MADE WITH CREATIVE COMMONS

TEACHAIDS

TeachAIDS is a nonprofit that creates edu- teachaids org
cational materials designed to teach people Revenue model: sponsorships
around the world about HIV and AIDS. Found-
ed in 2005 in the U.S.

Interview date: March 24, 2016
Interviewees: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair

Profile written by Sarah Hinchliff Pearson

TeachAIDS is an unconventional media com- made available under a Creative Commons li-
pany with a conventional revenue model. Like cense.
most media companies, they are subsidized
by advertising. Corporations pay to have their TeachAIDS is a labor of love for founder and
logos appear on the educational materials CEO Piya Sorcar, who earns a salary of one
TeachAIDS distributes. dollar per year from the nonprofit. The proj-
ect grew out of research she was doing while
But unlike most media companies, Teach- pursuing her doctorate at Stanford University.
AIDS is a nonprofit organization with a purely She was reading reports about India, noting
social mission. TeachAIDS is dedicated to ed- it would be the next hot zone of people living
ucating the global population about HIV and with HIV. Despite international and nation-
AIDS, particularly in parts of the world where al entities pouring in hundreds of millions of
education efforts have been historically unsuc- dollars on HIV-prevention efforts, the reports
cessful. Their educational content is conveyed showed knowledge levels were still low. Peo-
through interactive software, using methods ple were unaware of whether the virus could
based on the latest research about how peo- be transmitted through coughing and sneez-
ple learn. TeachAIDS serves content in more ing, for instance. Supported by an interdisci-
than eighty countries around the world. In plinary team of experts at Stanford, Piya con-
each instance, the content is translated to the ducted similar studies, which corroborated
local language and adjusted to conform to lo-
cal norms and customs. All content is free and

Made With Creative Commons 135

the previous research. They found that the pri- Choosing a license that does not allow adap-
mary cause of the limited understanding was tation of the content was an outgrowth of the
that HIV, and issues relating to it, were often careful precision with which TeachAIDS crafts
considered too taboo to discuss comprehen- their content. The organization invests heavily
sively. The other major problem was that most in research and testing to determine the best
of the education on this topic was being taught method of conveying the information. “Creat-
through television advertising, billboards, and ing high-quality content is what matters most
other mass-media campaigns, which meant to us,” Piya said. “Research drives everything
people were only receiving bits and pieces of we do.”
information.
One important finding was that people ac-
In late 2005, Piya and her team used re- cept the message best when it comes from fa-
search-based design to create new education- miliar voices they trust and admire. To achieve
al materials and worked with local partners in this, TeachAIDS researches cultural icons that
India to help distribute them. As soon as the would best resonate with their target audienc-
animated software was posted online, Piya’s es and recruits them to donate their likenesses
team started receiving requests from indi- and voices for use in the animated software.
viduals and governments who were interest- The celebrities involved vary for each localized
ed in bringing this model to more countries. version of the materials.
“We realized fairly quickly that educating large
populations about a topic that was consid- Localization is probably the single-most im-
ered taboo would be challenging. We began by portant aspect of the way TeachAIDS creates
identifying optimal local partners and worked its content. While each regional version builds
toward creating an effective, culturally appro- from the same core scientific materials, they
priate education,” Piya said. pour a lot of resources into customizing the
content for a particular population. Because
Very shortly after the initial release, Piya’s they use a CC license that does not allow the
team decided to spin the endeavor into an in- public to adapt the content, TeachAIDS retains
dependent nonprofit out of Stanford Univer- careful control over the localization process.
sity. They also decided to use Creative Com- The content is translated into the local lan-
mons licenses on the materials. guage, but there are also changes in substance
and format to reflect cultural differences. This
Given their educational mission, TeachAIDS process results in minor changes, like choosing
had an obvious interest in seeing the materi- different idioms based on the local language,
als as widely shared as possible. But they also and significant changes, like creating gendered
needed to preserve the integrity of the med- versions for places where people are more
ical information in the content. They chose likely to accept information from someone of
the Attribution-NonCommercial-NoDerivs li- the same gender.
cense (CC BY-NC-ND), which essentially gives
the public the right to distribute only verba- The localization process relies heavily on
tim copies of the content, and for noncom- volunteers. Their volunteer base is deeply
mercial purposes. “We wanted attribution for committed to the cause, and the organization
TeachAIDS, and we couldn’t stand by deriva- has had better luck controlling the quality of
tives without vetting them,” the cofounder and the materials when they tap volunteers instead
chair Shuman Ghosemajumder said. “It was of using paid translators. For quality control,
almost a no-brainer to go with a CC license TeachAIDS has three separate volunteer teams
because it was a plug-and-play solution to this translate the materials from English to the lo-
exact problem. It has allowed us to scale our cal language and customize the content based
materials safely and quickly worldwide while on local customs and norms. Those three ver-
preserving our content and protecting us at sions are then analyzed and combined into a
the same time.” single master translation. TeachAIDS has ad-

