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Speaker 1: You're listening to Matt Connorton Unleashed.

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Speaker 2: On WMNH ninety five point three.

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Speaker 3: Hey, everybody, welcome to Matt Connorton Unleashed and we are

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live from the studios of wm NH ninety five point

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three FM, Inglorious, Manchester, New Hampshire. We got a big

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show for you today. But right now, to kick us off,

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we got a brand new single. This is from our

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friend Opus and you know him as the drummer from

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the band Dead by Wednesday. But he's got a brand

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new solo album coming up called Purging the Demons, his

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first ever solo album, and this is his first ever

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solo single and you're hearing it first right here, brand

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new from Opus. This is called not Okay.

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Speaker 1: The silence servis t me.

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Speaker 4: I don't know wan have afen.

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Speaker 1: When she left?

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Speaker 5: Did she do something my mind I can't get out of.

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Speaker 1: I know I shouldn't thought that could. But it's not

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the same with about.

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Speaker 5: This counts and that days, but it never goes away.

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Speaker 1: It ripped my heart out and stole my soul. Y

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you ripped my heart out, cow out.

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Speaker 6: Something that till I can't ta point, but it thinks

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me night.

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Speaker 1: And I want to be off andy thing.

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Speaker 5: I'm stuck in.

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Speaker 1: This dark place where I go.

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Speaker 6: Up me, but I don't wanna be the person I

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used to be because I wrote too far down, I'm

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going too far down.

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Speaker 5: I don't even why to start a care and don't

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really want to. So I've left that knowing now myself

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uns gone.

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Speaker 7: Now I try and try, but enough thing to feel

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drive my cowfos shiner and now saying mad, I can't

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even think I'm weak.

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Speaker 1: You've ripped my heart out. You stole my soul. Wad,

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You've ripped my heart out, and now all.

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Speaker 5: That stole my soul now brand by.

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Speaker 8: Muscle No, you're heard it here first.

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Speaker 3: That is not okay, the brand new single from Opus,

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the drummer of Dead by Wednesday. But he's got a

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solo project, his new album, Purging the Demons, which will

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be out shortly, and excited to hear that you heard

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it here first, And right now we're gonna play ninth Son.

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This is navarros or Navaris. I'll have to ask him

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because he's going to be joining us UH via Microsoft

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teams right after this to talk with him. But this

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is really good. This is called ninth son.

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Speaker 9: You thank you.

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Speaker 10: Look like men.

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Speaker 2: Kick But what what what?

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Speaker 9: What?

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Speaker 11: What?

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Speaker 9: What? What?

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Speaker 4: What?

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Speaker 2: What the what?

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Speaker 9: What?

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Speaker 6: What?

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Speaker 3: How cool is that? I didn't even want to talk

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over the end of it. That is so cool. You

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can really groove to that. The track is called Ninth Sun.

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That is Nevaras, and or it might be Navarus. Let's see.

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I think we've got Augustin here with us. Augustin are

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you there?

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Speaker 11: Yes, I am, how are you good?

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Speaker 4: Good?

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Speaker 3: Welcome to the show. I'm excited to talk to you

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because I've been grooving to this. I've been grooving to

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this four track EP sound session. The whole thing is

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so good.

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Speaker 11: Thank you, man.

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Speaker 12: I really appreciate that absolutely.

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Speaker 3: So let's clear this up right off the bat. You

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how do you say the name?

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Speaker 11: It's Nevarus.

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Speaker 13: You know, it's adaptation of my last name on my

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mother's side, which is Nevadas, which is like a proper

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Spanish name.

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Speaker 8: But gotcha.

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Speaker 13: I saw it misspelled on a piece of paper once

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and I needed to It's like my stage name was

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like Navarus.

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Speaker 11: I just took it. I've had it ever since.

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Speaker 3: Oh that's cool, that's cool, No, I dig it. I'm

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really curious about your recording process with this. So for

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people who are not familiar with you and how you

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recorded this EP, I don't know if this is how

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you record everything but your I mean, it's live. It's

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it's studio, it's it's it's like it's it's in studio,

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but it's also live in the sense that And I

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don't know how many people do this anymore, but you're

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all playing live at the same time. So there's no overdubs,

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there's no you know, it's not you know, one person's

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recording you know, guitar parts and then somebody else is

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doing the synth and all this. It's all live. I

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did watch the videos too, and I'm just I'm fascinated

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by that.

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Speaker 13: Yeah, yeah, it was all live. No you know, no

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click track, no headphones interestingly really play.

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Speaker 11: Yeah, no headphones.

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Speaker 13: So we had bleed, which kind of you're kind of

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married to keeping it live at that point because you

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can't you can't edit it. It's it's so no headphones

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through amps. We could all hear each other live in

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the space. And you know, that's hard work for James

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de la Tacoma, who is the engineer, and Michael Black

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was filming it. It was something that none of us

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had try nine people, and it was definitely a sort

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of an experiment. And once we did it and I

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took it back, I listened to it, I was like, man,

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this sounds unlike any of the stuff I've done for

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years where you overdub and you lose something.

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Speaker 3: For sure, that's incredible. So you've never done anything quite

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like this In terms of recording, I never have.

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Speaker 13: No, I've recorded, I've got four records, and then working

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on the fifth, and then after that I already started

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on the sixth.

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Speaker 11: All of them were done with some form of live,

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you know. I never did it like layer by layer.

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Speaker 13: Often it would be like the drum set the base,

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you know, just like the core group, and then on

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top of that you're just adding and adding and adding building, right,

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That's how I've always done it.

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Speaker 3: Do you think that it's better to well, I mean

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I assume you think it's better because this is your approach,

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But do you prefer to get it as live as possible?

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Or again, in this case, in terms of the EP,

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this is all done live, like truly live. But do

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you think it's good to get either do that or

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get as close to that as possible, because then you

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capture something that maybe you don't capture if you're doing

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it the way most bands do it now, where you

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are just doing one thing at a time and sort

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of building the track because and part of why I'm

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curious about this is I know bands that you know,

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they they're really good live, but then you listen to

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their studio work and maybe it's not quite capturing the

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magic or the energy of the band's live performance, and

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you go, I wish, I wish these studio records really

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kind of captured that. I mean, how do you feel

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about that? And do you think you lose something if

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you do it, you know, just one thing at a time.

