Let's take a trip down memory lane
MEMORYLANE is an autonomous internet archive for movies, music, and televised media, aimed at preserving culture through media from becoming forgotten by time.
We're preventing a problem you might not realize exists
With the introduction of color television and a shift away from traditional "family culture," television rapidly became an integral part of American households. Record players evolved into disk players, which then transformed into iPods, Zunes, and eventually our smartphones. Today, it is rare to find a home without at least one television. However, numerous songs, movies, shows, and televised moments that were once widely recognized are gradually vanishing from the internet and, consequently, from our collective memory. There are multiple reasons why media becomes lost, but our objective is to prevent this loss and preserve media for future generations to enjoy.
Remember how we used to get our entertainment?
Movies released first in theatres
The fundamental structure of the box office has remained relatively stable, despite challenges faced by the industry. Historically, successful films attracted large audiences and experienced increased repeat viewership before the release of DVDs, a trend less common in contemporary cinema.
Next-day streaming didn't exist
In the initial phase of Netflix's development, the company operated as a mail-based service, delivering DVDs directly to customers' homes. Subsequently, when Netflix launched its digital on-demand library, users were required to manually download content in advance using a specific software application to view it.
Hardware wasn't included
To view disk releases, a DVD or BluRay player was required. The cost of these players has decreased significantly compared to the price of a DVD player in 2004. In some households, families gathered around a Compaq tower PC to watch their movies, as it was the sole disk drive available in the home.
Fast forward to today, and you'll find...
Movie releases generally are no longer limited
Many movies start becoming available to stream the same day they debut in theatres, if not the very next day.
Subscription-based streaming is hot
The entertainment market is dominated with streaming giants like Netflix, Hulu, Paramount, and many more all dying to serve you video on demand.
Physical media is "so last year"
Consumers are less and less interested in physical copies of media. Only the hottest media makes it to physical copies. Redbox filed for bankruptcy. When was the last time you bought a BluRay?
Without physical media, there's no reliable historical source
Subscription services operate under a complex array of contractual licensing agreements with media conglomerates. When disagreements arise, consumers may find themselves at a disadvantage, as movies and shows can be removed from platforms like Netflix, and songs and albums can disappear from services like Spotify. If these licensing agreements are not renewed, significant portions of movies, television, and music that are not available on physical media may become "lost media" entirely.
For you, this means
- You don't get to hear that song again
- You don't get to see that TV show again
- You don't get to watch that movie again
MEMORYLANE is an intelligent effort at preventing the loss of media to time by scanning for and archiving movies, music, and television for educational, historical, and technologically evolutionary uses
How we make it work
Robots look for discoverable media on the open internet
We conduct comprehensive scans of various sources for content, including brand-affiliated YouTube channels, on-demand libraries, live TV streams, Usenet groups, and torrent indexers.
Downloaded content is checked for corruption and other quality issues
Community content reviewers pass through our library, finding errors in music, movies, and TV episodes and subsequently reporting them to us. A dedicated dashboard tracks damaged media reports.
High quality media is sent to archival storage
Media is stored in a private cloud that remains offline, jointly managed by reputable industry experts, and protected around the clock by armed security personnel and CCTV monitoring.
We track 120+ artists worldwide across multiple genres
From classic rock, to modern pop and West Coast rap, we've got a wide range of artists we aggregate music from, including...
