{"id":2993,"date":"2011-06-23T20:18:55","date_gmt":"2011-06-23T19:18:55","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/zettelkasten\/youtube-vs-gema\/"},"modified":"2023-12-18T08:44:17","modified_gmt":"2023-12-18T07:44:17","slug":"youtube-vs-gema","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2011\/06\/youtube-vs-gema\/","title":{"rendered":"YouTube vs. GEMA"},"content":{"rendered":"<p>YouTube wei\u00df nicht so recht, was es will, wenn es jemanden anders ans Bein pinkeln will:<\/p>\n<p>Mal prangt:&nbsp;\u201eLeider ist dieses Video, das Musik von UMG beinhaltet, in Deutschland nicht verf\u00fcgbar, da die GEMA die Verlagsrechte hieran nicht einger\u00e4umt hat.\u201c<\/p>\n<p>Ein anderes mal: \u201eLeider ist dieses Video in Deutschland nicht verf\u00fcgbar, da es Musik enthalten k\u00f6nnte, f\u00fcr die die GEMA die erforderlichen Musikrechte nicht einger\u00e4umt hat.\u201c<\/p>\n<p>Schon im ersten Fall fragt man sich, was ist eigentlich Musik von UMG? Mir ist kein Komponist bekannt, der sich so nennen w\u00fcrde. UMG? Im zweiten Fall wird ein Video nicht angezeigt, weil es sein k\u00f6nnte, dass der Rechtinhaber die entsprechenden Recht nicht weringer\u00e4umt hat. Es wird also unterstellt, dass die GEMA die Rechte nicht einr\u00e4umt, unabh\u00e4ngig davon, ob sie sie verwaltet. Eigenartig auch dies. Vorsicht ist die Mutter der Porzellankiste.&nbsp;<\/p>\n<p>Freilich stimmt auch diese Aussage nicht, weil die GEMA ja die Musikrechte, wenn sie sie besitzt (treuh\u00e4nderisch) einr\u00e4umen muss. Die Frage ist ja nur, gegen welchen Preis. Allein dieser Punkt ist strittig. W\u00e4re YouTube konsequent, w\u00fcrde es sofort s\u00e4mtliche Musikvideos in Deutschland sperren. Aber das will man offenbar auch nicht. Es w\u00e4re auch denkbar, dass YouTube seine Nutzer auf die Einhaltung ihrer Nutzungsrechte \u00fcberpr\u00fcfte. Aber das will man auch. Das verlagerte ja den \u00c4rger in die eigenen Reihen. Also?<\/p>\n<p>&nbsp;<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=YouTube%20vs.%20GEMA https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2011%2F06%2Fyoutube-vs-gema%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 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alt='' src='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":8556,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2015\/05\/die-sperrtafel-und-die-presse-youtube-vs-gema\/","url_meta":{"origin":2993,"position":0},"title":"Die Sperrtafel, die Presse und die Sklaverei des \u201edigitalen Zeitalters\u201c (YouTube vs. Gema)","author":"der huflaikhan","date":"20. Mai 2015","format":false,"excerpt":"Die Sache mit der Wahrheit in der Presseberichterstattung ist nicht immer so einfach. Seit Jahren ist ein Streit zur Lizenzierung von Musik zwischen der Gema und YouTube anh\u00e4ngig. Dabei spielten Sperrtafeln eine gro\u00dfe Rolle, die den meisten YouTube-Nutzern in Deutschland angezeigt wurden. Kurz gesagt waren sie derart, dass YouTube behauptete,\u2026","rel":"","context":"In &quot;die Politik&quot;","block_context":{"text":"die Politik","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-politik\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":3337,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2014\/03\/kritik-der-musik-ii-die-verwendung-von-musik\/","url_meta":{"origin":2993,"position":1},"title":"Kritik der Musik II &#8211; Die Verwendung von Musik","author":"huflaikhan","date":"7. M\u00e4rz 2014","format":false,"excerpt":"Soll das der neue Blockertext von YouTube sein: \u201eDieses Video ist in Deutschland leider nicht verf\u00fcgbar, da es Musik enthalten k\u00f6nnte, \u00fcber deren Verwendung wir uns mit der Gema bisher nicht einigen konnten.