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Speaker 13: Yeah, I mean I've always tried, and you know, I've

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done a record since doing sound Session that is very

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close to being finished. And we did it shortly after

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sound session. We didn't fully go back to everybody live

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in the studio, but four of us got together, so

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Locatronto and drums, Jonathan Maren, oh, Bill Bernard and I

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got together and put down the whole basis of it.

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And in general, I do at least rhythm section plus

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and alotic instruments, you know, a core live in the studio.

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I never do. If you go back too far, you're

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going to lose all the spirit of it, you know,

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right right?

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Speaker 3: And can you tell us too about working with Bill

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Bill Laswell, legendary producer and bassist on this and these songs.

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I mean he actually co wrote these with you, correct.

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Speaker 11: He did.

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Speaker 13: We So originally we did an album called Reverberations, which

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is out there for people to check out if you want,

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and that we did where he wrote all these amazing basslines,

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and then we had a lot of stuff that didn't

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make it on the record, and we had done two

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records before that, so I've done three records with Bill

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playing bass wow, And there was just a lot of material.

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And so my idea was originally to get in the

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studio with Bill and everybody and film it and document it.

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And then Bill health has you know, he's been dealing

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with a lot of challenges. He hasn't really been back

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to the studio, and Peter Applebaum, the sax player, suggested

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Jonathan Marron come in and he basically learned a lot

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of Bill's basslines no for note wow, but then he

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improvised on top of that.

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Speaker 11: So I say, like the first part of every.

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Speaker 13: One of these songs is a straight Bill Laswell bassline,

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and then he took it where.

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Speaker 11: It needs to go.

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Speaker 13: So there was a lot of Jonathan involved as well.

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Speaker 3: In terms of him coming in and doing that. Did

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you sort of guide him and say, you know, at

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least for the start of it, try to do what

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Bill was doing? Or I mean, how much latitude did

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you give him? I guess is what I'm really asking.

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Or did you tell him, you know, go crazy, do

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what you want and we'll see what happens, or how

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did you approach that?

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Speaker 13: Yeah, I sent him a bunch of recorded music, and

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you know, Jonathan Maren is just one of the best

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bass players I've ever worked with. It's a super talented guy,

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and he learned everything, and he came with, you know,

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like an ipatty and everything kind of ready to go

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exactly like on the recording, and it's like, don't don't

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worry about that. None of us are going to play

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the track accurately. We're going to start. All of this

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will be out the window within two minutes. But like

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you know, for nights on that baseline in the beginning,

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that's that's Bill's baseline, you know, Okay, pretty much.

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Speaker 11: That's that's his baseline.

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Speaker 13: And Bill has a vocabulary baselines, and you know, he

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has just all this work that he's created.

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Speaker 11: He's it's so.

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Speaker 13: It's very distinctly his composition. But then you know, Jonathan

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certainly and the rest of the band certainly took it

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wherever it needed to go in the moment, and everything

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else I'd say was fully one hundred percent in provods

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except for the baseline.

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Speaker 3: Really, no kidding, Wow, that's incredible. Tell us who about

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working with DJ Logic on turntables.

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Speaker 11: He's the best.

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Speaker 12: Yeah, he's the best.

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Speaker 11: He's the best.

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Speaker 13: I met him through the great Bernie Warrel many years ago. Yeah,

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I had the honor of working with Bernie of times,

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which will always be the highlight from my musical experience.

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Speaker 11: May he rest in peace.

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Speaker 13: And we did a show and he just brought J

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Logic alone to hang out and just and Logic gave

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me his number on a napkin with the marker. He's like,

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this is dope, man, here's And then after that, for

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a long time we tried to figure out how to

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get together. And then once we were in the studio,

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the first time we've been in the studio fair amount

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and man, I love that awesome human beings, just great

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person and phenomenal talent obviously.

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Speaker 3: Yeah yeah, clearly and everything. I mean, you know, you

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sit right in with what you were doing, that's for sure.

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Oh yeah. So now what's what is the live situation

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with this project? Are you playing these songs out live?

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Or will you be? And I'm curious about that.

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Speaker 11: I've been doing. I have been doing some shows.

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Speaker 13: I think I have you know, four or five shows

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coming up this summer. I'm playing different tracks from sort

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of the full catalog of everything ever put out. And

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you know there's a sort of iteration of the band

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that's that's been out there working a little bit, and

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we do.

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Speaker 11: Have quite a lot coming up. Yeah, yeah, we're doing it.

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Speaker 3: Oh outstanding, outstanding. And you're also the co founder of

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Knowledge Records. Is that correct?

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Speaker 4: Yeah?

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Speaker 11: My brother and I started Knowledge Records a long time ago.

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Speaker 13: It it you know, it doesn't do much except just uh,

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put out stuff that I work on. OK, someday there's

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I'd love to do more. I'd love to figure out

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how to you know, there's so many talented artists around

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people that I know that I you know, it's I'd

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love to find some you know, wealthy billionaire that's like there,

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just take all this money and make as many records

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as you want.

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Speaker 3: No doubt. And you're a You're in an epicenter of music, right,

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I mean you're in New York, is that correct?

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Speaker 13: You know, I'm based out of New York. My wife

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is working for Penn State University. You know, I'm born

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and raised in New York, so I'm sort of doing

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a lot of back and forth on Route eighty right now, nodding, yeah, yeah, yeah,

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you know, all the musicians are based out of New York,

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and you know, my family, we still have our apartment

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in New York where I grew up. But yeah, I've

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been spending more time outside of the city, and I

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found that people are really uh, there's a really great

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listener base when you get out of the city, and

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I'm trying to work with that more. You know, take

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the music where people are hungry to hear.

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Speaker 3: It, right right, which is everywhere.

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Speaker 11: So that's everywhere.

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Speaker 3: So that's good, you know. And of course, obviously, you know,

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we live in a time because of the Internet where

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you can you know, you can reach people anywhere, which

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is wonderful. Yeah, and tell us about loud. You also

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have a project called loud Apartment.

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Speaker 11: Yeah.

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Speaker 13: That was the first kind of project name that I

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had because I never wanted it to be my own name.

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It's kind of Bill's fault that it ended up being

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my name again, And he was when he did reverberations.