136 Made With Creative Commons

ditional teams of volunteers then translate way to persuade them to use our highly effec-
that version back into English to see how well tive model was to make it completely free.”
it lines up with the original materials. They re-
peat this process until they reach a translated Like many content creators offering their
version that meets their standards. For the work for free, they settled on advertising as a
Tibetan version, they went through this cycle funding model. But they were extremely care-
eleven times. ful not to let the advertising compromise their
credibility or undermine the heavy investment
TeachAIDS employs full-time employees, they put into creating quality content. Spon-
contractors, and volunteers, all in different sors of the content have no ability to influence
capacities and organizational configurations. the substance of the content, and they cannot
They are careful to use people from diverse even create advertising content. Sponsors only
backgrounds to create the materials, including get the right to have their logo appear before
teachers, students, and doctors, as well as in- and after the educational content. All of the
dividuals experienced in working in the NGO content remains branded as TeachAIDS.
space. This diversity and breadth of knowl-
edge help ensure their materials resonate TeachAIDS is careful not to seek funding to
with people from all walks of life. Additionally, cover the costs of a specific project. Instead,
TeachAIDS works closely with film writers and sponsorships are structured as unrestricted
directors to help keep the concepts entertain- donations to the nonprofit. This gives the non-
ing and easy to understand. The inclusive, but profit more stability, but even more important-
highly controlled, creative process is under- ly, it enables them to subsidize projects being
taken entirely by people who are specifically localized for an area with no sponsors. “If we
brought on to help with a particular project, just created versions based on where we could
rather than ongoing staff. The final product get sponsorships, we would only have materi-
they create is designed to require zero train- als for wealthier countries,” Shuman said.
ing for people to implement in practice. “In our
research, we found we can’t depend on peo- As of 2016, TeachAIDS has dozens of spon-
ple passing on the information correctly, even sors. “When we go into a new country, various
if they have the best of intentions,” Piya said. companies hear about us and reach out to us,”
“We need materials where you can push play Piya said. “We don’t have to do much to find or
and they will work.” attract them.” They believe the sponsorships
are easy to sell because they offer so much val-
Piya’s team was able to produce all of these ue to sponsors. TeachAIDS sponsorships give
versions over several years with a head count corporations the chance to reach new eyeballs
that never exceeded eight full-time employ- with their brand, but at a much lower cost than
ees. The organization is able to reduce costs other advertising channels. The audience for
by relying heavily on volunteers and in-kind TeachAIDS content also tends to skew young,
donations. Nevertheless, the nonprofit need- which is often a desirable demographic for
ed a sustainable revenue model to subsidize brands. Unlike traditional advertising, the con-
content creation and physical distribution of tent is not time-sensitive, so an investment in
the materials. Charging even a low price was a sponsorship can benefit a brand for many
simply not an option. “Educators from various years to come.
nonprofits around the world were just creating
their own materials using whatever they could Importantly, the value to corporate spon-
find for free online,” Shuman said. “The only sors goes beyond commercial considerations.
As a nonprofit with a clearly articulated so-
cial mission, corporate sponsorships are do-
nations to a cause. “This is something com-
panies can be proud of internally,” Shuman
said. Some companies have even built public-

Made With Creative Commons 137

ity campaigns around the fact that they have
sponsored these initiatives.
The core mission of TeachAIDS—ensuring
global access to life-saving education—is at
the root of everything the organization does. It
underpins the work; it motivates the funders.
The CC license on the materials they create
furthers that mission, allowing them to safe-
ly and quickly scale their materials worldwide.
“The Creative Commons license has been a
game changer for TeachAIDS,” Piya said.

