you can view it here:
Our second movie is being animated at the moment and will be ready in the coming weeks. In the meantime, here is a screenshot from the movie!
Maya Zankoul / CC BY
Morocco: Creative BookSprint
by Meryl Mohan (project lead: Ahmed Mansour)
CC Morocco is writing a print and online book that will be the first in Arabic language on open source software for multimedia production, remixing, and publication. The title of the book will be “Guide to Free Culture,” or in Arabic “دليل الثقافة الحرة” where they will talk about the broad free culture movement (open source software, open data, OER, etc.) with a focus on Creative Commons licenses and most importantly how to be part of that larger movement by licensing your content using CC.
The project targets media creators in the Arab region by introducing them to the free culture movement and the benefits of CC licenses. In addition, it will be a how-to guide to using open source software in producing and remixing media including audio manipulation and video editing.
Four participating authors from Morocco’s affiliate team will work on the project, and upon its completion, they will continue to update the book with feedback from the community. By collaboratively engaging the local community and sending the resulting book to other local affiliates in the region, others can also use it for future workshops and events. With this initial project, free culture and the CC mission can continue to spread throughout Morocco and the North African region.
The book cover and the website (still under construction) where the book will be available for download and online viewing are here: http://opentaqafa.github.io.
The cover is made of a “remix” of the Glider that represents the hacker subculture and CC license symbols.
Ahmed Mansour / CC0
Palestine, Lebanon: Hope Spoken/Broken: Change in the Eyes of Palestinian Refugees
by project leads Bashar Lubbad and Stefan Larsson
Hope Spoken/Broken is a social innovation project hosted by the Internet Institute and the Center for Middle Eastern Studies at Lund University. The project records stories of hope and change from the Jabalia Refugee Camp in Palestine and invites rappers and spoken word artists to reflect on these stories using hip hop and spoken word poetry. In this project, we will interview Palestinians from different age groups, record their oral histories, and work with rap artists and poets (spoken word artists/lyricists) to turn their true stories into performance pieces for a wider audience. Using digital and social media, we will spread the words, thoughts, and feelings of Palestinians living in the Jabalia Refugee Camp to viewers around the world who would otherwise never hear these stories. Spoken word and hip hop poetry have the unique ability to increase listeners’ empathy. By connecting with poets who live in both Washington D.C. and Palestine as well as with rappers from Sweden, Denmark, and Palestine, we will build an international partnership to create, record, and share an original collection of poems and songs inspired by recorded oral histories from the Jabalia Refugee Camp. Artists (poets and rappers) will attempt to draw parallels between the lives of Palestinian refugees and that of ethnically, socially, politically and economically marginalized groups in the United States, Denmark, and Sweden.
For further information, check out the links below:
We’re big fans of Disquiet Junto, a group of Creative Commons musicians who create original works and remixes each week around a different theme.
This week, Disquiet Junto is honoring Bassel Khartabil, the Syrian CC community leader who’s been in prison in Syria since March 2012, with a music project dedicated to Bassel.
From Disquiet Junto:
On Thursday, January 23, a special collaborative sound and music project will help raise awareness about Palestinian Syrian programmer and Creative Commons advocate Bassel Khartabil, who has been detained in Syria since March 15, 2012. As the two-year anniversary of Bassel’s incarceration approaches, the Disquiet Junto music community on SoundCloud.com will spend four days developing original sound works in Bassel’s honor. This week’s project will invite musicians to flesh out a work-in-progress that Bassel has, naturally, not been able to complete due to his imprisonment.
Late in the day each Thursday, a new compositional prompt goes out to members of the Disquiet Junto, who then have until 11:59pm the following Monday to submit a piece of music. The Bassel project will be the 108th weekly Disquiet Junto project. As of this date, over 3,000 original pieces of music have been uploaded to the Disquiet Junto group on SoundCloud by over 400 musicians from around the world. The Disquiet Junto began the first week of January 2012, and has continued weekly ever since. Past Disquiet Junto projects include the interpretation of polling data as a graphically notated score, the use of wind chimes as a percussive instrument, the creation of “goodbye music” for the Voyager 1 space probe made from the sounds of interstellar space, and numerous Creative Commons–inspired remixes of music originally published on netlabels.