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He was like, no, that's a cool name. You know,

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it's it's like Santana. It's a good reference point. Now

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you should use that, And I don't know. I kind

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of was like, okay, but I liked I used a

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loud Apartment for a while, put out three records and

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did a bunch of playing us loud Apartment. But really

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it's the same, just project name for whatever I'm working on.

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Speaker 3: Yeah, that's a cool name.

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Speaker 8: I like it.

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Speaker 3: Loud Apartment. That's a cool name. So so Bill's a

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one convince you to use Navarus. I mean, he's not wrong.

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I mean it is a cool name. It is avocative

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of Santana. I like it.

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Speaker 13: Yeah, he's very involved in all aspects of a project,

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from the art to the song order.

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Speaker 11: It's really cool.

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Speaker 13: Like it was an absolute honor to work with Bill

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over the years, and that's one of the things I

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loved about working with him.

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Speaker 11: Is it was never just one part of it.

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Speaker 13: He kind of understands how to make a record from

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start to finish and all the different parts involved.

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Speaker 3: How did that You might have touched on it. Forgive

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me if I'm forgetting, but how did how did that

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come about? Where you first began working with Bill Laslow

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Bill Laswell.

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Speaker 13: Through a singer named Garrison Hawk ak Hawkman reggae singer,

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great singer, most known for Blowback with Tricky, all the

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reggae stuff on that. But he's he's been out there

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for a long time and he's one of my best friends.

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And he was working with Bill and I got hired

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to produce the track for one of his records and

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Bill mixed it and when I got the mill, when

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I got the mixed back, I was like, oh man,

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this is this is who I need to work with

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and was very persistent in trying to figure out how

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to make that happen more consistently.

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Speaker 3: Yeah. Well, and apparently you succeeded. So that's that's wonderful, outstanding.

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So what's what's next for this project? Do you intend

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to you know, obviously, I mean the sound sessions ep

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is great, do you uh is there going to be

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a follow up to this with the same sort of

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configuration and approach to doing it?

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Speaker 11: I think so.

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Speaker 13: I think I would like to do it again, maybe

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the exact same configurations. It's fun sometimes to repeat things,

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you know, identically, same room, be like, hey, let's let's

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try this one more time, maybe play a little longer,

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put something together. In the meantime, I have a record

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coming out called mind Funk, which has a.

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Speaker 11: Lot of the same guys. That's almost done.

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Speaker 13: And uh, yeah, there's some very exciting surprise guests on

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that then talking about Yeah, one of them is Booty Collins.

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Speaker 11: I'll tell you that.

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Speaker 8: Really that's awesome playing.

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Speaker 13: Yeah, he's playing based on two of the tracks. I

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haven't really announced that yet, but yeah, he's he's going

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to be on it. So I am very excited to

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put this out and just I'm just trying to keep moving, man, Yeah,

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keep it moving.

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Speaker 3: That's what you gotta do. That's what you gotta do.

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Booty Collins, boy, talk about a legend. That's amazing.

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Speaker 13: I know it was a shock when the track came back,

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and that is fully Bill Aswell's work. You know, Bill

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is Uh, it's it's really been awesome to know him

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and you know you in terms of his health struggles,

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it's it's something you can do. I don't like to

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be the one to talk about it, but you can

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read about it. There's go fund these and all you know,

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ways to support him. And you know, he's he's he's still,

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he's still you know, finding out how to keep creatively

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working and you know, keeping things happening.

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Speaker 3: Yeah, yeah, one hundred. Well, very good. Well listen, Augustin.

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We'll let you go in a moment, but let me

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ask you, well two things. First, let me ask you

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where is the best place to go online for people

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to keep up with everything that you are doing, everything

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with navars and anything else that you want people to

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know about. Where should people go online to keep up

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with you?

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Speaker 13: Navars dot net and E V A R I S

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dot net that is where everything is. There's definitely music

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that is not on Spotify, not streaming, that is there.

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Speaker 11: Oh, I have four records on there.

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Speaker 13: Uh, and I'm going to be posting all the shows

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coming up there and yeah that's the spot Oh fantastic.

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Speaker 3: Well that's easy. And the other question is what should

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we play at the end of our conversation. We played

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ninth Son to open. But I'm thinking, so we've got

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there's document and there's Remedy, doub Orchestra. Might be a

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little longest, might be might be a little long for

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for the radio.

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Speaker 11: But but but I'll let you go for document, document.

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Speaker 3: Okay, what anything special we should know about this track.

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Speaker 8: Before we play?

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Speaker 11: I think that that one was the chance to.

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Speaker 13: You know, play some more traditional Afro Cuban rhythms with

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Angel Rodriguez, the Great Angel Rodriguez on congas.

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Speaker 11: So that was cool. And that's Jojo Cool also.

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Speaker 13: Playing percussion, who played in Felous Band after Tony Allen.

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Speaker 11: So you know, there's some awesome people involved.

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Speaker 13: And uh, there is a go fundme for Jojo because

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he just had an operation on his heart, so I

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shout that out. Cool, you look him up, he's playing

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on it. And really just a great group of people.

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It was a joy to work on it. No no arguing,

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no stress, just playing music.

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Speaker 3: It's fantastic and you know, the success of it is

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evident and the end result. So definitely definitely a good

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group of people you put together for this. Absolutely no, no,

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I love it. I love it. The EP is incredible.

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All right, Augustin will let you go. We're gonna hit

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that track, but I'm sure we will talk again as

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you're releasing new music. Sounds like you got a lot

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coming up, so we'll definitely have you back.

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Speaker 11: Awesome. I appreciate it. Have a beautiful day, all.

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Speaker 3: Right, Augustin Navaris. Thank you. We'll talk to you soon.

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Speaker 11: Bye bye.

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Speaker 3: All right. That is Augustin Navarus of the Project Navarus.

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Of course, check out Sound Session. It's a fantastic for

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a track EP. We're gonna play another song from this

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right now. And this is called Document.

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Speaker 10: And kept.

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Speaker 4: Think and and and and.

401
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Speaker 10: And game fast three game name.

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Speaker 13: In m.

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Speaker 3: That is so cool. That is called the Document. That is Navars.

404
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And thank you again to Augustin Navarus for joining us earlier.

