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Dolly Parton, Gaylord To Build Theme Park

Gaylord Entertainment and Dolly Parton’s Dollywood Company are entering a 50/50 joint venture to develop a 114-acre family entertainment zone adjacent to the Gaylord Opryland Resort & Convention Center. The Dollywood Company will serve as the operating partner of the as-yet-unnamed outfit.

Phase one of the project is an approximately $50 million water and snow park, the first of its kind in the United States. A late 2012/early 2013 groundbreaking date is expected, with the park opening slated for summer 2014.

Tennessee Gov. Bill Haslam and Nashville Mayor Karl Dean joined Parton and Gaylord Entertainment Chairman and CEO Colin V. Reed at today’s announcement at the Grand Ole Opry House at Gaylord Opryland.

The water and snow park will anchor the project which will include 35-acres set aside for future expansion. The park will provide a mix of high energy water activities for the summer season and designated snow activities for winter play. Once open, first year attendance is projected at 500,000, a large portion of which will come from out of state, bringing in substantial tourism revenue to Tennessee and Nashville. Dollywood expects to employ 450 full- and part-time employees.

“Tourism is the second largest industry in Tennessee, generating more than a billion dollars in tax revenue annually and employing more than 170,000 Tennesseans,” Haslam said. “This project will be a welcome addition to the wide variety of attractions and destinations across our great state, and I applaud the collaboration and spirit that has led to this announcement.”

This proposed attraction furthers Gaylord’s focus on growing the leisure side of its business.

“We are thrilled by the prospect of bringing to Nashville a family focused entertainment center with one of the preeminent theme park owners and operators in the country,” said Reed. “I am confident this proposed attraction, which will be a destination not only for our hotel guests but also for the entire Nashville community, will meaningfully enhance our transient and leisure strategy by providing a fun, family environment at the doorstep of the Opryland Hotel. With Dolly Parton’s country music legacy and strong ties to Nashville, we can think of no better partner for this venture than Dolly’s Dollywood Company.”

Bobby Karl Works The Nashville Grammy Nominee Party

Chapter 385

Nominee Dave Barnes walks the red carpet. Photo: Caitlin Rantala/MusicRow

When the Nashville Grammy Nominee Party calls, you always rsvp.

This annual event is a significant marker on the music community’s social calendar. The holidays are over, a new year is beckoning with promise and we’re all well over our families and eager to reconnect with our real family. It is the first significant gathering of the fabulons of the year and one of the only ones that unites the diverse elements of Music City.

“I love this party,” said Drew Alexander. “I get invited, I show up,” said Rod Essig. They spoke for the whole merry-making room.

The Tuesday evening (1/17) event was held, as is customary, at the Loews Vanderbilt Plaza Hotel ballroom. As indicated by the attendees, the 54th annual Grammys are throwing a spotlight on all kinds of Music City music makers.

“As everyone here knows, the talent that comes out of this town is extraordinary,” said Dan Hill, the current president of Nashville’s Recording Academy chapter. “The nominations for Nashville this year come from everything from rock to classical, including Best New Artist.”

“There are 20 categories represented [by Nashville nominees],” added George Flanigen, who is serving his second term as the Recording Academy’s national president. “This year’s nominations reflect the respect that the voters have for Music City.”

In addition to categories such as the predictable country, bluegrass and Christian musics, Nashvillians popped up in such categories as rock album, pop group, blues, folk, children’s, spoken word, engineering, classical, instrumental composition and soundtrack song.

George Jones walks the red carpet at the Nashville Grammy Nominee party. Jones is being honored with the Recording Academy's Lifetime Achievement Award this year. Photo: Caitlin Rantala/MusicRow

Blues nominee Keb Mo’ said he was proud and pleased to call himself a Nashvillian. In one of the cooler, only-in-Nashville moments, he walked the red carpet alongside Lifetime Achievement honoree George Jones.

Several nominees elected to face the media in groups. Matraca Berg, Deana Carter and Kenny Chesney (in a black stocking cap) made a grand entrance. Tom T. Hall, Peter Cooper and Eric Brace united as well.

Alas, the children’s-music Grammy is a producer’s award, lamented Cooper of their Songs of Fox Hollow project. “But we’ll find a way to get Tom T. one. He’s never won for an album.”

