By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
That's an apt metaphor for the record industry's current attempts to "whack" a legion of companies that, recently, have crowded the Internet, attracting tens of millions of users who illegally download billions of song files each month.
Though the record industry used lawsuits to shutter Napster, Scour and others, it's now facing a much heartier breed of challengers. As a result, the Big Five record labels and their trade group, the Recording Industry Association of America, have begun to employ an array of technological tricks to fight piracy--tricks that, in turn, have led some online, in the courts, in Congress and even in the Bush administration to say they've gone too far.
"We obviously are aware of a number of ways that infringement is occurring on the Net," says Matt Oppenheim, the RIAA's senior vice president of business and legal affairs. "We're trying to find the right balance between enforcement and over-enforcement. In some instances, we're in active discussions to resolve things outside of court."
The record companies are scrambling to shut down peer-to-peer (P2P) networks, basically thousands of PCs loosely linked together with small, free programs that allow them to swap songs, video, photos and more. Morpheus, KaZaA, Grokster, Gnotella, Limewire, BearShare and others are attracting huge followings--and the record industry's attention.
Music-industry lawsuits already have been filed against Morpheus, KaZaA, Aimster and Grokster, but suits aren't likely to be enough to kill the new networks, according to music attorney Ken Hertz, who represents acts such as No Doubt and Alanis Morissette.
Many of the new file-swapping companies are overseas, and harder to sue, he says. Already, many of the "Open Nap" companies, whose programs independently tap into the Napster network, are based in Italy and Yugoslavia. KaZaA creator Computer Empowerment B.V. is based in Holland and is making the RIAA go through laborious processes at The Hague to sue it.
And even if the RIAA eventually does win in court against these and other companies, it doesn't necessarily kill these new-breed networks, which can live on after the parent companies die.
"Shutting down the network simply makes the users unaddressable, but the network lives on," Hertz says.
So the record companies are using increasingly sophisticated technology from several outside companies to hamstring these increasingly sophisticated networks and their users.
"The first time somebody ripped off a 7-Eleven, they probably walked in the front door and said, 'Give me what you've got,'" says the RIAA's Oppenheim. "Over time, people have gotten more sophisticated. They wear masks; they cover the cameras. Sure they get more sophisticated. Does that mean it's theft to any lesser extent? No. Theft is theft."
To start, all five big labels are experimenting with copy-protected CD technologies from companies such as SunnComm, Midbar Tech Ltd., TTR Technologies Ltd. and Macrovision. As many as 4 million copy-protected CDs that can't be played in a computer's CD-ROM drive have been issued already, mostly in Europe.
But the technologies are clunky at best and won't run in many kinds of CD players, including car stereos, mobile devices and DVD players. That already has sparked a lawsuit against SunnComm for problems caused by the company's technology on a recent Charlie Pride album. (And by the way, how many people are ripping and burning songs off Charlie Pride albums?)
Two Web sites, www.Fatchucks.com and www.Eurorights.org, are organizing online users against copy-protected CDs, saying they treat fans as criminals, even keep CD owners from making compilations or otherwise freely using music they've legally bought.
As well, Webcasters say copy-protected CDs break laws that allow them to play music online in exchange for paying set amounts into a pot distributed among musicians and labels.
"Copy-protected CDs are a real issue for Webcasters," says Jonathan Potter, executive director of the Digital Media Association. "You just have to be careful if you're going to put out poison; you better make sure you catch the rats and don't poison the dogs."
Presumably to that end, the record companies have begun using other techniques to go after illegal file-swapping, techniques that might be familiar to many hackers.
One approach is a variation on the denial-of-service attacks that have clogged high-profile Web sites in recent years. When the technology finds a song on the P2P networks that can't be shared legally, it begins downloading the song like anyone else would, but does so extremely slowly and requests the song repeatedly, so it can't be downloaded by anyone else waiting in line for it. Repeat this for thousands of songs, and it ends up clogging the system, making the P2P networks less usable and less attractive.
The record industry also identifies people who swap a lot of files, then asks their Internet service providers to shut down those accounts.
"Piracy has been a fact of life throughout copyright and before, judging where the name came from," says the RIAA's Robert Raben. "Responsibility may be put on people who are currently not taking on responsibility."