The Disquiet Junto was created and is moderated by Marc Weidenbaum, the San Francisco–based author of the book Selected Ambient Works Volume II, based on the Aphex Twin album of that name. Subscribe to the Disquiet Junto email announcement list.
Update (January 24): The challenge has now launched. Submit your project by Monday!
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“Could you please print out your website on company letterhead and mail it to me to process your request?” This is the kind of question Anil Prasad received from music industry professionals and publicists when he began Innerviews in 1994—the internet’s first and longest-running music magazine.
The internet has evolved since then, but the concept of Innerviews remains the same as it did 20 years ago: to share and bring attention to outstanding musicians. Innerviews is Prasad’s labor of love—a site dedicated to long-form, in-depth interviews of musicians. Coming up on its 20th anniversary, Prasad has interviewed 400+ artists to date, with the site averaging 1-1.5 million visitors a year. Despite this success, Innerviews remains a not-for-profit venture, allowing Prasad to spend weeks, and sometimes months ensuring pieces are meticulously researched and edited.
Below, Prasad shares his thoughts on his recent decision to adopt Creative Commons licenses for Innerviews and his eBook, and delves deeper into how musicians can incorporate Creative Commons into their work.
Where do you hope Innerviews will be in the next 5 to 10 years? Are there any new directions for its immediate future?
The ultra-long-form content format will remain the same, but the site’s ability to adapt to the new universe of devices and screens will radically alter. The next version of the site, going live in 2014 to coincide with Innerviews‘ 20th anniversary will be totally adaptive, meaning no matter what device you view it on, it will be the same experience. Having said that, the current site works well on mobile devices as is. But it will be significantly optimized in the near term. It’s interesting to contemplate the idea of Innerviews being 25- or 30-years old. The concept of the audience extending for a ride that long is very gratifying. If you had told me that this site, started as an experiment in 1994, would turn into a life’s work and legacy, I would never have believed you. The truth is, I would like this site to live forever in one form or another. It’s a key reason for why I adopted a Creative Commons license for the entirety of the site. It means the content can be mirrored anywhere, anytime, by anyone. I’d like the site’s content to remain as snapshots of these incredible musicians’ thought processes 25, 30 or even 100 years from now. Creative Commons has created a way for that to happen.
You framed the adoption of Creative Commons licenses as a “major decision.” Why did you decide to adopt CC licenses for Innerviews as well as your eBook?
It reflects a decision to totally let go of this content that I have slaved over across 25 years. It’s an acknowledgement that all of this work belongs not to me, but to the world at large. Innerviews has always been a not-for-profit endeavor, so why not formally codify it in the unique way that Creative Commons enables? Through the Creative Commons license, the content will go further than it ever has before. I had previously been rather protective of the content. I would police other sites that “ripped off” the work and get it removed, thinking Innerviews needed to be a little fortress that exclusively housed the writing. That view was misguided. Over the years, many people have asked permission to use the work in a wide variety of commercial, nonprofit, and academic environments. There are often a lot of those requests, so this decision also frees me from having to respond to each individual enquiry. Now, everyone can do whatever they want.
It’s also a major decision because I used Creative Commons to transform the for-profit Innerviews book into a not-for-profit, Creative Commons—based entity, too. As my friend, the author Robin Slick, put it, “Books have the lifespan of a cup of yogurt.” It’s true. You get maybe a year, perhaps a couple, before things totally drop off, sales wise. So, why not just release it to the world in the same way? Perhaps it’s a new model for authors and artists to consider—sell your product for a year or two to recoup or make some money via people that want to support it and want it rapidly. Once the inevitable fall-off occurs, freely release it like a pigeon into the wind.
Why did you pick a CC Attribution – No Derivatives license?
