Heavy Weather – Weather Report

Heavy Weather
JAZZBO NOTES ESSENTIAL RECORDING

Rating: ★★★★½

Heavy Weather holds the distinction of being Weather Report’s best selling album, spawning the crossover hit Birdland and the bass geek anthem Teen Town.

Jaco Comes Into His Own On Heavy Weather

Heavy Weather is also the album on which Jaco Pastorius became an equal compositional and melodic voice along with Joe Zawinul and Wayne Shorter. Jaco’s bass pyrotechnics are justly heralded on the aforementioned Teen Town and the less well known should-have-been-a-standard Havona, but also check out how beautifully he handles the melody in Zawinul’s gorgeous ballad A Remark You Made.

Zawinul, for his part, handles the keyboards expertly and with restraint (unlike the overkill of Mr. Gone the following year). Listen to the faux steel pans on Wayne Shorter’s joyful Paladium or Zawinul’s knockout solo on Havona for evidence.

And although Shorter doesn’t get as much solo space as one might like, he imbues every note with grace and soul, and is every bit as much necessary to the success of Heavy Weather as Zawinul and Jaco.

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My Goals Beyond – John McLaughlin

My Goals Beyond JAZZBO NOTES ESSENTIAL RECORDING

Rating: ★★★★★

My Goals Beyond is an interestingly constructed release, with two longish ensemble pieces featuring Dave Liebman, Jerry Goodman, Billy Cobham, Charlie Haden, Badal Roy and Airto Moreira, followed by a number of miniature acoustic guitar pieces, played by John himself, sometimes overdubbing a second guitar.

The Two Ensemble Pieces On My Goals Beyond

Peace One starts off with a drone, courtesy of Indian percussionist Badal Roy, soon joined in by Charlie Haden’s hypnotic bass line and we know, if we weren’t clued in by the cover art, that we are experiencing a groundbreaking fusion of East and West, mostly from the jazz side of things. The Eastern element is more implied, from the presence of Indian percussionists and the meditative quality of the theme, which is gorgeous and unearthly. McLaughlin would later turn that equation on it’s head with Shakti, where the Indian classical music influence was much more pronounced. John’s solo on Peace One manages to be fiery and contemplative at the same time, and Jerry Goodman follows his lead.

Peace Two is more languid, with the introduction played rubato, with the equally lovely melody played by the unique combination of Dave Liebman’s soprano saxophone and Jerry Goodman’s violin. The tune segues into a shambling raga-like form for John’s solo before Jerry cuts in. Dave Liebman mostly contributes atmospheric and sinuous modal lines that seem to float off into the air. This is one of Liebman’s earliest performances on record, and it’s inspired.

The Miniature Pieces On My Goals Beyond

The guitar pieces that make up the second half of My Goals Beyond are not as breathtakingly beautiful and original as the ensemble pieces, but they are lovely just the same. John covers the Miles Davis standard Blue in Green, Mingus’ Goodbye Pork Pie Hat (which Jeff Beck would provide the definitive version of on 1976′s Wired), provides several originals, and unearths the obscure Bob Cornford gem, Hearts and Flowers. While John’s playing is frequently ferocious, these pieces share an underlying contemplative quality with the large group pieces.

The Value Of My Goals Beyond

What is the value of My Goals Beyond? It has certainly inspired many acoustic guitar albums since, but Peace One and Peace Two stand as unique accomplishments in the jazz canon. I don’t think anyone has seriously even tried to imitate them. My Goals Beyond is pretty much a perfect recording, one of the few out there.

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Journey to Love – Stanley Clarke

Journey To Love
JAZZBO NOTES ESSENTIAL RECORDING

Rating: ★★★★★

This is going to sound sort of funny since I’m saying that Journey to Love is an essential work, but there are songs on this release that aren’t all that great. Concerto for Jazz, which is over 14 minutes long, is kind of uneven in quality, even if it is ambitious in scope. I find the title track charming, in an airy-fairy kind of 70s way, but I could see where some people might be annoyed by the whispy vocals by Stanley Clarke and the dated synthesizer work. Silly Putty, the opening track, is fun and funky, with Clarke’s slap happy bass work and cheerful horn section, but there’s that synthesizer again.

In fact, a good half of Journey To Love is smothered in a thick layer of 70s cheese. Now, that doesn’t really bother me, but it might bother a lot of people.