Jim Collins, waiting to walk with fellow nominee David Lee Murphy (“Are You Gonna Kiss Me Or Not”), recalled opening a Texas concert for Tom T. years ago where nobody showed up: “It wasn’t promoted very well, but he went out there and told his stories and sang his songs and gave those few people his full show. He’s an old-school pro.”

Also meeting the media on the red carpet were such diverse stars as Jason Aldean, Natalie Grant, Jerry Douglas, TobyMac, Royal Tailor, The Del McCoury Band, Brandon Heath, The WannaBeatles, Dave Barnes and Steven Curtis Chapman. Twinkling in the welcoming throng were the Nashville Symphony’s Alan Valentine, plus Jon Randall Stewart, Jeff Hanna, Charlie Chase & Lorianne Crook, Eric Paslay and Mayor Karl Dean.

(L-R): Chris Parr, Jessica Aldean, nominee Jason Aldean, The Academy’s Susan Stewart, George Flanigen, Daniel Hill. Photo: Rick Diamond/WireImage.com, Courtesy of The Recording Academy

“Will you introduce me to him?” enquired first lady Ann Davis of hizzoner when she spotted George Jones in the valet-parking area. I love it when celebs are starstruck, since I am too, perpetually.

The Loews staffers outdid themselves in the catering department. We were treated to a mac-and-cheese station with smoked chicken and gouda. Pulled barbecue pork nestled in red-potato skins. The catfish tacos with pickle slaw were delish. There were grits, veggies, condiments and a roast-beef carving station. Full bars flanked either end of the ballroom and waiters circulated with wine trays.

“They are such good partners for our Chapter,” said South Regional Director Susan Stewart in presenting Loews with a framed 2012 Grammy poster. Jones got one, too.

The décor was dominated by two, massive, gleaming-gold Big-Ass Grammys, worth more than $10,000 apiece, I am told. They travel in their own road cases from L.A.

The organization is flush with cash, having recently re-signed a multi-year TV contract with CBS. The network was doubtless pleased that last year’s Grammy telecast drew 26.6 million viewers, setting a record. Flanigen termed it, “one of the longest partnerships in television history.”

Jon Freeman was there, fresh from the Brantley Gilbert No. 1 party and celebrating his promotion at this very publication. Wishing each other Happy New Year were Pete Fisher, Joanna Carter, Ben Fowler, Arthur Buenahora, Tracy Gershon & Steve Fishell, Carla Wallace, Gilles Godard (there, I finally spelled him right), Garth Fundis, Clint Higham, Stacy Weidlitz, Ron Stuve, Gary Overton, Steve & Ree Guyer Buchanan, Wes Vause, and Norbert Nix.

Also Fletcher Foster, Lori Badgett, Diane Pearson, Pat McMakin, Sherod Robertson, LeAnn Phelan, Nancy Shapiro, Nancy Jones, Scott & Sandi Borchetta, Doug Casmus, Allen Brown, Kay West, Terry Hemmings, David Corlew, Lisa Harless, Tamara Saviano, Doug Howard and Paul Barnabee.

(L-R): Nominee TobyMac, nominee Jamie Grace, nominee Steven Curtis Chapman, The Academy’s George Flanigen, Susan Stewart and Daniel Hill. Photo: Rick Diamond/WireImage.com, Courtesy of The Recording Academy

Randy Travis Aligns With New Team Members

2011 marked the 25th year of Randy Travis’ storied career, and he’s beginning 2012 with new management and publicity teams.

Going forward, the multi-platinum star’s career will be guided by Vector Management’s Ken Levitan and Jeff Davis of SUM Management. Davis’ working association with Travis spans over 24 years, and he will be creatively aligned with Levitan to continue developing opportunities for Travis. Levitan has worked with Hank Williams Jr., Lynyrd Skynyrd, The Fray, Trace Adkins, Kings of Leon and many more.

Additionally, Travis has tapped Webster & Associates Public Relations & Marketing to handle his publicity matters. CAA’s Marc Dennis will continue to represent Travis for booking and live performances.

In 2011 Warner Bros. released Anniversary Celebration, featuring Travis collaborating with the stars he influenced, to commemorate the singer’s 25 years of recording. In 1986 he broke out with “On The Other Hand” and went on to land 18 No. 1 hits, with sales totaling over 20 million.