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By the way, the EP is called sound Session. Four tracks,

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really really good and I really enjoyed our conversation with him.

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If you are just joining us, of course, this is

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Matt Connorton Unleashed and we are live from the studios

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of WMNH ninety five point three FM and Glorious Manchester,

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00:33:23,640 --> 00:33:25,640
New Hampshire. Of course, you can stream the show from

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00:33:25,640 --> 00:33:28,880
anywhere go to Matt connorton dot com slash live for

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00:33:29,000 --> 00:33:31,920
all of your live streaming options, social media links, contact info,

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00:33:32,000 --> 00:33:35,640
show archives, et cetera, et cetera. Today is Saturday, March

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00:33:35,680 --> 00:33:38,200
twenty eight, twenty twenty six. Got a little bit of

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00:33:38,319 --> 00:33:41,079
music news, and I will be very curious to see

416
00:33:41,119 --> 00:33:44,359
how people react to this on social media or if

417
00:33:44,359 --> 00:33:47,000
you are listening live. Of course, you can always chime

418
00:33:47,079 --> 00:33:50,960
in in the chat room as well. Because I say

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that because I have what maybe among people who are

420
00:33:54,920 --> 00:33:57,400
active in the music industry as I am and a

421
00:33:57,400 --> 00:34:00,400
lot of our audiences people in the music and I

422
00:34:00,440 --> 00:34:03,960
have what maybe an unpopular opinion about this. I'm not

423
00:34:04,079 --> 00:34:08,760
sure though. So this is something that the Supreme Court

424
00:34:08,800 --> 00:34:15,320
has ruled on regarding piracy and copyright and record labels

425
00:34:15,440 --> 00:34:19,400
and all of it. And this isn't important. This this

426
00:34:19,440 --> 00:34:22,079
could be you know, we use the term landmark ruling.

427
00:34:23,320 --> 00:34:27,400
So this is important and it does involve the Supreme Court.

428
00:34:27,480 --> 00:34:29,519
You know, we don't do politics on this iteration of

429
00:34:29,559 --> 00:34:31,880
the show. But this isn't political. This is but it does.

430
00:34:32,039 --> 00:34:35,840
It is something that affects the music industry, and I

431
00:34:36,119 --> 00:34:38,639
have my opinion about this might be a little bit unpopular.

432
00:34:38,679 --> 00:34:41,239
We'll see, we'll get into it, but I actually agree

433
00:34:41,679 --> 00:34:44,400
with the Supreme Court's ruling on this in a time

434
00:34:44,440 --> 00:34:47,239
where you know, I may not agree with a lot

435
00:34:47,239 --> 00:34:49,280
of Supreme Court rulings, but I do agree on this.

436
00:34:50,280 --> 00:34:52,760
But I'll be very curious to get audience feedback, either

437
00:34:52,840 --> 00:34:56,599
live and or afterward on social media. But this is

438
00:34:56,719 --> 00:34:59,440
from one of my favorite websites for music industry news,

439
00:34:59,719 --> 00:35:04,360
music businessworldwide dot com. US Supreme Court. This has happened

440
00:35:04,400 --> 00:35:07,920
this week. US Supreme Court sides with Cox Communications in

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00:35:08,119 --> 00:35:13,519
landmark music piracy case brought by record labels. Okay, so

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00:35:13,639 --> 00:35:16,599
here's the article. This we'll explain. The US Supreme Court

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00:35:16,639 --> 00:35:21,960
has ruled that internet service provider Coxcommunications cannot be held

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00:35:22,039 --> 00:35:27,920
responsible for music piracy committed by its subscribers, ending a

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00:35:28,119 --> 00:35:32,079
landmark copyright case in which the major record companies had

446
00:35:32,119 --> 00:35:38,519
won a one billion dollar jury verdict. This this was unanimous.

447
00:35:38,519 --> 00:35:41,960
By the way, the unanimous decision by the Supreme Court

448
00:35:42,000 --> 00:35:44,199
was handed down on March twenty five, so this was

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00:35:44,239 --> 00:35:47,599
just a few days ago. Justice Clarence Thomas writing for

450
00:35:47,639 --> 00:35:51,239
the Court. Again, if you know me, we don't get

451
00:35:51,280 --> 00:35:54,719
into politics on this iteration of the show but not anymore.

452
00:35:55,400 --> 00:35:57,000
We used to a long time ago. But if you

453
00:35:57,039 --> 00:36:00,360
know me, you know again, Justice Thomas not someone I

454
00:36:00,400 --> 00:36:05,400
would necessarily agree with much, if ever, but he's got

455
00:36:05,440 --> 00:36:08,280
it right here. In my opinion, Justice Clarence Thomas, writing

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00:36:08,320 --> 00:36:11,960
for the court, said that Cox quote neither induced its

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00:36:12,119 --> 00:36:18,440
users infringement nor provided a service tailored to infringement. So,

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00:36:18,599 --> 00:36:22,800
in other words, saying that an Internet service provider, just

459
00:36:22,880 --> 00:36:27,440
because they are providing you Internet service does not mean

460
00:36:27,800 --> 00:36:31,320
that that somehow is inducing you to do something illegal

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00:36:31,679 --> 00:36:35,880
like piracy, like infringing on somebody's copyright. They're just providing

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00:36:35,920 --> 00:36:36,639
you the service.

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00:36:37,320 --> 00:36:37,519
Speaker 12: You know.