Where Journey To Love Redeems Itself

Where Journey to Love really redeems itself in a big way is with Stanley Clarke’s tributes to two musicians he obviously admires: John Coltrane and Jeff Beck.

Song to John Part 1, as played by the trio of Clarke on upright bass, Return to Forever bandmate Chick Corea on piano, and John McLaughlin on guitar, is a rubato wonder–it’s just rapturously beautiful. Song to John Part 2, uses the exact same theme, but now played as a sprightly jazz samba, with each member of the trio taking gorgeous, fleet-fingered solos.

The tribute to Jeff Beck, Hello Jeff, is Clarke’s version of rock, which has a healthy component of R&B to it. Jeff Beck just kills in this. He gets this monster tone here that he never duplicated anywhere else and his solo completely rocks. It’s just exhilarating beyond words.

And that’s really the story here. The highs in Journey To Love are so high that they push this release up to classic status, in spite of its very real flaws.

In fact, you might just want to pick up some mp3s instead of springing for the whole CD of Journey To Love.

           

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JazzboNotes Attacked By Malware

Hi, everyone.

JazzboNotes was attacked within the last two days or so.

Don’t panic just yet. I’ve removed the malware and tested the website with Sucuri SiteCheck. It’s got a clean bill of health. Unfortunately, the website has been rendered pretty much useless for the time being.

I am going to have to do a whole lot of work to upgrade the blogging software and install security patches to prevent this sort of thing in the future.

For those of you who were infected, you have my sincere apologies.

I’ll let you know when the website is ready to go again.

Sincerely,

JazzboNotes.com

 

Update, 5:31 pm PST, September 19, 2013:

The JazzboNotes.com site has been remediated and hardened against further attacks. At this point, all we’re waiting for for Google to give the site a clean bill of health.

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All Time Best Albums

I’ve been putting my CD collection on Songbird (jukebox software) lately, and today I had the inspiration to put together a list of the greatest albums in history, at least the ones I know of.

“By what standard?” you might ask. Well, the albums have to be strong all the way through. No clunkers, or the weak tunes have to be so insignificant as to not be a distraction.

You’ll notice that this isn’t a very snobby list. You’ve got critical punching bags like Billy Joel on it, for instance. But come on, you’ve got to admit that The Stranger is a masterpiece of mainstream pop. Same goes for Boston’s debut.

Obviously, any genre is fair game.

Some might be surprised by the inclusion of Daniel Johnston’s Rejected Unknown, which can hardly be described as “good” in the usual sense. But it’s remarkable just the same – really strong songcraft filtered through schizophrenia. It’s embarrassingly catchy stuff.

There are some notable omissions. No Aretha Franklin. That’s because I can’t pick out a record from her Atlantic years. Pretty much everything she recorded for Atlantic was solid gold. Another major omission is Otis Redding. I’m just not familiar enough with his output, although his Dock On The Bay did make the cut. James Brown tended to have great songs with a lot of filler on his albums.

Many of the albums on this list will be familiar, but my guess is that there will be some surprises for almost any reader out there. I envy those of you who will be listening to these releases for the first time.

If I missed anything, let me know.

1957 – Thelonious Monk With John Coltrane – Thelonious Monk With John Coltrane

Despite all the hype around the recently discovered Carnegie Hall concert, this is the one to own. At their gig at the Five Spot, Monk and Coltrane are red hot with the passion of mutual discovery. At the Carnegie Hall concert, they are more familiar with each other and more laid back. On this album, they play like their lives depend on every note. As a bonus, the cuts without Coltrane are especially well performed and arranged by Monk. A magical album.

1960 – Coltrane Plays The Blues – John Coltrane

There are two things special about this record. The first is that it absolutely drenched in blues feeling. It has a late night vibe that can’t be beat. The second is that Coltrane and his band manage to make all the blues on the record extraordinarily distinct from one another. You’d think that an album of blues might get monotonous. Not a chance.

1960 – Giant Steps – John Coltrane

This is where Coltrane unveiled his vertical harmony with full force. It’s both incredibly fresh and fully realized. Giant Steps is of course, the standard here, but I personally prefer Countdown, which is absolutely ferocious. Then again, there isn’t a weak tune on the album.

1960 – Our Man In Havana – Mongo Santamaria

From the vantage point of 2013, it’s hard to believe that Our Man In Havana was a revolutionary album for Cuban music. The instrumentation that Mongo utilized was unheard of at the time, but to my ears it sounds utterly natural, like it had always been that way. Incredibly charming.