Levitan and Davis will reportedly announce several new career initiatives for Travis in 2012.

Debate Over Piracy Acts Continues With Wikipedia Blackout

A message posted on Wikipedia.com.

Internet and tech companies are in an uprising against the Stop Online Piracy Act (SOPA) and the PROTECT IP Act (PIPA), bills making their way through Congress which have drawn support from copyright holders in the music and film industries.

Wikipedia is instituting a self-imposed blackout tomorrow in protest. Designed to draw attention to the bills, Wikipedia will go offline at midnight ET tonight (1/16) and resume operations 24 hours later.

Other sites joining the blackout include user-submitted news site Reddit, tech blog Boing Boing and the Cheezburger network of comedy sites. WordPress, a platform which helps bloggers build websites, is offering users a protest-SOPA widget to be place on their own blogs.

Other internet giants who have spoken out against the legislation include Google, Facebook, Yahoo, Twitter, eBay, and AOL.

The RIAA announced its support of the bill when it was introduced to the House of Representatives in October.

Last week a panel of experts assembled at Nashville’s Ocean Way Studios to discuss SOPA’s implications.

The Obama administration released its first statement about the bills on Saturday (1/14), noting that it would not support legislation that mandates “tamper[ing] with the technical architecture of the Internet through manipulation of the Domain Name System (DNS).”

DNS blocking is no longer part of SOPA or PIPA.

Currently, SOPA is in the U.S. House of Representatives, and PIPA is under consideration in the Senate. The
 Online Protection and Enforcement of Digital Trade Act (OPEN Act) has been proposed as an alternative.

DISClaimer Single Reviews (1/18/12)

Canaan Smith

It’s Ballad Week, with Phil Vassar, Laura Bell Bundy, Georgette Jones and Mark Wayne Glasmire all offering slower tempo numbers.

Rascal Flatts is still on hand to bring a rocker, so that’s a nice change of pace. The mid-tempo winner belongs to the Zac Brown Band. Is it just me, or does Zac sound more and more like James Taylor? The third single good enough to compete for Disc of the Day belongs to our winner, JT Hodges.

As far as this week’s newcomer prize goes, I was all set to present it to Hodges, but it turns out that he had a Show Dog platter last summer (Hunt You Down) that I was also enthusiastic about. So that leaves softly earnest Canaan Smith as our DisCovery Award winner.

JT HODGES/Goodbyes Made You Mine
Writer: JT Hodges/Ross Copperman/Jon Nite; Producer: Don Cook, Mark Wright & Ross Copperman; Publisher: Songs of Universal/Adeline 29/Sings Station/Boomer Sooie/Ross Copperman/EMI Blackwood/Jon Mark Nite/EMI April, BMI/ASCAP; Show Dog Universal
—This has a certain “presence.” He’s not only a solid writer, but his vocal performance is up-close and personal, packed with personality and exuding confidence. The deep-twang guitar and driving production are also pluses. A star is born?

DOTTSY/Meet Me in Texas
Writer: Guyanne McCall; Producer: Justin Trevino; Publisher: Tracy Pitcox, BMI; Heart of Country (track) (www.heartoftexascountry.com)
—Dottsy reprises her ‘70s hits “I’ll Be Your San Antone Rose,” “Storms Never Last,” “Trying to Satisfy You,” and “(After Sweet Memories) Play Born to Lose Again” on her comeback CD. Its title tune is a gentle two-step. Her more mature, somewhat narrower range makes her vocal less than the strongest you’ve ever heard, but she gets the job done with warmth.

PHIL VASSAR/Don’t Miss Your Life
Writer: Phil Vassar/Charlie Black; Producer: Phil Vassar; Publisher: Phylvester/Big Hitmakers/Rainy Graham/Songs of Salt Air, ASCAP/BMI; Rodeowave
—Vassar continues to make music as powerfully as ever. His new ballad is the latest take on the businessman who is too busy to enjoy his children growing up. An older man points him in the right direction. This pushes all the right emotional buttons. I’m in.