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24kGoldn
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A$AP Rocky
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bbno$
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Drake
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Eminem
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G-Eazy
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Gucci Mane
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J. Cole
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Jack Harlow
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Juice WRLD
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Kendrick Lamar
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Lil Baby
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Lil Peep
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Lil Uzi Vert
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Lil Wayne
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Logic
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Metro Boomin
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Migos
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Offset
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Pitbull
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Tory Lanez
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Travis Scott
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Tyler, The Creator
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XXXTentacion
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Ye
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YG
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24kGoldn
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A$AP Rocky
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bbno$
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Drake
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Eminem
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G-Eazy
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Gucci Mane
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J. Cole
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Jack Harlow
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Juice WRLD
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Kendrick Lamar
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Lil Baby
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Lil Peep
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Lil Uzi Vert
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Lil Wayne
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Logic
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Metro Boomin
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Migos
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Offset
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Pitbull
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Tory Lanez
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Travis Scott
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Tyler, The Creator
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XXXTentacion
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Ye
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YG
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Avril Lavigne
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Bebe Rexha
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Billie Eilish
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Blondie
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Carly Rae Jepsen
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Charlie XCX
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Claire Brooks
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Halsey
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Kesha
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Lady Gaga
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Lana Del Rey
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Olivia Rodrigo
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Sabrina Carpenter
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Shania Twain
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SZA
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Taylor Swift
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Avril Lavigne
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Bebe Rexha
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Billie Eilish
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Blondie
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Carly Rae Jepsen
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Charlie XCX
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Claire Brooks
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Halsey
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Kesha
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Lady Gaga
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Lana Del Rey
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Olivia Rodrigo
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Sabrina Carpenter
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Shania Twain
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SZA
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Taylor Swift
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Arctic Monkeys
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Aesop Rock
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Bruno Mars
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Canned Heat
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Cal Scruby
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Charlie Puth
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Coldplay
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Daft Punk
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Dave Matthews Band
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EDEN
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Fitz and the Tantrums
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Florida Georgia Line
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Frank Sinatra
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Glass Animals
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Gorillaz
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Grabbitz
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Guns N' Roses
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ILLENIUM
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Jelly Roll
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Justin Bieber
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The Kid LAROI
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Arctic Monkeys
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Aesop Rock
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Bruno Mars
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Canned Heat
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Cal Scruby
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Charlie Puth
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Coldplay
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Daft Punk
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Dave Matthews Band
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EDEN
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Fitz and the Tantrums
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Florida Georgia Line
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Frank Sinatra
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Glass Animals
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Gorillaz
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Grabbitz
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Guns N' Roses
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ILLENIUM
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Jelly Roll
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Justin Bieber
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The Kid LAROI
Even the artists you've never heard before...
Our movie selection beats the box office every time
We're archiving cinematic history going back over 100 years, from modern blockbuster hits to age-old classic military flix.
Check our progress down memory lane
Contribute to our archival mission
Believe in preservation? Support it's financial sustainability.
Any amount
Consider a one-time donation towards our archival efforts.
- Support the archive
Supporter
$25/mo
- Support the archive
- Add preservation requests
Financer
$50/mo
- Support the archive
- Add preservation requests
Archivalist
$85/mo
- Support the archive
- Add preservation requests
- Get an exclusive annual gift
Questions from the audience?
Who qualifies to access the archives?
In general, it's in our positive interests to share read-only access to our archives with those involved in researching subject matter that surrounds movies, television, music, media, or culture in general.
How do I get access?
In summary, please contact us with a detailed explanation of your current activities, the specific access scope you require from us, and the reasons it is significant enough to warrant access to our archives. Based on the context of your request, we will evaluate and either approve or deny it, subsequently guiding you through the necessary steps to access the content you seek if approved.
How long can I keep my archive access?
Until the date agreed upon with our team, to a maximum of 30 days after which a 30 day cooldown applies.
Can I save a copy of media for myself?
No.
Why would I want access to the archives?
In summary, academic endeavors involving composing research papers and conducting analytical studies on film and television content, screenplays, or any related subjects.
Maybe you're writing a masterpiece on Elvis; we'll have more of his music than anyone else. That's the point of the archive, to be able to endure through time to recall what others can't.
If I use the archive, do I need to cite it?
While not required, we'd certainly appreciate the citation.
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Are you acting as a non-profit?
No
We are a for-profit organization.
We do not monetize the content we archive itself.
Why should I give you money?