I want people to be able to distribute my writing freely, even to the point of reprinting it for commercial purposes. However, I remain protective of the integrity of the content itself. I want the features to remain completely intact. The pieces cannot be pulled apart. They represent a conversational flow that is meticulously architected. They are the equivalent of a long-form concept album in that way. You can’t just take parts out of them and still have them make sense.
Have you seen any financial or other benefits to making the switch to CC licenses for Innerviews and/or your eBook?
I just made the switch a few weeks ago [in September 2013], but already I’ve approached to have content run in magazines all over the world, as far away as The Netherlands and Russia. I’ve also seen the number of downloads of the eBook jump 1,000-fold since the decision, which has given it a totally new life, which is fantastic. At the end of the day, the goal is to get the work in the hands of as many people as possible and Creative Commons helps make that a reality.
How does CC bring you closer to the goal you mentioned in a 15 Questions interview: “A desire to share and bring attention to what I believe are outstanding musicians.”
Creative Commons is the exact embodiment of that idea. Creative Commons licensing means many more people will find out about the artists I cover. It enables the content to propagate all over the world, working its way into nooks and crannies of the web and far beyond. I’ll never have an idea of the totality of the penetration that will occur as a result of this decision, and that’s a great thing. More albums will be sold. More music will be listened to. More attendees will show up at gigs. At the end of the day, what Innerviews does is about helping artists. By making this content available via a Creative Commons license, those artists get an even bigger potential, global boost.
How do you feel about musicians putting their music under CC licenses?
It’s one of many valuable ways a musician can release music in a way that can reap rewards, both immediate and long-term. These days, it’s next to impossible for artists to earn a living through recordings, either because of piracy or streaming services that pay in fractions of pennies. The important thing is that putting music under a Creative Commons license is a choice. It’s up to the musician whether or not they want to do it, as opposed to their music being unceremoniously ripped off legally via streaming services if they are signed to a label or illegally via piracy.
A Creative Commons license is an invitation for the world to not only explore, but interact with music. Some Creative Commons licenses enable other musicians to take music and remix or build upon it. That means music becomes a conversation between musicians, as opposed to a fixed expression cemented in a moment in time. It’s a very exciting concept that many more musicians should examine. However, the question of monetization always looms large in these discussions. One approach is to put certain tracks, EPs or album chunks out via Creative Commons to create interest and intrigue as a roadmap towards an album that is available via more traditional means that encourage payment. There are endless permutations for how an artist could use Creative Commons to promote their work. As we have seen through services like PledgeMusic and Bandcamp, people are still willing to pay and support artists, even though they already often have full access to the music. It’s all about being creative, encouraging goodwill, and being open to the possibilities.
You mentioned in an interview with Radio New Zealand that if an artist is not at the point of selling, maybe that’s where Spotify and Rdio can benefit you. How does that idea tie into musicians who choose to license their music under Creative Commons?
Creative Commons offers another valuable option for musicians that are trying to crossover to the point where they can monetize their music. And unlike Spotify or Rdio, it enables them to do it entirely on their own terms, specifying how the music can be shared and made available. Jamendo, Freesound, and SoundCloud are just a handful of the many options that now exist for an emerging artist to distribute their Creative Commons-licensed music at scale, worldwide. Adopting a Creative Commons license can be a key tool in promoting work to an audience interested in reaching beyond the mainstream for new sounds.
Can you explore the idea of CC licenses as a means of spreading knowledge, and how music works with that idea?
Creative Commons is about treating the entire planet as a single global community, in which media is a shared resource that benefits the human race as a whole. This is in stark contrast to the siloed mentality and digital land grab approach the power players of the corporate media attempt to enforce on society. The choice to invoke a Creative Commons license is a choice to get your content or music to as many people as possible, without restrictions, filters or gatekeepers. It’s about taking your work directly to the people and experiencing and enjoying the unexpected connections that get created. As for music, in a way, it’s the purest manifestation of Innerviews‘ tagline: Music Without Borders.No Comments »
In celebration of Creative Commons’ tenth anniversary, we asked various friends of CC to write about their favorite CC-licensed works. Today, Jason Sigal tells the story of how Chris Zabriskie started licensing his music under CC BY and, in the process, opened new professional doors in his music career.