TYSON BOWMAN/Thank God for People
Writer: Tyson Bowman/Lance Lambert/Judy Rodman; Producer: none listed; Publisher: none listed; Guitar Shark (track) (www.tysonbowman.com)
—The ballad’s lyric about people helping one another is solid. But his voice is a completely generic honky-tonk baritone that is ordinary in the extreme.

RASCAL FLATTS/Banjo
Writer: Tony Martin/Wendell Mobley/Neil Thrasher; Producer: Dann Huff & Rascal Flatts; Publisher: Sony-ATV/Casa Jaco/Warner-Tamerlane/Boatwright Baby/BMG Gold/We Jam Writers/BMG Crysalis/Songs of Peer, BMI/ASCAP; Big Machine
—Are you sitting down? The new Rascal Flatts single has the banjo as a focus instrument. Mind you, the surrounding track rocks with plenty of crunch, electric guitar screams and percussion pounding. Exciting.

GEORGETTE JONES/Strong Enough to Cry
Writer: Max Barnes/Rory Lee; Producer: Justin Trevino; Publisher: none listed, BMI/ASCAP; Heart of Texas (track) (www.georgettejonesmusic.com)
—I’ve always been in this gal’s corner. The Nashville industry can’t seem to get past the fact that she’s Tammy and George’s daughter and listen with open ears. So it’s off to Texas, where this title tune to her new CD shows that she’s a super-fine country vocalist in her own right. The ballad is beautifully produced with perfect steel accents, delicately placed guitar notes, sweet fiddle sighs and a breath-taking harmony vocal by, I think, that Texas wonder Amber Digby.

ZAC BROWN BAND/No Hurry
Writer: Zac Brown/Wyatt Durrette/James Otto; Producer: Keith Stegall & Zac Brown; Publisher: Weimerhound/Lil’ Dub/Angelika/Warner-Tamerlane/Eldorotto, BMI; Atlantic (track)
—Single #5 from the ZBB CD You Get What You Give is a lilting ode in praise of kicking back. And what country act would you rather relax with while the harried workaday world rushes by? The richly textured “No Hurry” is following the multi-week chart topper “Keep Me in Mind,” so I look for big things from it.

MARK WAYNE GLASMIRE/Going Home
Writer: Mark Wayne Glasmire; Producer: John Albani & John Wayne Glasmire; Publisher: Traceway, ASCAP; Traceway (track) (www.markwayneglasmire.com)
—Sung at the top of his tenor range, this conveys immense yearning. The buzzy harmonica passages, plus subtle keyboard and fiddle backing are adroitly mixed and very ear catching. A folk-country gem.

LAURA BELL BUNDY/That’s What Angels Do
Writer: Jon Mabe/Jason Sellers/Michael Dulaney; Producer: Nathan Chapman; Publisher: none listed; UMG (track) (www.laurabellbundy.com)
—Formerly noted for her bounce, Bundy returns with a soaring, dramatic ballad of rescue and redemption. She marches confidently forward with every precisely placed vocal note while guitars shudder, pierce and shriek around her head. This lady can sing.

CANAAN SMITH/We Got Us
Writer: Canaan Smith/Tommy Lee James/Stephen Barker Liles; Producer: none listed; Publisher: none listed; UMG (track) (www.canaansmith.com)
—Boyish sounding and likable. The gently shuffling track supports a poor-kids-rich-in-love lyric that’s just sweet enough.

Heavy Metal: Lady Antebellum

Lady Antebellum will have to clear some space on their already full award shelves, as their No. 1 single “Just A Kiss” has earned Double Platinum certification by the RIAA for sales eclipsing two million downloads. Simultaneously, the group’s recent No. 1 “We Owned The Night” has earned Gold certification for more than 500,000 downloads.

“We’re planning a big party to celebrate both of these songs going No. 1 at radio, and now we’ll be able to toast this at the same time… and then we can do it again with our fans on the tour,” said Charles Kelley. “A little downtime over the holidays has been great, but we’re about to go crazy to get this tour back up and running next week… can’t wait to see everyone in Tulsa!”

The aforementioned Own The Night 2012 World Tour gets underway Jan. 27 with guests Darius Rucker and Thompson Square. The trek currently has 57 dates scheduled in the US and Canada. More info here.