138 Made With Creative Commons

TRIBE
OF NOISE

Tribe of Noise is a for-profit online music plat- www tribeofnoise com
form serving the film, TV, video, gaming, and Revenue model: charging a transaction fee
in-store-media industries. Founded in 2008 in
the Netherlands.

Interview date: January 26, 2016
Interviewee: Hessel van Oorschot, cofounder

Profile written by Paul Stacey

In the early 2000s, Hessel van Oorschot was sician without going through record labels or
an entrepreneur running a business where he agents. But in 2005, the ability to directly li-
coached other midsize entrepreneurs how to cense music from a rights holder was not read-
create an online business. He also coauthored ily available.
a number of workbooks for small- to medium-
size enterprises to use to optimize their busi- They hired two lawyers to investigate fur-
ness for the Web. Through this early work, ther, and while they uncovered five or six ex-
Hessel became familiar with the principles amples, Hessel found the business models
of open licensing, including the use of open- lacking. The lawyers expressed interest in
source software and Creative Commons. being their legal team should they decide to
pursue this as an entrepreneurial opportunity.
In 2005, Hessel and Sandra Brandenburg Hessel says, “When lawyers are interested in
launched a niche video-production initia- a venture like this, you might have something
tive. Almost immediately, they ran into issues special.” So after some more research, in ear-
around finding and licensing music tracks. All ly 2008, Hessel and Sandra decided to build a
they could find was standard, cold stock-mu- platform.
sic. They thought of looking up websites where
you could license music directly from the mu-

Made With Creative Commons 139

Building a platform posed a real chicken-and- arguing that they primarily work with unknown
egg problem. The platform had to build an on- artists and provide them exposure in parts of
line community of music-rights holders and, at the world where they don’t get airtime normal-
the same time, provide the community with in- ly and a source of revenue—and this convinced
formation and ideas about how the new econ- them that it was OK. However, Hessel says, “We
omy works. Community willingness to try new are still fighting for a good cause every single
music business models requires a trust rela- day.”
tionship.
Instead of building a large sales force, Tribe
In July 2008, Tribe of Noise opened its virtual of Noise partnered with big organizations who
doors with a couple hundred musicians willing have lots of clients and can act as a kind of Tribe
to use the CC BY-SA license (Attribution-Share- of Noise reseller. The largest telecom network
Alike) for a limited part of their repertoire. The in the Netherlands, for example, sells Tribe’s In-
two entrepreneurs wanted to take the pain store Music Service subscriptions to their busi-
away for media makers who wanted to license ness clients, which include fashion retailers and
music and solve the problems the two had per- fitness centers. They have a similar deal with the
sonally experienced finding this music. leading trade association representing hotels
and restaurants in the country. Hessel hopes to
As they were growing the community, Hessel “copy and paste” this service into other coun-
got a phone call from a company that made in- tries where collecting societies understand
store music playlists asking if they had enough what you can do with Creative Commons. Out-
music licensed with Creative Commons that side of the Netherlands, early adoptions have
they could use. Stores need quality, good-lis- happened in Scandinavia, Belgium, and the U.S.
tening music but not necessarily hits, a bit like
a radio show without the DJ. This opened a Tribe of Noise doesn’t pay the musicians up
new opportunity for Tribe of Noise. They start- front; they get paid when their music ends up
ed their In-store Music Service, using music (li- in Tribe of Noise’s in-store music channels. The
censed with CC BY-SA) uploaded by the Tribe of musicians’ share is 42.5 percent. It’s not un-
Noise community of musicians.1 common in a traditional model for the artist
to get only 5 to 10 percent, so a share of over
In most countries, artists, authors, and musi- 40 percent is a significantly better deal. Here’s
cians join a collecting society that manages the how they give an example on their website:
licensing and helps collect the royalties. Copy-
right collecting societies in the European Union A few of your songs [licensed with CC BY-SA],
usually hold monopolies in their respective na- for example five in total, are selected for a be-
tional markets. In addition, they require their spoke in-store music channel broadcasting at
members to transfer exclusive administration a large retailer with 1,000 stores nationwide. In
rights to them of all of their works. This compli- this case the overall playlist contains 350 songs
cates the picture for Tribe of Noise, who wants so the musician’s share is 5/350 = 1.43%. The li-
to represent artists, or at least a portion of their cense fee agreed with this retailer is US$12 per
repertoire. Hessel and his legal team reached month per play-out. So if 42.5% is shared with
out to collecting societies, starting with those in the Tribe musicians in this playlist and your
the Netherlands. What would be the best legal share is 1.43%, you end up with US$12 * 1000
way forward that would respect the wishes of stores * 0.425 * 0.0143 = US$73 per month.2
composers and musicians who’d be interested
in trying out new models like the In-store Music Tribe of Noise has another model that does
Service? Collecting societies at first were hesi- not involve Creative Commons. In a survey with
tant and said no, but Tribe of Noise persisted