Financial contributions aimed at supporting MEMORYLANE are crucial for acquiring additional storage capacity, covering the expenses associated with maintaining existing storage, enhancing the performance of our machines, and accessing new private media sources. These efforts collectively contribute to more efficient archival processes and reduced turnaround times.
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What is the limitation of copyright by fair use?
Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include...
- the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
- the nature of the copyrighted work;
- the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
- the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.
What is the limitation of copyright against libraries and archival entities?
Except as otherwise provided in this entry and notwithstanding the provisions of section 106, it is not an infringement of copyright for a library or archives, or any of its employees acting within the scope of their employment, to reproduce no more than one copy or phonorecord of a work, except as provided in subsections (b) and (c), or to distribute such copy or phonorecord, under the conditions specified by this section, if...
- the reproduction or distribution is made without any purpose of direct or indirect commercial advantage;
- the collections of the library or archives are (i) open to the public, or (ii) available not only to researchers affiliated with the library or archives or with the institution of which it is a part, but also to other persons doing research in a specialized field; and
- the reproduction or distribution of the work includes a notice of copyright that appears on the copy or phonorecord that is reproduced under the provisions of this section, or includes a legend stating that the work may be protected by copyright if no such notice can be found on the copy or phonorecord that is reproduced under the provisions of this section.
The rights of reproduction and distribution under this section apply to three copies or phonorecords of an unpublished work duplicated solely for purposes of preservation and security or for deposit for research use in another library or archives of the type described by clause (2) of subsection (a), if...
- the copy or phonorecord reproduced is currently in the collections of the library or archives; and
- any such copy or phonorecord that is reproduced in digital format is not otherwise distributed in that format and is not made available to the public in that format outside the premises of the library or archives.
The right of reproduction under this section applies to three copies or phonorecords of a published work duplicated solely for the purpose of replacement of a copy or phonorecord that is damaged, deteriorating, lost, or stolen, or if the existing format in which the work is stored has become obsolete, if...
- the library or archives has, after a reasonable effort, determined that an unused replacement cannot be obtained at a fair price; and
- any such copy or phonorecord that is reproduced in digital format is not made available to the public in that format outside the premises of the library or archives in lawful possession of such copy.
For purposes of this subsection, a format shall be considered obsolete if the machine or device necessary to render perceptible a work stored in that format is no longer manufactured or is no longer reasonably available in the commercial marketplace.
The rights of reproduction and distribution under this section apply to a copy, made from the collection of a library or archives where the user makes his or her request or from that of another library or archives, of no more than one article or other contribution to a copyrighted collection or periodical issue, or to a copy or phonorecord of a small part of any other copyrighted work, if...
- the copy or phonorecord becomes the property of the user, and the library or archives has had no notice that the copy or phonorecord would be used for any purpose other than private study, scholarship, or research; and
- the library or archives displays prominently, at the place where orders are accepted, and includes on its order form, a warning of copyright in accordance with requirements that the Register of Copyrights shall prescribe by regulation.
The rights of reproduction and distribution under this section apply to the entire work, or to a substantial part of it, made from the collection of a library or archives where the user makes his or her request or from that of another library or archives, if the library or archives has first determined, on the basis of a reasonable investigation, that a copy or phonorecord of the copyrighted work cannot be obtained at a fair price, if...
- the copy or phonorecord becomes the property of the user, and the library or archives has had no notice that the copy or phonorecord would be used for any purpose other than private study, scholarship, or research; and
- the library or archives displays prominently, at the place where orders are accepted, and includes on its order form, a warning of copyright in accordance with requirements that the Register of Copyrights shall prescribe by regulation.
Nothing in this section...