Happy 10th, CC! From the Free Music Archive
By Jason Sigal
The Free Music Archive is a curated library of music that wants to be shared, and Creative Commons makes it all possible. Our project was born out of a simple idea from the freeform noncommercial radio station WFMU: radio has always offered free access to quality music, and we all stand to benefit when others are encouraged to spread the word. We joined forces with a coalition of likeminded curators who specialize in everything from contemporary Indonesian netaudio to early cylinder recordings to Western classical, and we provide a platform for artists who utilize the full range of Creative Commons licenses.
Each element of the CC licensing suite is a powerful tool for musicians to leverage copyright in ways they find beneficial. For some, like Roger McGuinn of The Byrds, Creative Commons ensures that his re-recordings of public domain folk songs can be shared in a manner befitting the folk tradition. For the mythical 80s cassette underground duo Smersh, CC BY-NC-ND serves an archival purpose, as every digital copy ensures the preservation of sounds once confined to small batches of decaying analog tape. For the Russian duo Monokle & Galun and the Japanese netlabel Bunkai-Kei, CC BY-NC-SA encourages remixes like Creative Commons Compilation Data, where artists were challenged to make new songs by remixing other netlabel releases.
Creative Commons helps creators find each other, and we’re always inspired to hear about collaborations sparked by CC. Creative Commons also makes it possible to bypass what Lessig has termed the “permission culture,” and this is where things get really interesting. For example, we’re seeing a lot of innovative models from artists under the Creative Commons Attribution (CC BY) license. Attribution is not part of traditional copyright, but since hyperlinks function as a form of online currency, it is a wonderful added protection afforded by the Creative Commons licensing suite.
Last year, Chris Zabriskie — an FMA artist who specializes in cinematic soundscapes, ambient piano compositions and minimal synth music — found the Attribution requirement so powerful that he decided to drop the NonCommercial clause from his work. In a post entitled Why I Went CC BY, he explained his reasoning: “There are 48 hours of new video being uploaded just to YouTube every minute. Somebody, somewhere, always needs music for their project. Let people do what they want with your music, and they’ll promote you.” His inbox was flooded with requests from fellow creators: “People with Etsy stores making videos to advertise their new, handmade products. Filmmakers who, while the goal of making their short film isn’t monetary, one day might press up some DVDs. And if that dude’s free Flash game gets really popular, he’ll want to sell it in the App Store.” He included some examples of work by “people I’m not going to sue,” and he keeps a list that now includes big names like the Cartoon Network, New York Public Library, Gizmodo, and Mashable alongside independent feature films and shorts. “Malleable Objects,” a short documentary on the artist Margaret Craig, is embedded below.
Zabriskie emailed the FMA earlier this year to describe how his decision paid off in ways he never expected: “I’ve scored several feature films, a number of shorts, and am doing a bunch of other contract work for people and projects all around the world.” Along with the new commissions, “a shocking number of folks from filmmakers to ad agencies to churches have been paying to license some of my existing stuff” either as a means to bypass the Creative Commons Attribution requirement, or simply because they have the means to support the music that helped make their work possible. Though he says he has no plans to leave his dream job, (which happens to include both music composition and video editing), Chris Zabriskie has allowed his music to spread freely to the point where he could afford to focus on music full time.
These are just a few of the many models made possible by Creative Commons licensing. Thanks to Creative Commons, creators have choices beyond traditional copyright. Over the course of the past decade, these choices have facilitated collaborations and spawned the creation of countless new works. Happy birthday, CC. We look forward to what the next ten years will bring!No Comments »
In celebration of the tenth anniversary of Creative Commons, our good friends at Dublab created an awesome #cc10 music mix. The continuous blend includes 22 tracks by esteemed artists like Bradford Cox, Lucky Dragons, Nite Jewel, Dntel, and Matthewdavid. The mix is available for free download and is available to the world under CC’s BY-NC license.
Creative Commons and Dublab have a long history of working together, and Dublab is behind a wide variety of amazing and inspiring CC-licensed music and visual art. Learn more by visiting Dublab’s website and reading about some of the projects Dublab and CC have collaborated on.