140 Made With Creative Commons

members, most said they liked the exposure WITH A WHOLE GENERATION
using Creative Commons gets them and the
way it lets them reach out to others to share OF MUSICIANS INTERESTED IN
and remix. However, they had a bit of a men-
tal struggle with Creative Commons licenses THE SHARING ECONOMY, THE
being perpetual. A lot of musicians have the
mind-set that one day one of their songs may COMMUNITY AREA OF TRIBE OF
become an overnight hit. If that happened the
CC BY-SA license would preclude them getting NOISE IS WHERE THEY CAN BUILD
rich off the sale of that song.
TRUST, CREATE EXPOSURE, AND
Hessel’s legal team took this feedback and
created a second model and separate area of GENERATE MONEY
the platform called Tribe of Noise Pro. Songs
uploaded to Tribe of Noise Pro aren’t Creative as they like. Tribe of Noise is also a social net-
Commons licensed; Tribe of Noise has instead work; fellow musicians and professionals can
created a “nonexclusive exploitation” contract, vote for, comment on, and like your music.
similar to a Creative Commons license but al- Community managers interact with and sup-
lowing musicians to opt out whenever they port members, and music supervisors pick and
want. When you opt out, Tribe of Noise agrees choose from the uploaded songs for in-store
to take your music off the Tribe of Noise plat- play or to promote them to media producers.
form within one to two months. This lets the Members really like having people working for
musician reuse their song for a better deal. the platform who truly engage with them.

Tribe of Noise Pro is primarily geared toward Another way Tribe of Noise creates commu-
media makers who are looking for music. If nity and interest is with contests, which are
they buy a license from this catalog, they don’t organized in partnership with Tribe of Noise
have to state the name of the creator; they just clients. The client specifies what they want,
license the song for a specific amount. This is a and any member can submit a song. Contests
big plus for media makers. And musicians can usually involve prizes, exposure, and money.
pull their repertoire at any time. Hessel sees In addition to building member engagement,
this as a more direct and clean deal. contests help members learn how to work
with clients: listening to them, understanding
Lots of Tribe of Noise musicians upload what they want, and creating a song to meet
songs to both Tribe of Noise Pro and the com- that need.
munity area of Tribe of Noises. There aren’t
that many artists who upload only to Tribe of Tribe of Noise now has twenty-seven thou-
Noise Pro, which has a smaller repertoire of sand members from 192 countries, and many
music than the community area. are exploring do-it-yourself models for gener-
ating revenue. Some came from music labels
Hessel sees the two as complementary. and publishers, having gone through the tradi-
Both are needed for the model to work. With tional way of music licensing and now seeing if
a whole generation of musicians interested in this new model makes sense for them. Others
the sharing economy, the community area of are young musicians, who grew up with a DIY
Tribe of Noise is where they can build trust, mentality and see little reason to sign with a
create exposure, and generate money. And third party or hand over some of the control.
after that, musicians may become more inter- Still a small but growing group of Tribe mem-
ested in exploring other models like Tribe of bers are pursuing a hybrid model by licens-
Noise Pro. ing some of their songs under CC BY-SA and

Every musician who joins Tribe of Noise gets
their own home page and free unlimited Web
space to upload as much of their own music

Made With Creative Commons 141

opting in others with collecting societies like Made With Creative Commons
ASCAP or BMI.