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Speaker 3: He's right, uh, he also said. He also wrote in

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00:36:43,800 --> 00:36:47,719
his opinion quote, Cox provided Internet service to its subscribers,

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but it did not intend for that service to be

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00:36:51,360 --> 00:36:56,960
used to commit copyright infringement. Holding Cox liable merely for

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00:36:57,079 --> 00:37:01,199
failing to terminate Internet service to en fringing accounts would

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00:37:01,199 --> 00:37:07,800
expand secondary copyright liability beyond our precedence. Unquote. Again, if

470
00:37:07,840 --> 00:37:09,760
you know me, you won't hear me say this often,

471
00:37:10,079 --> 00:37:13,239
if ever. But in this case, Justice Clarence Thomas got

472
00:37:13,239 --> 00:37:17,440
this right. He's right. I agree absolutely. Now. The reason

473
00:37:17,440 --> 00:37:21,440
I say this may be an unpopular opinion within some

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00:37:21,480 --> 00:37:23,360
of with some of our audience and people in the

475
00:37:23,440 --> 00:37:25,599
music industry who listen to the show. Is there are

476
00:37:25,639 --> 00:37:27,880
some in the music industry who are who are upset

477
00:37:27,920 --> 00:37:32,800
about this, who say, no, piracy is uh has always

478
00:37:32,800 --> 00:37:34,679
been a problem, and we need to do whatever we

479
00:37:34,719 --> 00:37:40,360
can to tamp down piracy and copyright infringement. And look,

480
00:37:40,440 --> 00:37:43,480
I am someone who again, if you know me, if

481
00:37:43,480 --> 00:37:46,039
you know my background, if you're a regular listener to

482
00:37:46,079 --> 00:37:48,800
the show, you know that ultimately, I will always advocate

483
00:37:48,840 --> 00:37:52,639
on behalf of artists and the music industry that you know,

484
00:37:52,679 --> 00:37:57,280
the people, not necessarily the major labels who but well,

485
00:37:57,280 --> 00:38:00,000
we won't get into that, and certainly not I won't

486
00:38:00,199 --> 00:38:02,639
advocate on behalf of Live Nation and Ticketmaster, but we

487
00:38:02,639 --> 00:38:04,960
won't get in all of that. But I'm saying artists

488
00:38:05,039 --> 00:38:07,960
making money, making a living, which is much harder than

489
00:38:07,960 --> 00:38:11,119
people might realize, Artists making a living within the music

490
00:38:11,159 --> 00:38:14,679
industry and being paid for their work. I will always

491
00:38:14,719 --> 00:38:18,400
advocate on behalf of that, always, always, always, That's what

492
00:38:18,440 --> 00:38:22,119
I care about most is artists getting getting paid, being

493
00:38:22,159 --> 00:38:24,239
compensated for their work, and being able to make a living.

494
00:38:24,320 --> 00:38:27,119
It's it's crucial it's critical, and we talk about that

495
00:38:27,159 --> 00:38:29,679
a lot on the show, especially with AI and and

496
00:38:29,920 --> 00:38:32,280
the advent of all this AI generated music and the

497
00:38:32,280 --> 00:38:35,599
threats that that that that holds, and and you know,

498
00:38:35,639 --> 00:38:37,760
we talk about this stuff all the time on the program.

499
00:38:38,440 --> 00:38:42,360
But I do think it's a little bit absurd this

500
00:38:42,559 --> 00:38:47,840
idea that you're going to hold Internet service providers responsible

501
00:38:48,840 --> 00:38:52,800
and make them have to pay for what individual users

502
00:38:52,840 --> 00:39:01,440
are doing. That would be like, uh, you knowing auto

503
00:39:01,480 --> 00:39:07,320
manufacturers every time someone gets into a car accident where

504
00:39:07,360 --> 00:39:10,719
somebody ends up dead, you know, is it the is

505
00:39:10,719 --> 00:39:14,400
it the the fault of the auto manufacturers for producing

506
00:39:14,440 --> 00:39:18,000
a product that someone uses to accidentally kill someone on

507
00:39:18,039 --> 00:39:22,000
the highway. You know, let's see some common sense. Let's

508
00:39:22,039 --> 00:39:25,320
be reasonable and rational about this. And again some people

509
00:39:25,320 --> 00:39:27,719
will say, Matt, we have to do whatever we can,

510
00:39:28,039 --> 00:39:32,280
literally whatever we can to stop piracy, to stop people

511
00:39:33,079 --> 00:39:37,719
from having their copyrights infringed upon. I understand that, but

512
00:39:37,719 --> 00:39:40,599
but we also again we have to be reasonable and

513
00:39:40,679 --> 00:39:44,199
use common sense, and so to hold Internet service providers

514
00:39:44,239 --> 00:39:48,960
responsible for what individual users are doing, whether it's piracy,

515
00:39:49,519 --> 00:39:53,480
whether it's using the dark web to do other things

516
00:39:53,559 --> 00:39:57,239
that are illegal, accessing the dark web, whatever, it is right,

517
00:39:59,000 --> 00:40:04,440
you know, unless the internet service provider is somehow and again,

518
00:40:04,480 --> 00:40:08,280
as Justice Thomas said, there's no inducing of individual users

519
00:40:08,320 --> 00:40:11,320
to commit fraud or to do any kind of illegal activity,

520
00:40:11,639 --> 00:40:14,159
you know, unless you have an internet service provider who

521
00:40:14,280 --> 00:40:17,639
is marketing their service in a way that they're actually

522
00:40:17,679 --> 00:40:20,079
saying somewhere in their marketing by the way, you know,

523
00:40:20,159 --> 00:40:22,320
you can do whatever you want. You can do illegal

524
00:40:22,360 --> 00:40:25,320
things if you use our internet service, and we won't

525
00:40:25,360 --> 00:40:28,280
even uh nobody will even get mad at you about it,

526
00:40:28,480 --> 00:40:32,000
you know. But obviously that's not happening. Okay, So more

527
00:40:32,039 --> 00:40:34,880
to this article. Again, this is from Music Businessworldwide dot com.

528
00:40:35,760 --> 00:40:40,199
Commenting on the decision, Mitch Glazier our IAA chairman and

529
00:40:40,280 --> 00:40:43,920
CEO CEO said, and okay, so here's the dissenting opinion,

530
00:40:43,960 --> 00:40:46,800
dissenting against me. I feel like I'm the dissenting opinion

531
00:40:46,800 --> 00:40:49,360
because again I feel like I have an unpopular opinion

532
00:40:49,360 --> 00:40:53,719
about this within the music industry. Here's here's what Mitch

533
00:40:53,760 --> 00:40:58,000
Glazier said. Again, he's the RIAA chairman and CEO. He said, quote,

534
00:40:58,239 --> 00:41:02,480
we are disappointed in the courts decision vacating a jury's

535
00:41:02,480 --> 00:41:08,119
determination that Cox Communications contributed to mass scale copyright infringement

536
00:41:08,519 --> 00:41:15,360
based on overwhelming evidence that the company knowingly facilitated theft,

537
00:41:15,800 --> 00:41:24,960
knowingly facilitated theft. Come on, so, by that logic, you know,

538
00:41:25,239 --> 00:41:27,719
take the music industry, take the piracy part out of it.