1960 – Out There – Eric Dolphy

1964 – Last Date – Eric Dolphy
1964 – Solo Monk – Thelonious Monk
1965 – Help! – The Beatles
1965 – Rubber Soul – The Beatles
1966 – Revolver – The Beatles
1967 – A Raise Of Eyebrows – Ron Geesin
1967 – Schizophrenia – Wayne Shorter
1967 – Sgt. Pepper’s Lonely Hearts Club Band – The Beatles
1967 – The Dock Of The Bay – Otis Redding
1967 – The Piper At The Gates Of Dawn – Pink Floyd
1968 – Electric Ladyland – Jimi Hendrix
1968 – Filles De Kilimanjaro – Miles Davis
1968 – Speak Like A Child – Herbie Hancock
1969 – Crosby, Stills & Nash – Crosby, Stills & Nash
1969 – Led Zeppelin – Led Zeppelin
1969 – Led Zeppelin II – Led Zeppelin
1969 – Let It Bleed – The Rolling Stones
1969 – More – Pink Floyd
1969 – Spaces – Larry Coryell
1969 – Sundance – Chick Corea
1969 – Super Nova – Wayne Shorter
1969 – Ummagumma – Pink Floyd
1970 – Live At Fillmore East – Miles Davis
1970 – Atom Heart Mother – Pink Floyd
1970 – Black Sabbath – Black Sabbath
1970 – Deep Purple In Rock – Deep Purple
1970 – Fat Albert Rotunda – Herbie Hancock
1970 – John Barleycorn Must Die – Traffic
1970 – Led Zeppelin III – Led Zeppelin
1970 – Mona Bona Jakon – Cat Stevens
1970 – Monkey Man – The Maytals
1970 – My Goals Beyond – John McLaughlin
1970 – Odyssey of Iska – Wayne Shorter
1970 – Open Sky – Open Sky
1970 – Output – Wolfgang Dauner
1970 – Paranoid – Black Sabbath
1970 – The Madcap Laughs – Syd Barrett
1971 – Chicago III – Chicago
1971 – Facing You – Keith Jarrett
1971 – Fragile – Yes
1971 – Genesis – Elvin Jones
1971 – Hunky Dory – David Bowie
1971 – Lady Blue – Et Cetera
1971 – Led Zeppelin IV – Led Zeppelin
1971 – Meddle – Pink Floyd
1971 – Mud Slide Slim And The Blue Horizon – James Taylor
1971 – Nursery Cryme – Genesis
1971 – Santana III – Santana
1971 – Weather Report – Weather Report
1972 – Birds Of Fire – Mahavishnu Orchestra
1972 – Chicago V – Chicago
1972 – Close To The Edge – Yes
1972 – Crossings – Herbie Hancock
1972 – Exile On Main Street – The Rolling Stones
1972 – For The Roses – Joni Mitchell
1972 – Foxtrot – Genesis
1972 – Hermeto – Hermeto Pascoal
1972 – Hot Licks, Cold Steel & Truckers’ Favorites – Commander Cody and His Lost Planet Airmen
1972 – I Sing The Body Electric – Weather Report
1972 – Light As A Feather – Chick Corea
1972 – Live At The Lighthouse – Elvin Jones
1972 – Moon Germs – Joe Farrell
1972 – Mountain In The Clouds – Miroslav Vitous
1972 – Mr. Jones – Elvin Jones
1972 – Root Down – Jimmy Smith
1972 – Sail Away – Randy Newman
1972 – Something/Anything – Todd Rundgren
1972 – Talking Book – Stevie Wonder
1972 – Wild Flower – Hubert Laws
1973 – As He Stands – Ron Geesin
1973 – Bittersuite in the Ozone – Bob Moses
1973 – In A Glass House – Gentle Giant
1973 – Innervisions – Stevie Wonder
1973 – Live – Et Cetera
1973 – Octopus – Gentle Giant
1973 – Selling England By The Pound – Genesis
1973 – Some Shapes To Come – Steve Grossman
1973 – Sweetnighter – Weather Report
1974 – Court And Spark – Joni Mitchell
1974 – Fulfillingness’ First Finale – Stevie Wonder
1974 – Good Old Boys – Randy Newman
1974 – Hotcakes – Carly Simon
1974 – Like Children – Jan Hammer & Jerry Goodman
1974 – Mysterious Traveler – Weather Report
1974 – Pretzel Logic – Steely Dan
1974 – Red – King Crimson
1974 – Roxy & Elsewhere – Frank Zappa
1974 – Songs For Love – Tete Montoliu
1974 – Starless and Bible Black – King Crimson
1974 – The Lamb Lies Down On Broadway – Genesis
1974 – The Power And The Glory – Gentle Giant
1975 – Believe It – Tony Williams Lifetime
1975 – Blow By Blow – Jeff Beck
1975 – Drum Ode – Dave Liebman
1975 – Father Time – Dave Liebman
1975 – Forgotten Fantasies – Dave Liebman & Richie Beirach
1975 – Free Hand – Gentle Giant
1975 – Katy Lied – Steely Dan
1975 – Lookout Farm – Lookout Farm
1975 – On The Mountain – Elvin Jones