It’s not uncommon for performance-rights
organizations, record labels, or music pub-
lishers to sign contracts with musicians based
on exclusivity. Such an arrangement prevents
those musicians from uploading their music to
Tribe of Noise. In the United States, you can
have a collecting society handle only some of
your tracks, whereas in many countries in Eu-
rope, a collecting society prefers to represent
your entire repertoire (although the European
Commission is making some changes). Tribe
of Noise deals with this issue all the time and
gives you a warning whenever you upload a
song. If collecting societies are willing to be
open and flexible and do the most they can for
their members, then they can consider orga-
nizations like Tribe of Noise as a nice add-on,
generating more exposure and revenue for
the musicians they represent. So far, Tribe of
Noise has been able to make all this work with-
out litigation.

For Hessel the key to Tribe of Noise’s success is
trust. The fact that Creative Commons licenses
work the same way all over the world and have
been translated into all languages really helps
build that trust. Tribe of Noise believes in cre-
ating a model where they work together with
musicians. They can only do that if they have a
live and kicking community, with people who
think that the Tribe of Noise team has their best
interests in mind. Creative Commons makes it
possible to create a new business model for
music, a model that’s based on trust.

Web links
1 www.instoremusicservice.com
2 www.tribeofnoise.com

/info_instoremusic.php

142

WIKIMEDIA
FOUNDATION

The Wikimedia Foundation is the nonprofit or- wikimediafoundation org
ganization that hosts Wikipedia and its sister Revenue model: donations
projects. Founded in 2003 in the U.S.

Interview date: December 18, 2015
Interviewees: Luis Villa, former Chief Officer of Community Engagement,
and Stephen LaPorte, legal counsel

Profile written by Sarah Hinchliff Pearson

Nearly every person with an online presence dia domain name and hosts the site, along with
knows Wikipedia. many other related sites like Wikidata and Wi-
kimedia Commons. The foundation employs
In many ways, it is the preeminent open about two hundred and eighty people, who all
project: The online encyclopedia is created en- work to support the projects it hosts. But the
tirely by volunteers. Anyone in the world can true heart of Wikipedia and its sister projects
edit the articles. All of the content is available is its community. The numbers of people in
for free to anyone online. All of the content is the community are variable, but about seven-
released under a Creative Commons license ty-five thousand volunteers edit and improve
that enables people to reuse and adapt it for Wikipedia articles every month. Volunteers are
any purpose. organized in a variety of ways across the globe,
including formal Wikimedia chapters (most-
As of December 2016, there were more than ly national), groups focused on a particular
forty-two million articles in the 295 language theme, user groups, and many thousands who
editions of the online encyclopedia, according are not connected to a particular organization.
to—what else?—the Wikipedia article about
Wikipedia. As Wikimedia legal counsel Stephen LaPorte
told us, “There is a common saying that Wiki-
The Wikimedia Foundation is a U.S.-based
nonprofit organization that owns the Wikipe-

Made With Creative Commons 143

pedia works in practice but not in theory.” sial subject areas, talk pages explaining deci-
While it undoubtedly has its challenges and sions, and much, much more.
flaws, Wikipedia and its sister projects are a
striking testament to the power of human col- The Wikimedia Foundation’s decision to
laboration. leave governance of the projects to the com-
munity is very deliberate. “We look at the
Because of its extraordinary breadth and things that the community can do well, and we
scope, it does feel a bit like a unicorn. Indeed, want to let them do those things,” Stephen told
there is nothing else like Wikipedia. Still, much us. Instead, the foundation focuses its time
of what makes the projects successful— and resources on what the community cannot
community, transparency, a strong mission, do as effectively, like the software engineering
trust—are consistent with what it takes to be that supports the technical infrastructure of
successfully Made with Creative Commons the sites. In 2015-16, about half of the foun-
more generally. With Wikipedia, everything dation’s budget went to direct support for the
just happens at an unprecedented scale. Wikimedia sites.