Below are the track listing and a SoundCloud widget for Dublab’s #cc10 mix. Download and share it!
 Carlos Niño & Miguel Atwood Ferguson – “8 Moons Blue”
 Nobukazu Takemura – (Unknown Title)
 Lucky Dragons – “13″
 Nite Jewel & Julia Holter – “What We See”
 Yoko K – “Into Infinity ‘Ear’ Loop #1″
 Golden Hits – “Pillowillow”
 Tujiko Go – “Into Infinity ‘Ear’ Loop #1″
 Yuk. & Teebs – “Estara”
 asonic garcia – “Endless Realm (Bun/Fumitake Tamura remix)”
 Dntel – “Guardian”
 Wake – “Duckbag”
 Javelin – “dublab decade jamz”
 DJ Lengua – “Waterbeat”
 Derrick Winston – “Jawhar”
 James Pants – “Tonight, By The Moonlight”
 Matthewdavid – “Jingle 3″
 Kentaro Iwaki – “Into Infinity ‘Ear’ Loop #5″
 Lucky Dragons – “Real Fire”
 High Places – (Unknown Title)
 Bradford Cox aka Atlas Sound – (Unknown Title)
 Feathers – “Eldritch”
 The Long Lost – “You Own Backyard”
On Friday, Michael Geist broke the story that the Canadian Broadcasting Corporation had apparently banned use of CC-licensed music in its podcasts. This seemed odd, given that the CBC’s Spark podcast has long used, promoted, and done interesting projects with CC-licensed music.
CBC Radio’s program director responded with a comment on several of those stories, excerpted here:
The issue with our use of Creative Commons music is that a lot of our content is readily available on a multitude of platforms, some of which are deemed to be “commercial” in nature (e.g. streaming with pre-roll ads, or pay for download on iTunes) and currently the vast majority of the music available under a Creative Commons license prohibits commercial use.
In order to ensure that we continue to be in line with current Canadian copyright laws, and given the lack of a wide range of music that has a Creative Commons license allowing for commercial use, we made a decision to use music from our production library in our podcasts as this music has the proper usage rights attached.
Everyone can rest easy– there are no “groups” setting out to stop the use of Creative Commons music at the CBC, and we will continue to use Creative Commons licensed music, pictures etc. across a number of our non-commercial platforms.
It is good to know that the CBC will continue to use CC-licensed works in some cases, and their explanation of why not in others. And it is true that only a minority of CC-licensed music is released under a license that permits commercial use — for example, about 26% of the nearly 40,000 CC-licensed albums on Jamendo.
A better approach – one that respects the choices of both artist and producer – would be to require that programs only use music with the appropriate rights, which could include some CC licenced music.
Bigger picture: finding, sharing, and supporting music under CC licenses permitting commercial use
Hopefully the CBC will listen to the feedback of Geist, Doctorow (both Canadians, as it happens), and others. However, the incident is a good reminder of the opportunity for music under CC licenses permitting commercial use, sites and curators that facilitate finding and sharing such music — including letting people know about the many that do exist.
(Note that many musicians have chosen to release music with CC licenses containing the NonCommercial term with good reason; this post is meant to point out the opportunity for others, not a critique of those who have chosen to limit commercial use.)
Jamendo may host the largest current collection of CC-licensed music permitting commercial use. See (and contribute to) our wiki article with tips on finding commercially usable CC-licensed music for much more at sites ranging SoundCloud to Wikimedia Commons to Libre.fm.
If you’re an artist with experience sharing music, including for commercial purposes permitted under an appropriate CC license, or the developer of a site or other service for discovering, distributing, supporting such music, or otherwise add to this ecosystem, please let us know — and thank you!6 Comments »
We’ve been following Magnatune since it launched in 2003 as a record label that embraced the net, including giving fans the legal right to do what comes naturally given the net — share an remix music noncommercially — by offering all label music under the Creative Commons Attribution-NonCommercial-ShareAlike license. At the time a fairly radical position. Fast forward nearly 7 years to Magnatune founder John Buckman’s update on the label’s business:
So really, it’s not so much that we’re changing business models, but rather that we introduced “unlimited memberships” two years ago, and they’ve been so successful we’re deciding to focus on that.