539
00:41:27,920 --> 00:41:31,360
Let's just you know, back up and take a broader

540
00:41:31,440 --> 00:41:34,559
view of this and what he's saying. By that logic,

541
00:41:35,320 --> 00:41:39,960
anything that anyone ever does that might be illegal, It

542
00:41:40,039 --> 00:41:43,280
might be fraudulent, that might be deceptive. On the Internet,

543
00:41:44,119 --> 00:41:48,840
if they're using Coxcommunications for their Internet service, anything anybody

544
00:41:48,920 --> 00:41:53,840
ever does online while using that service, well it's it

545
00:41:53,880 --> 00:41:59,239
was facilitated by by the internet service provider. I mean,

546
00:41:59,239 --> 00:42:03,800
that's absurd, that's crazy. That's that's that's truly, that's that's

547
00:42:03,840 --> 00:42:07,719
an insane standard. How could any business live up to

548
00:42:07,760 --> 00:42:12,800
that and and and be held responsible for that. That's

549
00:42:12,880 --> 00:42:19,119
nuts to me. Um he said more Mitch Glazier said

550
00:42:19,159 --> 00:42:22,400
more quote. To be effective, copyright law must protect creators

551
00:42:22,440 --> 00:42:25,960
and markets from harmful infringement, and policymakers should look closely

552
00:42:26,039 --> 00:42:29,760
at the impact of this ruling. The Court's decision is narrow,

553
00:42:29,840 --> 00:42:34,639
applying only to contributory infringement cases involving defendants like Cocks

554
00:42:34,840 --> 00:42:38,480
that do not themselves, copy, hosts, distributor publish infringing material,

555
00:42:38,719 --> 00:42:47,239
or control or induce such activity unquote. The ruling means

556
00:42:47,320 --> 00:42:52,199
that simply knowing some subscribers are pirating music and continuing

557
00:42:52,239 --> 00:42:55,679
to provide them with Internet access is not enough to

558
00:42:55,679 --> 00:43:00,920
make an ISP liable for copyright infringement. Right because again

559
00:43:01,239 --> 00:43:05,920
the ISP, Yeah, they know that some people are pirating music.

560
00:43:06,440 --> 00:43:09,719
Of course they do, because we all know that. But

561
00:43:12,079 --> 00:43:15,960
is there I guess maybe there's an implicit expectation that

562
00:43:16,079 --> 00:43:22,159
the ISP is supposed to detect who aspirraty music and

563
00:43:22,199 --> 00:43:25,079
then turn off their service. Is that Is that what

564
00:43:25,119 --> 00:43:25,760
we're expecting?

565
00:43:25,760 --> 00:43:25,920
Speaker 8: Oh?

566
00:43:25,920 --> 00:43:30,320
Speaker 3: What could possibly go wrong there? I mean, come on,

567
00:43:31,159 --> 00:43:33,599
this is this is crazy. So again I agree with

568
00:43:33,639 --> 00:43:37,000
the court's decision. There's more to this. Under the standard

569
00:43:37,079 --> 00:43:42,559
set of today's set. By today's decision, rights holders must

570
00:43:42,639 --> 00:43:47,199
provide either must prove either that a provider actively encouraged

571
00:43:47,239 --> 00:43:50,880
infringement or that its service was designed for piracy with

572
00:43:51,039 --> 00:43:55,000
no real lawful use. Internet access, the court said, clearly

573
00:43:55,239 --> 00:43:59,400
has many lawful purposes. The case dates back to twenty eighteen,

574
00:43:59,440 --> 00:44:02,360
when Sony Music, Universal Music Group, Warner Music Group, and

575
00:44:02,480 --> 00:44:06,519
dozens of other rights holders sued Cox, arguing the company

576
00:44:06,519 --> 00:44:10,760
ignored over one hundred and sixty three thousand infringement notices

577
00:44:11,000 --> 00:44:15,679
about subscribers illegally downloading more than ten thousand copyrighted songs.

578
00:44:16,519 --> 00:44:21,599
The labels pointed to evidence that a Cox manager overseeing

579
00:44:21,639 --> 00:44:26,719
piracy compliance told his team to quote f the DMCA

580
00:44:27,000 --> 00:44:32,480
unquote and the DMCA is a law that is designed

581
00:44:32,480 --> 00:44:34,639
to I wish I could remember exactly what it stands

582
00:44:34,639 --> 00:44:39,159
for digital media copyright? Is that the Digital Media Copyright

583
00:44:39,199 --> 00:44:45,079
Act Again, it's an anti piracy law. A jury sided

584
00:44:45,119 --> 00:44:48,320
with the labels in twenty nineteen, awarding one billion dollars.

585
00:44:48,719 --> 00:44:52,599
The Fourth Circuit Court of Appeals partially overturned the verdict

586
00:44:52,639 --> 00:44:56,519
in twenty twenty four, throwing out the vicarious liability finding

587
00:44:56,599 --> 00:45:01,880
but keeping the contributory infringement ruling and ordering a retrial

588
00:45:02,119 --> 00:45:04,840
on damages that could have reached one point five billion.

589
00:45:06,159 --> 00:45:08,360
The Supreme Court took up the case last June, heard

590
00:45:08,480 --> 00:45:11,199
oral arguments in December, and has now reversed the remaining

591
00:45:11,239 --> 00:45:17,199
contributory liability, including finding entirely the Thomas opinion laid out

592
00:45:17,199 --> 00:45:21,519
two and only two paths to contributory copyright liability. The

593
00:45:21,559 --> 00:45:25,840
first is inducement, where a provider actively promotes its service

594
00:45:25,880 --> 00:45:29,559
as a tool for piracy, as in a landmark two

595
00:45:29,599 --> 00:45:34,239
thousand and five MGM versus Groster ruling involving file sharing software.