RESCHEDULED: We’re All For The Hall Benefit Concert

Keith Urban, has rescheduled his 2012 We’re All For The Hall Benefit Concert to be held Tuesday, April 10 at the Bridgestone Arena. The event was originally scheduled for January, but was postponed due to Urban’s vocal chord surgery and rest at the end of 2011.

Proceeds from the concert will benefit the Country Music Hall of Fame and Museum. Reserved seating tickets start at $25 and go on sale January 27 at 10 AM through Ticketmaster outlets or at the Bridgestone Arena Box office.

In addition to performances by musical directors Urban and Vince Gill, the show will include performances by Alabama, Alison Krauss & Union Station, The Band Perry, Blue Sky Riders, Diamond Rio, Exile, Lady Antebellum, Little Big Town, The Oak Ridge Boys, Pistol Annies, Rascal Flatts and Thompson Square.

“My goal for the concert, is really the same as the Hall’s,” said Urban. “To help country fans connect the dots – to find out where their music came from, how it’s evolved (and is still evolving) and to discover the artists that have influenced their favorite artists. Country music is like a big beautiful strange family tree and nowhere is that more honored than at the Country Music Hall Of Fame and Museum.”

This year’s 2012 We’re All For the Hall event is the third in a series started by Museum Board President Vince Gill, which has raised roughly $1 million for the Hall according to Museum Director, Kyle Young.

A limited number of VIP Packages will also become available Jan. 27. Ranging in price from $150-$3,500, options include invitation to a dinner in the Country Music Hall of Fame Rotunda the evening before (April 9) the concert; meet & greet and photo with Keith Urban before the benefit with premium floor concert seats and commemorative ticket; choice of a Keith Urban autographed electric guitar or signed customized Concert Seat that you can take home; or an invitation to a post-concert party at the Country Music Hall of Fame and Museum.

Scenes From Country Cares for St. Jude Seminar

Kix Brooks with St. Jude patient Christian

More than 25 country artists descended on Memphis over the weekend for the annual Country Cares for St. Jude Kids Seminar to tour the facility and visit with patients and their families. The event, which hosted nearly 800 radio and music business professionals, officially kicked off the St. Jude radiothon season and offered interactive breakout sessions on how to create a successful fundraising campaign for St. Jude. Artists in attendance included Randy Owen, Martina McBride, Lauren Alaina, Lee Brice, Edens Edge, Kix Brooks and many more.

“This is the thing people have to remember,” remarked Kix Brooks. “This is not a desperate, sad place. If anything, these kids are so strong and they have hope. We’re saving so many children here at St. Jude. But, of course, we want to save them all. And that’s not a pipedream. It’s our responsibility to make it happen. It’s up to us.”

Randy Owen presents John Rich with Angels Among Us Award

During the annual songwriter’s dinner on Saturday (Jan. 14), John Rich was presented by Randy Owen with the first-ever Randy Owen Angels Among Us Award to recognize his outstanding commitment and dedication to the organization’s mission. In 2011, Rich put the hospital in the national spotlight when he won NBC’s Celebrity Apprentice and helped raise over $1.4 million.

“St. Jude holds a very special place in my heart,” said Rich. “It’s like no other place and I’m just so honored to help raise awareness for this organization and to receive the first-ever Angels Among Us Award from Randy.”

Alabama frontman Owen founded Country Cares in 1989 by recruiting his fellow artists, radio stations, and listeners to help support St. Jude’s mission. Since it began, Country Cares has raised over $400 million for the organization.

Eli Young Band smiles for the camera with St. Jude patient Hillary

BMI Celebrates Kirk Franklin, Hezekiah Walker

BMI Trailblazers of Gospel honorees Hezekiah Walker and Kirk Franklin share a moment onstage at the awards luncheon.

BMI honored gospel giants Kirk Franklin and Hezekiah Walker at its 13th annual Trailblazers of Gospel Music Awards Luncheon on Friday, Jan. 13 at Rocketown in Nashville.

Walker and Franklin with recording artist Michelle Williams.

Franklin is the best-selling contemporary gospel artist in SoundScan history. He was the first gospel artist to sell more than one million albums, and today his sales tally exceeds 15 million. Franklin has earned 20 No. 1 singles on gospel charts, and has consistently crossed over to urban radio. Performing some of his most loved songs at the event were Fred Hammond, Jessica Reedy and the Kirk Franklin Singers, Myron Butler, LeAndria Johnson, Isaac Carree, Rance Allen and Kim Burrell.