\u201c So gesehen \u00fcber die Website des Magazins Focus. Ich verwende Musik ja gern zum Abschalten, muss ich\u2026","rel":"","context":"In \"GEMA\"","block_context":{"text":"GEMA","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/gema\/"},"img":{"alt_text":"Hollywood f\u00fcrs Gehirn. Foto: Hufner","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2014\/03\/hollywood.jpg?fit=1200%2C676&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2014\/03\/hollywood.jpg?fit=1200%2C676&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2014\/03\/hollywood.jpg?fit=1200%2C676&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2014\/03\/hollywood.jpg?fit=1200%2C676&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2014\/03\/hollywood.jpg?fit=1200%2C676&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2488,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2008\/09\/schwestern-beissen-sich\/","url_meta":{"origin":2993,"position":2},"title":"Schwestern bei\u00dfen sich","author":"huflaikhan","date":"10. September 2008","format":false,"excerpt":"Hier die Pressemeldung: Die GEMA ist in Deutschland erfolgreich gegen die niederl\u00e4ndische Verwertungsgesellschaft Buma\/Stemra und den Online-Musikanbieter beatport vor Gericht vorgegangen. Am 25.8.2008 hat das Landgericht Mannheim sowohl gegen den Downloadanbieter beat-port als auch gegen die Buma\/Stemra eine einstweilige Verf\u00fcgung erlassen. In dieser Verf\u00fcgung wird es beatport verboten, bestimmte Werke\u2026","rel":"","context":"In &quot;das Netz&quot;","block_context":{"text":"das Netz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/dasnetz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8780,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2018\/07\/upload-filter-unheilige-allianzen-und-falsche-samariter-2\/","url_meta":{"origin":2993,"position":3},"title":"Upload-Filter, unheilige Allianzen und falsche Samariter","author":"der huflaikhan","date":"7. Juli 2018","format":false,"excerpt":"Die Geschichte des Urheberrechts ist eine Geschichte von Missverst\u00e4ndnissen. So m\u00f6chte man einen Werbespruch aus dem letzten Jahrhundert f\u00fcr Binden paraphrasieren, wenn man sich die Entscheidung \u00fcber einen Richtlinienentwurf zur Modernisierung des Urheberrechts, der letzte Woche im EU-Parlament keine Mehrheit gefunden hat, anschaut. Im Kern geht es dabei nur darum,\u2026","rel":"","context":"In &quot;das Netz&quot;","block_context":{"text":"das Netz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/dasnetz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8676,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2016\/07\/arbeitsplaetze-in-der-musikwelt-twittern-bei-der-gema\/","url_meta":{"origin":2993,"position":4},"title":"Berufe in der Musikwelt: Twitteraccountmanagerin bei der GEMA","author":"der huflaikhan","date":"14. Juli 2016","format":false,"excerpt":"Man k\u00f6nnte einfach den Gemeinplatz wiederholen \"Das Internet vergisst nicht(s)\" \u2013 der so wahr ist wie die inexistenten 404-Fehlerseiten. Richtiger ist vielmehr: \"Das Internet merkt (sich) nichts.\" Das ist die sogenannte Schwarmdemenz im Internet. Den Eindruck muss man jedenfalls bekommen, wenn man dem Twitteraccount der GEMA unter @gemadialog folgt und\u2026","rel":"","context":"In &quot;das Netz&quot;","block_context":{"text":"das Netz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/dasnetz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":313,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/01\/autoren-verleger-musikhersteller-streit-um-34-prozent\/","url_meta":{"origin":2993,"position":5},"title":"Autoren, Verleger, Musikhersteller &#8211; Streit um 3,4 Prozent","author":"huflaikhan","date":"29. Januar 2004","format":false,"excerpt":"Nun geht der Streit weiter und k\u00f6nnte f\u00fcnf Jahre andauern. Der Verband der Phonographischen Industrie in Deutschland ist nicht l\u00e4nger bereit 9,0009 Prozent vom Herstellerabgabepreis einer CD an die Gema abzuf\u00fchren. Man will allenfalls 5,6 Prozent herausr\u00fccken. Und bis zur Entscheidung \u00fcber einen angemessenen Betrag will die Phonographische Industrie den\u2026","rel":"","context":"Mit 1 Kommentar","block_context":{"text":"Mit 1 Kommentar","link":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/01\/autoren-verleger-musikhersteller-streit-um-34-prozent\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/2993","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=2993"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/2993\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=2993"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=2993"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=2993"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}