596
00:45:34,480 --> 00:45:38,159
By the way, remember if you're old enough to remember

597
00:45:38,360 --> 00:45:42,840
two thousand and five, early to mid two thousands, that's

598
00:45:42,880 --> 00:45:47,320
the era of napster. That's the era of mass panic

599
00:45:48,159 --> 00:45:52,440
and I do mean panic within the music industry about

600
00:45:52,480 --> 00:45:55,960
file sharing. That was when in two thousand and five,

601
00:45:56,000 --> 00:45:58,440
I was still working for trans World Entertainment, which owned

602
00:45:58,679 --> 00:46:01,239
Strawberries and Fye and all of that at the time,

603
00:46:01,719 --> 00:46:06,199
and there was panic because it was I remember having

604
00:46:06,239 --> 00:46:09,760
conversations with people where I just, you know, kind of

605
00:46:09,800 --> 00:46:13,239
shrugging and said, well, music is free. Now that's it.

606
00:46:14,840 --> 00:46:16,920
You can't stop it, you can't help it. Music is

607
00:46:16,960 --> 00:46:22,440
now free. What are you gonna do? But anyway, so

608
00:46:22,480 --> 00:46:24,159
that's why I say, you know, two thousand and five,

609
00:46:24,239 --> 00:46:26,360
remember what was happening into Again, if you're old enough,

610
00:46:26,519 --> 00:46:29,119
remember what was happening in two thousand and five within

611
00:46:29,159 --> 00:46:31,920
the music industry at that time. Okay, So the second

612
00:46:32,000 --> 00:46:35,199
path is where a service is specifically tailored to infringement

613
00:46:35,239 --> 00:46:39,679
and has no real commercial use beyond piracy. So now,

614
00:46:39,760 --> 00:46:41,719
so when you're talking about that, I mean, I don't

615
00:46:41,719 --> 00:46:45,719
know of an Internet service provider anywhere that actively promotes

616
00:46:45,719 --> 00:46:49,920
itself as a service designed specifically for piracy. Now, there's

617
00:46:50,000 --> 00:46:53,039
lots and lots of websites. I won't get into how

618
00:46:53,079 --> 00:46:56,440
I know that you can do that. You can you

619
00:46:56,480 --> 00:47:00,159
can download things that you otherwise might be required to

620
00:47:00,159 --> 00:47:05,239
pay for. But I don't know of an Internet service

621
00:47:05,320 --> 00:47:09,639
provider that actively markets themselves as Hey, if you need

622
00:47:09,679 --> 00:47:13,039
to pirate something, where where the place to go for it?

623
00:47:13,679 --> 00:47:17,280
I don't know that. Okay, So Cox, the court found

624
00:47:17,880 --> 00:47:21,920
met neither test. The company had contractually prohibited subscribers from

625
00:47:22,000 --> 00:47:26,119
using its service to infringe copyrights, sent warnings, suspended services,

626
00:47:26,159 --> 00:47:31,519
and terminated accounts. The opinion stated, quote, this Court has

627
00:47:31,599 --> 00:47:34,960
repeatedly made clear that mere knowledge that a service will

628
00:47:35,000 --> 00:47:39,880
be used to infringe is insufficient to establish the required

629
00:47:39,920 --> 00:47:44,639
intent to infringe. Elsewhere in the opinion, Thomas wrote, quote

630
00:47:44,880 --> 00:47:50,159
based on this theory of infringement respondence, Sony Music Entertainment,

631
00:47:50,199 --> 00:47:54,199
and other major copyright owners secured a billion dollar verdict

632
00:47:54,239 --> 00:47:57,960
against Cox. The United States Court of Appeals of the

633
00:47:58,039 --> 00:48:02,519
Fourth Circuit agreed that because Cox provided Internet service to

634
00:48:02,639 --> 00:48:08,440
known infringers, it was a willful infringer itself. Under our precedence,

635
00:48:09,599 --> 00:48:12,400
a company is not liable as a copyright infringer for

636
00:48:12,519 --> 00:48:15,079
merely providing a service to the general public with knowledge

637
00:48:15,079 --> 00:48:18,800
that it will be used by some to infringe copyrights. Accordingly,

638
00:48:18,960 --> 00:48:25,159
we reverse unquote yeah, because even if you know and look,

639
00:48:25,519 --> 00:48:30,480
even if you know that there are specific people, maybe

640
00:48:30,679 --> 00:48:33,440
customers you've had in the past who have bought your

641
00:48:34,119 --> 00:48:37,639
internet service, you know that these people have been flagged

642
00:48:37,679 --> 00:48:42,480
previously for copyright infringement, for piracy somehow they've been flagged.

643
00:48:43,079 --> 00:48:46,360
What are you gonna do? So you're never going to

644
00:48:46,360 --> 00:48:50,320
give them service again? Do they just depending on where

645
00:48:50,320 --> 00:48:52,840
they live. I mean, look, depending on where you are geographically,

646
00:48:52,840 --> 00:48:56,039
you might have very limited options for home internet service.

647
00:48:56,639 --> 00:49:00,719
So does someone who may have got caught or have

648
00:49:00,840 --> 00:49:03,719
been at least noticed by an internet service provider at

649
00:49:03,719 --> 00:49:07,079
some point in the past, you know, downloaded something that

650
00:49:07,320 --> 00:49:10,559
maybe they didn't pay for, maybe they pirated something. So

651
00:49:10,719 --> 00:49:13,199
now they just don't get to have internet ever again.

652
00:49:13,320 --> 00:49:15,639
I mean, what are you supposed to do again? From

653
00:49:15,719 --> 00:49:20,400
just let's be practical about it, think about it practically

654
00:49:20,679 --> 00:49:23,280
what do you want these Internet service providers to do?

