[NOTE: THIS ESSAY IS 2,200 WORDS LONG AND NOT PART OF THE ASSIGNED POSTS. IT IS INFORMATION AND POLICY RECOMMENDATIONS ON DRM TECHNOLOGY FOR THOSE WHO ARE INTERESTED]
Important sites referenced:
http://www.apple.com/pr/library/2007/05/30itunesplus.html
http://en.wikipedia.org/wiki/Amazon_MP3_Downloads
http://en.wikipedia.org/wiki/Record_label
http://www.drmwatch.com/drmtech/article.php/3492676
http://www.engadget.com/2006/08/25/fairuse4wm-strips-windows-media-drm/
http://en.wikipedia.org/wiki/ITunes_Store
http://en.wikipedia.org/wiki/FairPlay
http://en.wikipedia.org/wiki/Microsoft_PlaysForSure
http://www.engadget.com/2007/08/21/universal-and-rhapsody-launch-drm-free-partnership-test/
In May 2007 Apple led the mainstream pack when they announced iTunes+ songs (Apple press release). For a 30 cent premium, you could buy a song through iTunes with no restrictions on how you could copy it, manipulate, store it, or transfer it (DRM-free). While this revolutionary attitude towards music rights for downloadable files may not have been out of an altruistic desire to meet consumer needs, the invisible hand of the market made it in Apple’s best interest to meet consumer needs. With the “Big Four” record companies becoming increasingly worried about Apple’s market power in the online music distribution they were actively seeking someone(s) to keep Apple in check.
Enter Amazon: in January 2008 they went official with their MP3 store (Wikipedia). They had the Big Four on board and many independent labels. When Apple launched iTunes+ only EMI was on board (though now they offer muck more DRM-free content). Thus the war to the bottom was born. With a precedent set at Apple and the stakes raised by Amazon future claims to DRM-free distribution are starting to propagate through the industry. RealNetworks is currently experimenting with DRM-free offerings (Engadget), and I have no doubt they will join the fray soon if things stay as they are.
DRM-free music, while having the added bonus of freedom in applications for files purchased, entails a large (if mostly hidden) public danger. As we have learned in the realm of privacy, once something is digital it can be distributed without the consent of the author, so any security flaws in current DRM-free music can harm consumers. Security flaws in DRM-free music are rampant and this is unacceptable. iTunes+ and similar DRM-free songs contain information about the purchaser like email & name which can be easily culled if a user’s files are hijacked or security is compromised. A reformulation of DRM, what I call DRM 2.0, is needed to protect consumers and ensure industry has a profitable and secure way to distribute its property digitally. DRM-free does not mean problem free.
A proper DRM 2.0 regime could theoretically very accurately weed out “good” vs “bad” uses for music (Pandora? OK. iTunes? OK. Illegal BitTorrent sharing? No), but what would that regime look like? Ironically it means less concentration of control spread among the various corporate interests, in fact a system very similar to DRM-free. As such, it’s encouraging that the industry is moving in the right direction. A key component of digital technology is the ability to “fingerprint” songs so that they can be identified precisely from whom they come if they are shared (most P2P networks can be easily monitored). And while Felten & his crew have proven digital watermarking no matter how sophisticated can be cracked, the fact that it becomes harder to do so if the fingerprinting is sophisticated means we are back to basic law supply and demand. DRM can hang around more easily, and the best case for society is if the DRM is wisely conceived. Finding a pirate who forgets to remove fingerprints (which can be constantly reformulated and tagged) is easier to find than a pirate who hides behind subnets, firewalls, and VPNs.
Why are we in this predicament? Well, the first iteration of DRM (”DRM 1.0″) was just horrible, so it scared the labels from contracting directly with service companies and accepting their bad DRM technology.
FairPlay (Apple), PlaysForSure (Microsoft), and Rhapsody (Real) were such bad technologies. Both forced transferring files to only approved devices (Wikipedia). This resulted in much consumer angst and confusion. You can’t play songs bought in Rhapsody on an iPod (though Real tried releasing a hack to allow this which Apple subsequently blocked by a software update of its own), and you needed to buy a program to play PlaysForSure files on an iPod. Similarly iTunes songs were prevented from play on “unapproved” devices (aka those made by the competition). Hacking and buying shareware to play your “own” music on your “own” music player hardly seems to be playing fair, playing for sure or instilling rhapsody in consumers. When it was both apparent that DRM played to the advantage of the end provider and that Apple was rapidly dominating the market, the labels scrambled for a backup plan.
So, they came up with DRM-free. For fear of allowing companies too much control, the labels decided to adopt freer technologies that have the identity-theft risk delineated above (”I got my identity stolen while stealing music!” doesn’t exactly instill sympathy in a courtroom). In a world of simple technology this regime may suffice, but options are getting greater and greater, increasing the likelihood of inadvertent file leaks as well as increasing intentional piracy opportunities.
DRM is easily hackable as many have proved over and over again (DRMWatch, Engadget), but that’s not the point. So is fingerprinting. Having to hack DRM or fingerprinting increases the cost of making music untraceable (and thus unable to have rights managed) in an economic sense. Standard supply and demand theory proves with higher costs to evading DRM or fingerprinting, it will be done less frequently.
Two big changes have created the need for “DRM 2.0″, which was previously lacking for technical reasons.
First is the proliferation of smart devices. With UMPCs, iPhones, and (soon) Google-Android mobile devices of all types flooding the market our devices (especially music players) now are capable of much more than simply chugging through bits pounding out audio waves after a simple DRM verification.