1975 – Physical Graffiti – Led Zeppelin
1975 – Sweet Hands – Dave Liebman
1975 – The First Seven Days – Jan Hammer
1975 – The Hissing Of Summer Lawns – Joni Mitchell
1975 – Visions Of The Emerald Beyond – Mahavishnu Orchestra
1976 – Boston – Boston
1976 – Focal Point – McCoy Tyner
1976 – Interview – Gentle Giant
1976 – Jaco Pastorius – Jaco Pastorius
1976 – Milton – Milton Nascimento
1976 – Royal Scam – Steely Dan
1976 – Velvet Darkness – Alan Holdsworth
1976 – Wired – Jeff Beck
1977 – Catalonian Folksongs – Tete Montoliu
1977 – Dança Das Cabeças – Egberto Gismonti
1977 – East Meets West – John Scofield
1977 – Feels Good To Me – Bruford
1977 – Free Fall – Dixie Dregs
1977 – Low – David Bowie
1977 – Man Of The Light – Zbigniew Seifert
1977 – Natural Elements – Shakti
1977 – The Stranger – Billy Joel
1978 – Ambient 1: Music For Airports – Brian Eno
1978 – Heavy Metal Bebop – The Brecker Brothers
1978 – Kilimanjaro – Zbigniew Seifert
1978 – Music For Films – Brian Eno
1978 – Outlandos d’Amour – The Police
1978 – Pendulum – Dave Liebman Quintet
1978 – Silent Feet – Eberhard Weber
1978 – The Greeting – McCoy Tyner
1978 – The Hermit Of Mink Hollow – Todd Rungren
1978 – Van Halen – Van Halen
1979 – Journey To Dawn – Milton Nascimento
1979 – Night Of The Living Dregs – Dixie Dregs
1979 – Off The Wall – Michael Jackson
1979 – One Of A Kind – Bruford
1979 – Passion – Zbigniew Seifert
1979 – Reggatta De Blanc – The Police
1979 – The Plot Thickens – Jim McNeely
1979 – Van Halen II – Van Halen
1980 – Get Happy! – Elvis Costello
1980 – Little Movements – Eberhard Weber
1980 – Night Passage – Weather Report
1980 – Peter Gabriel 3 – Peter Gabriel
1980 – There And Back – Jeff Beck
1981 – Blizzard Of Oz – Ozzie Osbourne
1981 – Diary Of A Madman – Ozzie Osbourne
1981 – My Life In The Bush Of Ghosts – Brian Eno & David Byrne
1981 – Trust – Elvis Costello
1981 – Word Of Mouth – Jaco Pastorius
1982 – Spring Session M – Missing Persons
1982 – Violent Femmes – Violent Femmes
1982 – Weather Report – Weather Report
1984 – Domino Theory – Weather Report
1984 – Fog Tropes/Gradual Requiem – Ingram Marshall
1985 – Hounds Of Love – Kate Bush
1986 – Blue Matter – John Scofield
1986 – Still Warm – John Scofield
1987 – East Coast Blow Out – John Scofield
1987 – Homage To John Coltrane – Dave Liebman
1988 – Loud Jazz – John Scofield
1988 – Nothing’s Shocking – Jane’s Addiction
1988 – Trio+1 – Dave Liebman
1990 – Mystical Shit – King Missile
1990 – Song Of The Sun – Jim Beard
1991 – Blood Sugar Sex Magik – Red Hot Chili Peppers
1991 – Gish – Smashing Pumpkins
1991 – Loveless – My Bloody Valentine
1991 – Mr. Bungle – Mr. Bungle
1991 – Nevermind – Nirvana
1992 – Exile In Guyville – Liz Phair
1992 – Self Portraits – Richie Beirach
1993 – I Can See Your House From Here – John Scofield & Pat Metheny
1993 – Siamese Dream – Smashing Pumpkins
1994 – Dressing For Pleasure – Jon Hassell And Blue Screen
1994 – King Missile – King Missile
1994 – Lost At The Carnival – Jim Beard
1994 – Mellow Gold – Beck
1994 – Pisces Iscariot – Smashing Pumpkins
1994 – Rock Animals – Shonen Knife
1994 – Teenager Of The Year – Frank Black
1995 – Only Everything – Juliana Hatfield
1996 – Fantastic Planet – Failure
1996 – Odelay – Beck
1996 – Quiet – John Scofield
1997 – OK Computer – Radiohead
1997 – Truly… – Jim Beard
1999 – Monk’s Mood – Dave Liebman
2000 – Kid A – Radiohead
2000 – Prietos – Omar Sosa
2001 – Oh, Inverted World – The Shins
2001 – Rejected Unknown – Daniel Johnston
2001 – Sound-Dust – Stereolab
2002 – Outbreak – Dennis Chambers
2002 – Überjam – John Scofield
2003 – One Quiet Night – Pat Metheny
2004 – End Of The World Party (Just In Case) – Medeski Martin & Wood
2004 – Future Perfect – Autolux
2004 – Peace Love Death Metal – Eagles Of Death Metal
2007 – Furr – Blitzen Trapper