Walker has led the Love Fellowship Choir, one of gospel music’s most influential groups, for more than two decades. His knack for injecting traditional gospel and choir music with hip-hop and funk has resulted in multiple Grammy wins. The musical tribute to Walker featured Faith Evans, Dorinda Clark Cole, Kim Burrell, DJ Rogers, Tamela Mann, Israel Houghton and Marvin Sapp.

Faith Evans and Jessica Reedy arrive at the luncheon.

Additionally, Sapp’s “The Best in Me” was named BMI’s Most-Performed Gospel Song of the Year. Co-written by Sapp and Aaron Lindsey, the song topped gospel charts and achieved historic crossover success, climbing from No. 78 to No. 14 on Billboard’s Hot R&B/Hot Songs Chart—the biggest jump for a gospel hit since Billboard began using Nielsen SoundScan 18 years ago.

Burrell and Houghton hosted the luncheon, along with Catherine Brewton, BMI Vice President, Writer/Publisher Relations, and Del Bryant, BMI President & CEO.

Photos: Arnold Turner

 

SOPA Separates Technology and Content Factions

(L-R) Ken Paulson, CEO of the First Amendment Center; Mitch Glazier, Sr. Exec. VP RIAA; Congressman Howard Berman (CA); Fred von Lohmann, Sr. Copyright Counsel Google; and Mark Montgomery, CEO of FLO thinkery. Photo: Donnie Hedden.

For songwriters, publishers and intellectual property owners, piracy and theft is an issue of paramount importance. This week’s discussion of the pending legislation, Stop Online Piracy Act (SOPA), hosted by the Copyright Forum at Belmont University and Nashville Songwriters Association International (NSAI) showed the seriousness of the issues and the strong emotions which surround them. SOPA attempts to build a framework of legal remedies against rogue sites that are located outside U.S. borders. (At the end of the article please click on some of the links with more information.)

Participants included Moderator Ken Paulson, CEO of the First Amendment Center; Mitch Glazier, Sr. Exec. VP RIAA; Congressman Howard Berman (CA); Mark Montgomery, CEO of FLO thinkery; and Fred von Lohmann, Sr. Copyright Counsel Google. Also in the audience was Tennessee Congressman Jim Cooper. The well-attended event was held at Ocean Way Studio on Music Row on Jan. 10.

Content owners and the tech community find themselves on different sides of the aisle with respect to SOPA. Both agree that intellectual property owners need to be compensated. But will the act ultimately stop piracy or will an unintended consequence be that it hinders the kinds of innovation that could solve the problem organically if left to the marketplace?

Let’s take a seat and join the session, in progress…. (remarks have been slightly edited for print)

Ken Paulson: The copyright issues explored here today were formulated during a two-year period in American history. In 1789 we ratified the U.S. Constitution and it contained a provision that essentially said if we are going to be a great nation and encourage creativity and inventiveness we need to make sure that people who do that kind of work are rewarded for it. The principles we are discussing today go back to the very birth of the republic.

Mitch Glazier: We currently have a law, the Pro IP act, that allows the Justice department to use its power to take down a website that is dedicated to theft if that site is in the U.S. So the next question is what happens when the Attorney General (AG) seizes a site but it then moves to the Ukraine and changes its URL? The site jumps to a foreign country, but is still stealing American product and peddling it back into the U.S. market. SOPA is about stopping their access to the US market, the biggest market in the world. The AG can’t seize a foreign site, but it can serve the order to the U.S. ISPs, ad services and payment providers and to cut off all affiliations with the site, effectively denying them access to the US market and/or payment through US intermediaries.

There are some differences between the house (SOPA) and senate versions (PIPA, Protect IP Act). The senate bill is domain name centric, the house bill is site centric bill so arguably if something is not applicable to a domain name, but it is for an FTP site it could still be covered. They are fairly similar, but have a few important differences. Only the U.S. AG can serve the order on either a search engine or ISP. No individual has the authority to deny access to the U.S. market—only the AG can make that decision. Another key point is the bill incorporates a high standard of due process. There is a good reason for doing that. Before you cut off access to something outside the U.S. you want to make very certain that you prove there is immediate and irreparable harm.