Not only are our devices getting smarter, they are getting more talkative. An iPhone can theoretically send information to Apple or AT&T securely if Apple maintains control of communications systems on its devices (read my SDK post regarding the tradeoff of control and open access regarding mobile platforms). The open source Android venture provides key oversight from the engineering community to create, adopt, and perfect communication mechanisms between device and any other agent that can be verifiably secure (think HTTPS for your phone). WiMax and 802.11n will only increase the chatter and thus opportunities for safe chatter.
With smarter and more talkative devices, now the need is paramount for a creative DRM 2.0 solution that sorts out media management on an “application by application basis.” Sophistication of mobile devices and growing troves of unprotected files with unencrypted individual identifiers increased exponentially the benefit of illegal activity. Again economics prevails: higher benefits encourages greater supply (in this case suppliers of nefarious computing activity). Given cooperation between the Big Four, other label interests, Apple, Amazon, Microsoft, Real, device makers, and some key other agents like ISPs and consumer privacy groups, the following would ensure corporate interests are protected concomitantly with consumer interests.
Though the industry is moving in the right direction (I believe markets often do this when they prying hands of regulators are resisted), but that is not to say they are getting it all right. The penalty for adopting DRM 1.0 was that well-intentioned consumers were often prevented from arguably “fair” uses of their digital media. DRM-free has a similar design flaw needing remedy. Fortunately, it is easily fixable. Right now if you use DRM 2.0 music and your files get put up on a sharing website, your name, email, and other identifiers are available for anyone to grab and exploit (think identity theft via your iTunes account). These companies increasingly hold sensitive information like credit cards and social security numbers at risk whenever you buy a DRM-free song. While this risk is borne those illegally sharing (and rightly so), it means that anyone who accidentally loses control of their new “DRM-free” music, files, or other information automatically releases their personal effects to the world for any nefarious purpose. So, while fair for the pirates, it seems unfair for those who play by the rules in good faith. Unfortunately the DRM-free system is approved by labels who have no interest in protecting privacy.
The following SIMPLE change would dramatically alter the benefits of the current DRM-free system in favor of BOTH consumer privacy and profit concerns. Rather than simply having unencrypted personal identifiers along with each song, Apple, Amazon, or Real could easily substitute a public/private key code into each song with a unique identifier. That means if a file shows up on file sharing websites, only Apple (or someone Apple approves) could determine the identity of the thief and not Joe Identitythief. The Big Four could then turn to Apple and say future digital distribution rights are predicated on developing a safe and robust unique identifier for each song. Apple would also have to give the identities of sharers when “egregious” pirating or other unauthorized distribution worth pursuing down the litigation channel is determined. While DRM 1.0 overweighted concerns of stopping people from allowing their devices to play nice, DRM-free solved this problem but puts consumer privacy at great risk. DRM 2.0 is identical to DRM-free but it protects consumer privacy. If labels are willing to accept DRM-free, why then not DRM 2.0? This solution is free of additional regulation, though it would require a little compromise and more open (and technologically sophisticated) dialogue.
Thus Apple (iPod, iPhone, iTunes), Pandora, Amazon, Creative, Microsoft (Zune, XBox marketplace), Real, and any other company involved in the distribution and consumption of media would have a new burden to shoulder, but a new opportunity as well: there is the cost of providing secure storage of a consumer’s files, but now there is the additional opportunity to securely and quickly verify songs with DRM on them (and provide recourse if authorization is improperly denied) from time to time as devices are now smarter and more talkative.
This solution would accommodate the interests of those seeking to protect copyright just as before, but it adds robust consumer protection to the equation. The extra cost by the end service provider comes with a powerful claim to the consumer: no more silly lock outs of songs for “fair” purposes. That’s a strong advertising angle if you are the first to adopt the model.
The best part of this solution is that it requires coercion or regulation of or by no party. All it takes is one company aware of these issues to deal with the Big Four like Apple, Amazon, Real, Microsoft, and Pandora have already. The labels have shown they are willing to deal, though they have historically been a thorn in the side of calls for reform. Even if Amazon and/or Apple did it, they could have DRM, DRM-free, and DRM-free+security. Added options for the consumer’s benefit can never hurt.
To summarize: With DRM 2.0, even if your device can’t prevent unauthorized viruses from stealing your media your identity isn’t lost. If files are circulating around the internet because of malicious code or badly designed devices the consumers are easy to identify by only those who care, and a promise of immunity in exchange for information on what services the consumer uses would weed out inadvertent leakers (who have little to hide) from serial pirates.
The key conclusion of this change is that it shifts the burden from proving an application is legitimate first to proving illegitimacy first. If illegitimacy is not proven, the consumer’s privacy is still protected rather than compromised as a cost of the transaction. Adopting DRM 2.0 would be a big step in the right direction. It could also be called “soft DRM” because it protects rights management without hard authoritative rules that restrict consumer choice. It would assure that incidental leaks wouldn’t increase the risk of identity theft (the occasional leak in a secure system can be remedied through proper technology if the system is designed with that intent).
A DRM system reached by consensus of a couple media makers, distributors, or service providers is not the route (this was DRM 1.0). Nor is one designed by the media makers only (DRM-free). The addition of a strong consumer advocacy perspective would explain to the vital interests that their needs can be met in an environment where the consumer is not put off by purchasing music with soft DRM, DRM 2.0, or whatever you wish to call it. This voice needs to be heard for the sake of efficiency and Pareto improvement. All parties are better off and nobody is worse off.
People will buy DRM music and the music industry will thrive if it formulates this more efficient DRM system. Creativity and the desire to “exchange value” (”pay”) for things with societal benefit in increasingly efficient ways are two fundamental and inalienable features of economic man.