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Why Seed Boxes Are Destined To Become More Popular

In order to discuss why seed boxes will most likely become much more popular in the coming months, it’s necessary to fill in a little background.

In the world of file sharing, especially when it comes to private trackers like Cinemageddon, users are required to maintain a ratio hovering around 1:1. In other words, you must upload as much as you download. If you fail to do this, discipline follows, up to and including being banned from the site.

How do you keep your ratio up? This can be difficult for many, especially if they enjoy obscure movies. Usually, such movies don’t have a lot of leechers (that’s the term for folks who haven’t downloaded the entire torrent yet), so once you’ve download the content, you might have to seed for months before you’ve uploaded the equivalent amount of data.

This can even be a problem with popular torrents if you have vanilla DSL. Generally speaking, a popular torrent can download at a vastly greater than a person with vanilla DSL can upload.

A seed box can alleviate both of these problems. So, what is a seed box, anyway?

A seed box is a server or a space on a server which a person can rent, which can upload a torrent at blistering rates, sometimes as much as 6 mg/sec. This allows file sharers to swiftly increase their seeding ratio and remain in the good graces of a private tracker.

Now, seed boxes have been around for a little while now, and there isn’t exactly a stampede to rent them, but that might be changing.

In mid-July, ISPs in the United States will start aggressively monitoring file sharing by their customers, and when they determine that copyright laws are violated, they will enforce sanctions, such as decreased bandwidth, higher charges, limited access to the web, and denial of service. The ISPs will also most likely turn over their data to the government and to the enforcement arm of the entertainment industry, which could lead to enormous fines and even jail time.

So, what does that have to do with seed boxes?

Well, in addition to seed boxes providing increased upload speed for torrents, some also provide users with secure FTP and/or secure HTTP. What that means is that when you download files via secure FTP and/or secure HTTP from a seedbox, your ISP has no way of knowing what you just downloaded. They will know how much you downloaded, but the contents of that download will be encrypted. And of course, the initial download of the torrent takes place on a server that isn’t yours, providing another layer of privacy.

Then again, that doesn’t do users much good if government entities issue a court order to seed box providers demanding that they turn over their user data, but seed boxes may still provide a thin veil of protection if the seed box server is located in a country with strong privacy protections.

One thing is for sure. Users who insist on file sharing copyright protected materials, such as recent movies and music, will be in for a rude awakening after mid July if they don’t have a seedbox.

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Jazz Getting Unexpected Exposure in Gaming

Sadly, Jazz hasn’t really been a popular art form since the 1940s, when folks danced to swing. Once bebop took hold, jazz took on an intellectual bent, and pretty much stopped being a populist medium.

On the other hand, gaming is hugely popular. According to Wikia.com, the gaming industry has already surpassed the music industry in gross revenue, let alone the paltry market share jazz has.

But there is a silver lining.

Apparently, there are such a thing as jazz games, so some of the folks out there playing games might be exposed to the music we love, get intrigued and hopefully end supporting jazz artists by buying cds or attending concerts.

