Big Media Asks Supreme Court to Reverse Grokster Decision

By Jon Newton 10/9/04

The entertainment industry - Hollywood, for short - is demanding that the US Supreme Court overturn the Grokster / Morpheus ruling that said p2p networks can't be held liable for what users do.

Dozens of entertainment-industry companies asked the court to reverse an appeals court decision that has prevented them from shutting down networks like Grokster and Morpheus that they say encourage millions of consumers to copy music and movies for free rather than buying them," says a Reuters story, going on:

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"The digital-media landscape has shifted significantly in the past several years. Napster has been resurrected by Roxio Inc. as an industry-sanctioned pay service, competing with Apple Computer Inc.'s iTunes and others that have sold millions of songs."

Against that, at a very conservative estimate, 61,000,000 or more Americans regularly share music online. In June, on average, 6,802,130 (peak, 8,324,299) p2p users were online at any given moment, moving more than a billion tracks around their computers every month, say Big Champagne statistics.

Isn't that stealing? No. It's sharing. And it could be buying, if the industry would wake its ideas up.

Back to Reuters: "But traffic on file-trading networks has continued to climb even as record labels have sued more than 5,000 users for copyright infringement.

Actually, it's closer to 6,000 and if you add in the people Big Music is trying to nail in Europe, its 6,159, to be precise.

FILE SHARING MUST STOP !!!! - bellow the various MPAA (Motion Picture Association of America) and RIAA (Recording Industry Association of America) truth adjustors and fact realignment specialists on behalf of their owners, the Big Four record label cartel and major studios.

They say their was is the only way, even though it's, No Way! as far as the huge online community is concerned.

Something's gotta give ..


Jon Newton is the editor of and is a regular contributer to MP3 Newswire. Jon's site is devoted to the politics of digital music and his insights as well as those of his co-writers can be read there. We urge you to explore it.

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