- shall be construed to impose liability for copyright infringement upon a library or archives or its employees for the unsupervised use of reproducing equipment located on its premises: Provided, That such equipment displays a notice that the making of a copy may be subject to the copyright law;
- excuses a person who uses such reproducing equipment or who requests a copy or phonorecord under subsection (d) from liability for copyright infringement for any such act, or for any later use of such copy or phonorecord, if it exceeds fair use as provided by section 107;
- shall be construed to limit the reproduction and distribution by lending of a limited number of copies and excerpts by a library or archives of an audiovisual news program, subject to clauses (1), (2), and (3) of subsection (a); or
- in any way affects the right of fair use as provided by section 107, or any contractual obligations assumed at any time by the library or archives when it obtained a copy or phonorecord of a work in its collections.
The rights of reproduction and distribution under this section extend to the isolated and unrelated reproduction or distribution of a single copy or phonorecord of the same material on separate occasions, but do not extend to cases where the library or archives, or its employee...
- is aware or has substantial reason to believe that it is engaging in the related or concerted reproduction or distribution of multiple copies or phonorecords of the same material, whether made on one occasion or over a period of time, and whether intended for aggregate use by one or more individuals or for separate use by the individual members of a group; or
- engages in the systematic reproduction or distribution of single or multiple copies or phonorecords of material described in subsection (d): Provided, That nothing in this clause prevents a library or archives from participating in interlibrary arrangements that do not have, as their purpose or effect, that the library or archives receiving such copies or phonorecords for distribution does so in such aggregate quantities as to substitute for a subscription to or purchase of such work.
For purposes of this section, during the last 20 years of any term of copyright of a published work, a library or archives, including a nonprofit educational institution that functions as such, may reproduce, distribute, display, or perform in facsimile or digital form a copy or phonorecord of such work, or portions thereof, for purposes of preservation, scholarship, or research, if such library or archives has first determined, on the basis of a reasonable investigation, that none of the conditions set forth in subparagraphs (A), (B), and (C) of paragraph (2) apply.
No reproduction, distribution, display, or performance is authorized under this subsection if...
- the work is subject to normal commercial exploitation;
- a copy or phonorecord of the work can be obtained at a reasonable price; or
- the copyright owner or its agent provides notice pursuant to regulations promulgated by the Register of Copyrights that either of the conditions set forth in subparagraphs (A) and (B) applies.
The exemption provided in this subsection does not apply to any subsequent uses by users other than such library or archives.
The rights of reproduction and distribution under this section do not apply to a musical work, a pictorial, graphic or sculptural work, or a motion picture or other audiovisual work other than an audiovisual work dealing with news, except that no such limitation shall apply with respect to rights granted by subsections (b), (c), and (h), or with respect to pictorial or graphic works published as illustrations, diagrams, or similar adjuncts to works of which copies are reproduced or distributed in accordance with subsections (d) and (e).
I'd rather my/my client's work not be archived, what can you do for me?
We recognize and appreciate the dedication and effort you or your client invests in their work, and our intention is not to establish a system akin to abuse. The rationale behind our current practice of archiving works is to ensure their preservation over time. This approach reflects our confidence in the enduring significance of you or your creator, projecting their relevance for at least 50 years posthumously. We do not distribute copies without restriction, nor do we make them available for download through conventional means. For instance, when a user accesses an old TV episode, they are permitted to view and listen to it for a limited duration, either to fulfill an academic requirement or to assess the file's quality. They are unable to download it, except for temporary caching due to network issues, and we do not offer resources for personal reproduction without prior authorization from the rights-holder.
If you have further concerns or would like to explore opting out yourself/your client, please contact us.
What all can my/my client's work be used for while in the archive?
To clear the table, archived works are not for loose sale.
We may share copies, versions, or variations of your or your clients works with schools, libraries, researchers, journalists, and other archival entities for the purposes of archival, preservation, research, education, or analysis.
We may allow your/your clients works to be used within AI training, provided that...
- The sole and entire purpose is for education or research.
- The process is closed-end, controlled and secured by us.
- All parties agree prior to access that at no time will models or engines created using the data or intended to use the data be allowed for profitable resale.
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