Here is a small sampling of some of the jazz oriented games available, along with brief descriptions:

Treble2

Your keyboard is your instrument – can you feel the beat? Test yourself against driving rhythms and complex melodies, and discover awesome new music!

Jazz Man

A music game with three stages. Stage 1; Avoid. Stage 2; Collect. Stage 3: Match. This is a quick music game with jazz music and jazz art.

Jazz Dancer

Tonight you will be attending a live Jazz event as a stage dancer, its your job to come up with the outfit for all the dancers. Use this girl as your model and start creating your perfect outfit for the perfect stage dance. Choose from many different items of clothing, take your time and you will come up with a great outfit.

Suzy Saxophone

Suzy the Jazz Singer knows everything there is to know about jazz instruments. From the piano to the clarinet, she’s been playing the blues before she could stand. Now she’s standing on stage with a crowd just waiting to hear the rhythms she comes up with next!

You get the idea.

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American ISPs to Launch Massive Copyright Spying Scheme on July 12

I happened across an article that I thought might be of interest to my readers, so I’m reprinting it:

American ISPs to Launch Massive Copyright Spying Scheme on July 12
By Stephen C. Webster
Thursday, 15 March, 2012

If you download potentially copyrighted software, videos or music, your Internet service provider (ISP) has been watching, and they’re coming for you.

Specifically, they’re coming for you on Thursday, July 12.

That’s the date when the nation’s largest ISPs will all voluntarily implement a new anti-piracy plan that will engage network operators in the largest digital spying scheme in history, and see some users’ bandwidth completely cut off until they sign an agreement saying they will not download copyrighted materials.

Word of the start date has been largely kept secret since ISPs announced their plans last June. The deal was brokered by the Recording Industry Association of America (RIAA) and the Motion Picture Association of America (MPAA), and coordinated by the Obama Administration. The same groups have weighed in heavily on controversial Internet policies around the world, with similar facilitation by the Obama’s Administration’s State Department.

The July 12 date was revealed by the RIAA’s CEO and top lobbyist, Cary Sherman, during a publishers’ conference on Wednesday in New York, according to technology publication CNet.

The content industries calls this scheme a “graduated response” plan, which will see Time Warner Cable, Cablevision, Comcast, Verizon, AT&T and others spying on users’ Internet activities and watching for potential copyright infringement. Users who are “caught” infringing on a creator’s protected work can then be interrupted with a notice that piracy is forbidden by law and carries penalties of up to $150,000 per infringement, requiring the user to click through saying they understand the consequences before bandwidth is restored, and they could still be subject to copyright infringement lawsuits.

Participating ISPs have a range of options for dealing with customers who continue to pirate media, at that point: They can require that an alleged repeat offender undergo an educational course before their service is restored. They can utilize multiple warnings, restrict access to only certain major websites like Google, Facebook or a list of the top 200 sites going, reduce someone’s bandwidth to practically nothing and even share information on repeat offenders with competing ISPs, effectively creating a sort of Internet blacklist — although publicly, none of the network operators have agreed to “terminate” a customer’s service.

It is because of those reasons that the content industries believe this program achieves much more than what might have been possible in the realm of public policy, and the ISPs appear to agree. The voluntary scheme will be paid for mostly by the content industries, which will share some costs with the ISPs.

Not everyone sees it as a positive: The Electronic Frontier Foundation, a digital rights advocacy group, argued that the “graduated response” scheme lacks transparency, and that copyright holders could wield the network operators like a blunt instrument in cases where their claims may not be entirely valid — which is the biggest problem with statutes codified by the Digital Millennium Copyright Act. They also pressed for assurances that claim reviews will be conducted by a neutral party, and suggested that users should be given some form of due process before their bandwidth is turned down or cut off entirely.

The EFF also took issue with the system of protest the program puts in place, which only gives users six predetermined “defenses” against a copyright claim. “And even the six enumerated defenses are incomplete,” they complained. “For example, the ‘public domain’ defense applies only if the work was created before 1923 — even though works created after 1923 can enter the public domain in a variety of ways.”

A legislative effort that would have achieved some, but not all, of these ends was utterly destroyed by the Internet’s first ever mass work stoppage late last year, which saw thousands of popular websites go dark in protest.

It’s not yet clear how the tech world will react to the ISPs siding with the content industries to do what the government simply could not.

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