655
00:49:27,840 --> 00:49:31,239
There's no practical way for them to do what you

656
00:49:31,320 --> 00:49:33,039
want them to do. If what you want them to

657
00:49:33,079 --> 00:49:37,159
do is make sure that nobody ever pirates anything, it's

658
00:49:37,280 --> 00:49:42,039
it's it's an unfair, untenable burden to be placing on

659
00:49:42,159 --> 00:49:49,559
these Internet service providers. So the ruling also found that

660
00:49:49,599 --> 00:49:53,239
the Fourth Circuit had gone wrong by creating a broader

661
00:49:53,280 --> 00:49:56,719
form of liability, holding that quote supplying a product with

662
00:49:56,920 --> 00:49:59,960
knowledge that the recipient will use it to infringe copyrights

663
00:50:00,519 --> 00:50:03,880
was enough. The Supreme Court said this conflicted with decades

664
00:50:03,960 --> 00:50:08,519
of its own case law. Justice Sonia Soda Mayor, joined

665
00:50:08,559 --> 00:50:13,320
by Justice Kaitanji Brown Jackson, agreed Cox should not be

666
00:50:13,480 --> 00:50:16,559
liable in this case, but warned that the majority's ruling

667
00:50:16,599 --> 00:50:19,920
goes too far. Soda Mayor argued that it strips ISPs

668
00:50:19,920 --> 00:50:22,480
of any real reason to deal with piracy on their networks,

669
00:50:22,679 --> 00:50:26,800
making the DMCA's Safe Harbor rules pointless. Those rules require

670
00:50:26,840 --> 00:50:29,840
ISPs to cut off repeat infringers in exchange for legal protection.

671
00:50:30,280 --> 00:50:33,800
She wrote that the majority's decision completely upends the balance

672
00:50:33,840 --> 00:50:38,960
Congress created end quote consigns the Safe Harbor provision to obsolescence,

673
00:50:39,119 --> 00:50:42,079
adding that ISPs no longer face any realistic probability of

674
00:50:42,079 --> 00:50:45,840
secondary liability for copyright infringement, regardless of whether they take

675
00:50:45,840 --> 00:50:57,679
steps to address infringement on their networks unquote. So again,

676
00:50:57,719 --> 00:51:01,280
I agree with the Supreme Court's decision on this, and

677
00:51:02,400 --> 00:51:04,360
but I'll be very curious, Like I said, I will

678
00:51:04,400 --> 00:51:07,840
be very curious to see on social media how you

679
00:51:07,880 --> 00:51:10,280
all feel about it, or you know, on YouTube, you

680
00:51:10,320 --> 00:51:12,400
can you know, we stream the show on YouTube, you

681
00:51:12,400 --> 00:51:14,480
can leave comments and so forth. But I really do

682
00:51:14,519 --> 00:51:17,239
want to get feedback on this, because, like I said,

683
00:51:17,280 --> 00:51:21,320
I know that my opinion may be unpopular in some circles,

684
00:51:21,840 --> 00:51:24,320
and but I'm happy to I'm happy to fight it

685
00:51:24,320 --> 00:51:28,039
out with anyone who wants to. All right, we are

686
00:51:28,159 --> 00:51:29,840
approaching the top of the hour. Here's what we're gonna do.

687
00:51:29,880 --> 00:51:33,039
We're gonna play another track right before we show some

688
00:51:33,079 --> 00:51:34,960
love to our amazing sponsors. We're gonna play one more

689
00:51:35,000 --> 00:51:37,719
track from Novarus. And again, thank you so much to

690
00:51:37,760 --> 00:51:40,840
Augustin Navarus for joining us. This has been or that

691
00:51:40,960 --> 00:51:43,199
was I should say great. I say this has been great.

692
00:51:43,199 --> 00:51:46,000
Makes it sound like he's still here with us. No,

693
00:51:46,199 --> 00:51:47,920
it was great to have him on. I really enjoyed

694
00:51:47,920 --> 00:51:50,280
talking with him and I love this project Navarus. Check

695
00:51:50,320 --> 00:51:52,679
it out online Navarus dot Net. We're gonna play one

696
00:51:52,719 --> 00:51:55,880
more track from the sound session EP. This one is

697
00:51:56,119 --> 00:52:01,480
called Remedy and we're gonna play this. We're gonna show

698
00:52:01,519 --> 00:52:03,280
some love to our amazing sponsors. And then when we

699
00:52:03,320 --> 00:52:05,360
come back in the second hour, we've got another great

700
00:52:05,360 --> 00:52:09,440
guest coming up, ek Schnack. I'm not sure I'm saying

701
00:52:09,480 --> 00:52:12,360
that correctly. That's two guests in a row where I'm

702
00:52:12,400 --> 00:52:14,840
going to have to ask the guests. Am I saying

703
00:52:14,880 --> 00:52:16,840
this right? Am I pronouncing this correctly? Because I'm not

704
00:52:16,840 --> 00:52:19,760
sure how to say this. But another really interesting project,

705
00:52:19,840 --> 00:52:23,079
really fascinating. And in the third hour Kyle Heavy and

706
00:52:23,119 --> 00:52:25,599
I think he's gonna be bringing others with him, or

707
00:52:25,599 --> 00:52:27,440
at least one other person with him. Kyle Heavy will

708
00:52:27,480 --> 00:52:30,199
be here in the third hour to talk about stand

709
00:52:30,239 --> 00:52:32,039
up comedy, so looking forward to that as well. So

710
00:52:32,039 --> 00:52:33,920
we've got a lot more to come. If you are

711
00:52:33,960 --> 00:52:37,320
listening live on Saturday. This is Matt Connorton Unleashed from

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the studios of WMNH ninety five point three FM. Here

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it is, this is Navars. This is called Remedy Time.

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Speaker 12: Nana's Kitchen and Pizzeria From.

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Speaker 3: Nana's hands, It's to your plate tradition, love and taste.

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Speaker 13: That's great sough fermented dough, flavor so.

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Speaker 5: True each bite, the story made just for you.

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Speaker 12: Six o three two three, two nine three six six

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Nana's Kitchen and Pizza Ree fifteen Dartleth Dry, Auburn, New.

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Speaker 4: Hampshire, piz.

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Speaker 14: Luigi's Pizza Bar and Grill for a.

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Speaker 13: One, Let's raise a slyes On hide with topics of

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the ground.

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Speaker 1: It's a pizza barrio.

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Speaker 14: Mine Luigi's Pizza Bar and Grill, seven twelve Valley Street, Manchester.

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Come on in or call six two two one zero

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two one Luigi keeping the tradition alive since nineteen seventy five.

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Speaker 3: Pizza for every one.

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Speaker 1: Come join a piece to night.

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Speaker 3: With each slice sense of it, everything feels so right.

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team will assess your case and fight for the compensation

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Speaker 16: Bring your kitchen to life with Queen Citycabinetry, located at

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eighty seven Elm Street in the historic Sunbeam Wall in Manchester,

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Speaker 12: Come see the possibility.

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