(Some of) The newest stuff at the Library!; Library of Congress Blogs, April 28, 2026

Neely Tucker, Library of Congress Blogs; (Some of) The newest stuff at the Library!

"Walk into the Library’s annual showcase of new acquisitions and the question always hits you right in the face: Where to start?

What about with this slim copy of Silver Surfer No. 1, the origin story of Marvel Comics’ “Sentinel of the Spaceways,” from the groovy year of 1968? How about this massive law book that’s more than 500 years old? The “Tombstone Edition” of a Philadelphia newspaper from 1765, which documented and amplified the American Colonies loathing of the Stamp Act and presaged the American Revolution?

There’s never really a wrong place to start. This year’s two-hour show-and-tell, held last week, brought hundreds of staffers and guests to look over intriguing displays of the Library’s recently acquired treasures, items spanning the nation, the globe and centuries of time. Many added to already impressive collections of historic figures...

It was a crowded, noisy, upbeat afternoon of discovery and explanation. Conversations buzzed and overlapped; staff experts and curious viewers leaned over display tables from opposite sides, heads together, talking loudly to be heard, gazing down at maps, manuscripts, records, artifacts and things you couldn’t have known existed."

US music publishers suing Anthropic make their case against AI 'fair use'; Reuters, March 24, 2026

 Blake Brittain , Reuters; US music publishers suing Anthropic make their case against AI 'fair use'

"Music publishers Universal Music Group , Concord and ABKCO have asked a judge in California to rule that U.S. copyright law does not insulate artificial intelligence startup Anthropic from ​liability for copying their song lyrics to train its AI-powered chatbot Claude.

The publishers' request , filed on Monday ‌in federal court in San Jose, tees up a critical question in the legal battle between creators and tech companies: Does the doctrine of "fair use" apply to the copying of millions of copyrighted works to train AI models?"

Exploring the Library of Congress’ National Screening Room: A vast collection of free online films; WTOP News, March 3, 2026

 Matt Kaufax |, WTOP News ; Exploring the Library of Congress’ National Screening Room: A vast collection of free online films

"The National Screening Room is an online project of the Library of Congress, spearheaded by the audiovisual conservation operation happening at the library’s Packard Campus in Culpeper, Virginia.

If you click around the website, you’ll find it has a little bit of everything.

You might find classic cartoons like a 1936 short of “Popeye” next to a cut of the Claymation movie “Peter Cottontail” from 1971. Or you’ll stumble upon color footage of World War II from 1945, next to a tape of a Rolling Stones performance from the 1960s. Then, one more scroll of your mouse leads you to an episode of “The Danny Kaye Show” from 1965."

Australian culture, resources and democracy for $4,300 a year? Thanks for the offer, tech bros, but no thanks; The Guardian, December 15, 2025

 Peter Lewis , The Guardian; Australian culture, resources and democracy for $4,300 a year? Thanks for the offer, tech bros, but no thanks

"According to the Tech Council, AI will deliver $115bn in annual productivity (or about $4,300 per person), rubbery figures generated by industry-commissioned research based on estimates on hours saved with no regard for jobs lost, the distribution of the promised dividend benefit or how the profits will flow.

In return for this ill-defined bounty, Farquhar says our government will need to allow the tech industry to do three things: build a data and text mining exemption to copyright law, rapidly scale data centre infrastructure and allow foreign companies to use these centres without regard for local laws. This is a proposition that demands closer scrutiny.

The use of copyrighted content to train AI has been a burning issue since 2023 when a massive data dredge saw more than 190,000 authors (including me) have our works plundered without our consent to train AI. Musicians and artists too have had their work scraped and repurposed.

This theft has been critical in training the large language models to portray something approaching empathy. It has also allowed paid users to take this stolen content and ape creators, devaluing and diminishing their work in the process. Nick Cave has described this as “replication as travesty”, noting “songs arise out of suffering … data doesn’t suffer. ChatGPT has no inner being, it has been nowhere, it has endured nothing.”

The sense of grievance among creators over the erasure of culture is wide and deep. A wave of creators from Peter Garrett to Tina Arena, Anna Funderand Trent Dalton have determined this is the moment to take a stand.