Some things that are not changing:
- We’re still not evil: we have always paid 50% of membership fees to our musicians, been DRM free, and used Creative Commons licensing. All that stays the same.
- We will continue selling commercial use licenses of our music, though in a few months we will be moving that business to a new music-licensing web site we’re building (iLicenseMusic.com).
I’m personally really excited with the change, because 4 years ago I noticed that our download sales were declining, and it wasn’t until 2 years ago that I finally figured out what people wanted. Magnatune has been going since 2003, and the future looks rosy.
Also see John’s immediately previous post with an update on the label’s work with and support of free software media players, which we first noted here in 2008.
We applaud Magnatune’s long-term commitment to CC licenses and their willingness to constantly innovate based on fan and customer feedback rather than the unfortunate standard practice — treat fans poorly and hope they continue as customers anyway. Recall Mike Masnick’s Connect With Fans (CwF) + Reason To Buy (RtB) = The Business Model ($$$$) formula for a general treatment.No Comments »
Continuing our guest curation series at the Free Music Archive is Machtdose, a German podcaster with an incredible ear for CC-licensed music. A feature in Phlow Magazine gives some welcome background on the Machtdose team, framing the influences – musically and otherwise – at work in their mix. Check it out at our Free Music Archive portal:
No Comments »
We discovered the wonderful world of netaudio and netlabels some years ago. From the start we were fond of the idea of freely distributed music and how Creative Commons gave license models for it. Since 2005 we have done a monthly podcast, presenting our favorite tracks from netlabels all over the world. The netlabel scene is so rich in terms of sounds, styles and personalities that we’re always coming back for more.
Late last year we began reaching out to those working to expose and support CC-licensed music for help with our curator portal at the Free Music Archive. Our first guest curator was ccMixter admin Victor Stone, whose mix highlighted the talent of the ccMixter community. Now, we are happy to present the second mix in the series, featuring some incredible tracks selected by CC/netlabel music blog Catching The Waves:
I am deeply honoured to join in the fun at the FMA. My mix consists of some of the best tracks from some of the best albums that have been lassooed (SP) at CTW. It features lots of different genres, tempi and moods (rock, IDM, trip-hop, minimal, folk, ambient, etc.,) from as far afield as Germany, Japan, Colombia, the United States, France, Canada, Italy and the U.K. It was murderously difficult to whittle the mix down to a still unwieldy twenty tracks. It would be wonderful if people who were new to netlabels, and CC music in general, stumbled upon these songs and realised, as I did, that there’s a whole world of wonderful music just waiting to be discovered – and that it’s all free, legal and made by artists who want their music to be downloaded, copied and shared. Catching the waves can be fun…
You can listen to the whole mix at our FMA Curator Portal. Big thanks to Catching The Waves for the excellent selection!1 Comment »
On October 30th, Brooklyn Museum will open Who Shot Rock & Roll, an exhibition commemorating photographers and their creative role in rock & roll history. To celebrate, the museum has teamed up with Chris Stein – co-founder of the legendary new wave band Blondie (and one of the photographers featured in the exhibit) – for a companion musical project called Who Shot Drums and Bass.
Drums and Bass is made up of eight original songs composed by Stein in DrumCore and released under a Creative Commons Attribution-Noncommercial-Share Alike license. Brooklyn Museum is asking remixers to download the tracks from its Soundcloud page and remix them for the Who Shot Rock & Roll: Remix! contest. Remixes are due December 1st, and will be judged by Stein and Matthew Yokobosky – Brooklyn Museum’s Chief Designer. The creator of the winning remix will receive a copy of the Who Shot Rock & Roll companion book signed by author Gail Buckland and have their remix featured during the Target First Saturday party in January.
More info, including contest rules and registration, is available Brooklyn Museum’s website.No Comments »