Fred Von Lohman: SOPA basically creates four new remedies.

  • Site blocking: ISPs would be required to block sites from being accessible by U.S. users;
  • Search removal: allow sites to be removed wholesale from search. (Infringing material that shows up in search results is being removed all the time under the 1998 law DMCA. Copyright owners already have that power. In the last year Google processed removals for more than 5 million items. What the bill does differently is to remove entire sites on a wholesale basis.)
  • Ad networks would have to stop doing business with these foreign sites;
  • Payment processors would also have to stop doing business with these foreign sites.

There’s a lot about these bills that Google and others in the tech community are fully on board with. The provisions regarding payments and ads make sense. Those were not part of the DMCA. Google has a payment processing arm and a large ad network and already works hard to do those kinds of things, we think others should too. Foreign rogue sites are all in it for the money. They are selling counterfeit goods or pirating material supported by payments and/or ads. Until you dry up the money supply they will keep showing up. It is easy to register a new domain and transfer your site. It’s the money that makes them exist. We are supportive of those two parts.

There’s also provisions that allow private citizens to sue American Internet companies if they believe we haven’t done enough. That is something we take very seriously. Private rights of action are often an invitation to abuse and can basically, put money into the pockets of folks who will hire unscrupulous lawyers to put pressure on American Internet companies that are trying to create jobs in this economy. So for us there are things in this bill we like and things we don’t. The most problematic thing in our view is the ideas of site blocking and search removal. It sets an incredibly dangerous precedent which moves this from an issue about enforcing American law to an international trade.

If the U.S. blocks Baidu.com at our borders what do you think China will do at their borders? More than 50% of Google’s revenue comes from outside of the United States. And that is true for many of the U.S. internet companies. If we can’t access markets around the world it creates a huge problem for our economy, our content creators, and future growth. We agree that enforcing domestic law and cutting off the money is important. But in our view, for the USA to reach for the censorship tool sets up a dispute that will hurt a lot of American companies. So we don’t believe site block and search removal should be in there. It’s a dangerous precedent.

Congressman Howard Berman: A massive amount of what happens on the Internet is about distributing infringing materials. That has a huge cost, in job losses and disincentives to creators who are concerned about what the rewards will be in a world where everything is free online. People want government to regulate finance, home mortgages and more, but online they don’t. Yet online there are scams, consumer fraud and more. There are estimates that 20-25% of what goes on in the internet is involved in the distribution of stolen files. For the government to walk away from a huge problem is wrong. It’s not just about music or motion pictures, people use the internet to buy counterfeit drugs, not just cheaper drugs, pills that don’t do what they are supposed to do which gets to life and health issues.

Fred Von Lohmann: Prominent domain name experts say is that meddling with domain name servers [site blocking] will create incentive for American Internet users to hunt for [and others to create] what would be a less secure domain name service and is a bad idea. This is not a debate as Congressman Berman suggests about whether we should have no government regulation of the internet. Copyright is important, but we have the DMCA and other laws and we are in favor of half the things this law proposes.

Mark Montgomery: Creators should be compensated for their work. That is the right position to take. The key to this whole problem is balance. And there is a lack of trust on the part of consumers with the incumbent industries that are perceived as sponsoring this bill. Is this just a way to return ourselves to the days before ubiquitous distribution? Back to when the industry could tightly control its content? Regardless of what industry we discuss, the reality is that the way out of these issues is through innovation, not by attempting to litigate or legislate market share. Historically litigation doesn’t work very well. The consumer is speaking with their wallets and is empowered at a higher level than ever before. I was fortunate to be in the audience at the launch of the iTunes music store. Steve Jobs said, “We need to provide a compelling alternative to free.” At every step in the process, the incumbents have fought change. The idea that the legislation has changed significantly has not altered the consumer’s perception. There is reason to distrust the content industries historically because of their past behavior. That said, it’s absolutely not right for consumers to steal music. We need to deal with those offenders, but there needs to be balance in all this and that is what I am looking for. So to me, innovation is the crux of it all. How do we protect the rights of the creators, without stifling the innovation that has brought us so much.

• • •

Links About The Bill

http://www.fightonlinetheft.com

Representative Marsha Blackburn

NSAI

Go Daddy No Longer Supports SOPA