It is not just the performers; journalists, academics, voiceover and visual artists are all being replaced by shittier but cheaper automated products built on the theft of their labour, undermining the integrity of their work and will ultimately take their jobs.

Like fossil fuels, what is being extracted and consumed is the sum of our accumulated history. It goes from metaphor to literal when it comes to the second plank of Farquhar’s pitch: massive spending on industrial infrastructure to accommodate AI.

This imperative to power AI is the justification used by Donald Trump to recharge the mining of fossil fuels, while the industry is beating the “modular nuclear” drum for a cleaner AI revolution. Meanwhile, the OpenAI CEO, Sam Altman, is reassuring us that we don’t need to stress because AI will solve climate change anyway!

The third and final element of Farquhar’s pitch is probably its most revealing. If Australia wants to build this AI nirvana, foreign nations should be given diplomatic immunity for the data centres built and operated here. This quaint notion of the “data embassy” overriding national sovereignty reinforces a growing sense that the tech sector is moving beyond the idea of the nation state governing corporations to that of a modern imperial power.

That’s the premise of Karen Hao’s book The Empire of AI, which chronicles the rise of OpenAI and the choices it made to trade off safety and the public good in pursuit of scale and profit."

January 1, 2026 is Public Domain Day: Works from 1930 are open to all, as are sound recordings from 1925!; Center for the Study of the Public Domain, December 2025

 Jennifer Jenkins and James Boyle, Center for the Study of the Public Domain; January 1, 2026 is Public Domain Day: Works from 1930 are open to all, as are sound recordings from 1925!

"CC BY 4.0

Please note that this site is only about US law; the copyright terms in other countries are different.[2]

On January 1, 2026, thousands of copyrighted works from 1930 enter the US public domain, along with sound recordings from 1925. They will be free for all to copy, share, and build upon.[3] The literary highlights range from William Faulkner’s As I Lay Dying to Agatha Christie’s The Murder at the Vicarage and the first four Nancy Drew novels. From cartoons and comic strips, the characters Betty Boop, Pluto (originally named Rover), and Blondie and Dagwood made their first appearances. Films from the year featured Marlene Dietrich, Greta Garbo, the Marx Brothers, and John Wayne in his first leading role. Among the public domain compositions are I Got Rhythm, Georgia on My Mind, and Dream a Little Dream of Me. We are also celebrating paintings from Piet Mondrian and Paul Klee. Below you can find lists of some of the most notable books, characters, comics, and cartoons, films, songs, sound recordings, and art entering the public domain.[4] After each of them, we have provided an analysis of their significance. At the end of the article, we explain:

Why all of this matters
How do copyright and trademark law apply to characters?
What is the impact of the long copyright term?
What are the basic rules for determining whether something is public domain?
Conclusion"

Photographer sues Rice after Coffeehouse uses copyrighted muffin photo; Rice Thresher, October 28, 2025

 Noah Berz , Rice Thresher; Photographer sues Rice after Coffeehouse uses copyrighted muffin photo

[Kip Currier: Another cautionary tale to not "scrape" stuff from the Internet and use it for one's commercial business.

(Oh, wait...that's what Big Tech did with billions of copyrighted works they "scraped" from the Web and pirate book libraries to develop their proprietary IP-protected AI products, too, right?)

At any rate, this "federal copyright-registered blueberry muffin photo" story is another reminder that it'll save you money, time, and possible reputational damage to do one of the following: take your own photo of a blueberry muffin; hire someone to do it; license a photo; or ask permission to use it.

And if you do use a photo for your business venture, give the photographer/copyright creator attribution...

Like this photo I took of my mother's delicious Iron Skillet Blueberry Scones!

[Excerpt]

"A lawsuit has been filed against Rice, accusing Rice Coffeehouse of using a copyrighted photograph without permission to advertise on their Instagram page and website. 

The Oct. 17 complaint was filed on behalf of Meggan Hill, a photographer and chef who posts her recipes online. The photo in question is a blueberry muffin photo, featured on Hill’s website with an accompanying recipe.

The lawsuit was filed in a Houston federal district court by Hill’s attorney, Layla Nguyen of SRipLaw, an intellectual property law firm based in Boca Raton, Florida. According to the case briefing, Hill tried to notify the university of her allegations twice before suing but received no response. 

