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This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ours, cause we don't give a darn. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do.
--
Message on mimeographed copies of lyrics distributed to fans in the 1930s as quoted by Pete Seeger in an NPR interview "Pete Seeger remembers Woody" (1996)

 

Woody Guthrie

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It actually went like this: we were at school and Ben said he didn’t like Nirvana so much. Then one of our friends said: You should listen to Sliver. So he wanted to request Sliver for himself on the radio. And I wanted to request a song of an Australian group(You Am I), Berlin Chair. We told Chris to write Sliver Chair, but he wrote it as Silver Chair. Then we thought: That’s a good name. That’s how it went.

 

Daniel Johns

 

Common sense is with the copyright warriors because the debate so far has been framed at the extremes — as a grand either/or: either property or anarchy, either total control or artists won't be paid. If that really is the choice, then the warriors should win.
The mistake here is the error of the excluded middle. There are extremes in this debate, but the extremes are not all that there is. There are those who believe in maximal copyright — "All Rights Reserved" — and those who reject copyright — "No Rights Reserved." The "All Rights Reserved" sorts believe that you should ask permission before you "use" a copyrighted work in any way. The "No Rights Reserved" sorts believe you should be able to do with content as you wish, regardless of whether you have permission or not. ... What's needed is a way to say something in the middle — neither "all rights reserved" nor "no rights reserved" but "some rights reserved" — and thus a way to respect copyrights but enable creators to free content as they see fit. In other words, we need a way to restore a set of freedoms that we could just take for granted before.

 

Lawrence Lessig

 

Here's a simple copyright lesson: Law regulates copies. What's that mean? Well, before the Internet, think of this as a world of all possible uses of a copyrighted work. Most of them are unregulated. Talking about fair use, this is not fair use; this is unregulated use. To read is not a fair use; it's an unregulated use. To give it to someone is not a fair use; it's unregulated. To sell it, to sleep on top of it, to do any of these things with this text is unregulated. Now, in the center of this unregulated use, there is a small bit of stuff regulated by the copyright law; for example, publishing the book — that's regulated. And then within this small range of things regulated by copyright law, there's this tiny band before the Internet of stuff we call fair use: Uses that otherwise would be regulated but that the law says you can engage in without the permission of anybody else. For example, quoting a text in another text — that's a copy, but it's a still fair use. That means the world was divided into three camps, not two: Unregulated uses, regulated uses that were fair use, and the quintessential copyright world. Three categories.
Enter the Internet. Every act is a copy, which means all of these unregulated uses disappear. Presumptively, everything you do on your machine on the network is a regulated use. And now it forces us into this tiny little category of arguing about, "What about the fair uses? What about the fair uses?" I will say the word: To hell with the fair uses. What about the unregulated uses we had of culture before this massive expansion of control?

 

Lawrence Lessig

 

Who knows who wrote that song of summer,
That blackbirds sing at dusk,
This is a song of colour,
Where sands sing in crimson, red and rust,
Then climb into bed and turn to dust.

 

Kate Bush

 

I was born
I was born to sing for you
?I didn't have a choice but to lift you up
And sing whatever song you wanted me to.
I give you back my voice
From the womb my first cry, it was a joyful noise.

 

Larry Mullen