“To date, the parties have failed to resolve this matter,” the briefing reads. “Rice failed to respond to any communications.”

The lawsuit alleges that Chaus copied Hill’s photograph titled “Blueberry Muffins - Culinary Hill 1200x800” from the internet and displayed it online to promote the addition of blueberry muffins to their menu. 

In the lawsuit, Hill claims she discovered the photograph on the Chaus website on Jan. 7 — over a year after she registered the image with the Register of Copyrights. Hill allegedly reached out to Rice with her complaint on Jan. 29 and Feb. 28 before filing the suit."

It’s Sam Altman: the man who stole the rights from copyright. If he’s the future, can we go backwards?; The Guardian, October 10, 2025

 Marina Hyde , The Guardian; It’s Sam Altman: the man who stole the rights from copyright. If he’s the future, can we go backwards?

"I’ve seen it said that OpenAI’s motto should be “better to beg forgiveness than ask permission”, but that cosies it preposterously. Its actual motto seems to be “we’ll do what we want and you’ll let us, bitch”. Consider Altman’s recent political journey. “To anyone familiar with the history of Germany in the 1930s,” Sam warned in 2016, “it’s chilling to watch Trump in action.” He seems to have got over this in time to attend Donald Trump’s second inauguration, presumably because – if we have to extend his artless and predictable analogy – he’s now one of the industrialists welcome in the chancellery to carve up the spoils. “Thank you for being such a pro-business, pro-innovation president,” Sam simpered to Trump at a recent White House dinner for tech titans. “It’s a very refreshing change.” Inevitably, the Trump administration has refused to bring forward any AI regulation at all.

Meanwhile, please remember something Sam and his ironicidal maniacs said earlier this year, when it was suggested that the Chinese AI chatbot DeepSeek might have been trained on some of OpenAI’s work. “We are aware of and reviewing indications that DeepSeek may have inappropriately distilled our models, and will share information as we know more,” his firm’s anguished statement ran. “We take aggressive, proactive countermeasures to protect our technology.” Hilariously, it seemed that the last entity on earth with the power to fight AI theft was OpenAI."

Five Copyright Office Resources You May Not Know Exist; Library of Congress Blogs, September 19, 2025

 Ashley Tucker , Library of Congress Blogs, Copyright Creativity at Work; Five Copyright Office Resources You May Not Know Exist

"The U.S. Copyright Office provides a wide range of resources to support creators, educators, and other copyright users, but some of the most valuable tools can fly under the radar. Here are five lesser-known Office resources that can help you better understand, register, and manage your creative works."

It’s called the Library of Congress. But Trump claims it’s his.; The Washington Post, May 31, 2025

 

Meryl Kornfield

 and 

Hannah Natanson

, The Washington Post ; It’s called the Library of Congress. But Trump claims it’s his.

[Kip Currier: The Library of Congress (LC) is not a traditional "lending library" and access to its materials is largely limited to research purposes.

The books and materials in LC's collections are not borrowable by children.

Repeat: Not Borrowable by Children.

Karoline Leavitt fundamentally misrepresents what LC does and would be well-advised to do some basic homework on the nation's de facto national library.]

[Excerpt]

"White House press secretary Karoline Leavitt had decried the prior library leadership, referring to books that were not appropriate for children, even though the library does not lend books to children. Individuals cannot borrow directly from the Library of Congress, though the research library does lend its books to other libraries.

“There were quite concerning things that she had done at the Library of Congress in the pursuit of DEI and putting inappropriate books in the library for children,” she said in a press briefing, referring to former librarian Carla Hayden and diversity, equity and inclusion programs...

Controlling the Library would give the administration the ability to shape and inspect millions of records, everything from copyright documents to confidential research requests from lawmakers, said three library employees, all of whom spoke on the condition of anonymity for fear of retaliation.

The list of the library’s domains is long and impressive.

The library runs the Congress.gov website, which aggregates all data and records from the legislative branch. It also maintains the copyrights database and registration portals, which include any idea ever submitted for copyright protection, and houses the Congressional Office for International Leadership, which conducts civic leadership training for politicians in former communist countries, including Ukraine. The library’s Adams Building is home to the Office of Congressional Workplace Rights, which handles and stores sexual harassment complaints, among other things."