The story of Wikipedia has been told many Some of that is directed at servers and gen-
times. For our purposes, it is enough to know eral IT support, but the foundation also invests
the experiment started in 2001 at a small scale, a significant amount on architecture designed
inspired by the crazy notion that perhaps a to help the site function as effectively as pos-
truly open, collaborative project could create sible. “There is a constantly evolving system
something meaningful. At this point, Wikipe- to keep the balance in place to avoid Wikipe-
dia is so ubiquitous and ingrained in our digital dia becoming the world’s biggest graffiti wall,”
lives that the fact of its existence seems less Luis said. Depending on how you measure it,
remarkable. But outside of software, Wikipe- somewhere between 90 to 98 percent of edits
dia is perhaps the single most stunning exam- to Wikipedia are positive. Some portion of that
ple of successful community cocreation. Every success is attributable to the tools Wikimedia
day, seven thousand new articles are created has in place to try to incentivize good actors.
on Wikipedia, and nearly fifteen thousand ed- “The secret to having any healthy community
its are made every hour. is bringing back the right people,” Luis said.
“Vandals tend to get bored and go away. That
The nature of the content the community is partially our model working, and partially
creates is ideal for asynchronous cocreation. just human nature.” Most of the time, people
“An encyclopedia is something where incre- want to do the right thing.
mental community improvement really works,”
Luis Villa, former Chief Officer of Community Wikipedia not only relies on good behav-
Engagement, told us. The rules and process- ior within its community and on its sites, but
es that govern cocreation on Wikipedia and also by everyone else once the content leaves
its sister projects are all community-driven Wikipedia. All of the text of Wikipedia is avail-
and vary by language edition. There are entire able under an Attribution-ShareAlike license
books written on the intricacies of their sys- (CC BY-SA), which means it can be used for any
tems, but generally speaking, there are very purpose and modified so long as credit is giv-
few exceptions to the rule that anyone can edit en and anything new is shared back with the
any article, even without an account on their public under the same license. In theory, that
system. The extensive peer-review process in- means anyone can copy the content and start
cludes elaborate systems to resolve disputes, a new Wikipedia. But as Stephen explained,
methods for managing particularly controver- “Being open has only made Wikipedia bigger
and stronger. The desire to protect is not al-
ways what is best for everyone.”

Of course, the primary reason no one has
successfully co-opted Wikipedia is that copycat

144 Made With Creative Commons

efforts do not have the Wikipedia community freely share in the sum of all knowledge. They
to sustain what they do. Wikipedia is not sim- work to realize this vision by empowering peo-
ply a source of up-to-the-minute content on ple around the globe to create educational
every given topic—it is also a global patchwork content made freely available under an open
of humans working together in a million differ- license or in the public domain. Stephen and
ent ways, in a million different capacities, for Luis said the mission, which is rooted in the
a million different reasons. While many have same philosophy behind Creative Commons,
tried to guess what makes Wikipedia work as drives everything the foundation does.
well it does, the fact is there is no single expla-
nation. “In a movement as large as ours, there The philosophy behind the endeavor also
is an incredible diversity of motivations,” Ste- enables the foundation to be financially sus-
phen said. For example, there is one editor of tainable. It instills trust in their readership,
the English Wikipedia edition who has correct- which is critical for a revenue strategy that re-
ed a single grammatical error in articles more lies on reader donations. It also instills trust in
than forty-eight thousand times.1 their community.

Only a fraction of Wikipedia users are also Any given edit on Wikipedia could be moti-
editors. But editing is not the only way to con- vated by nearly an infinite number of reasons.
tribute to Wikipedia. “Some donate text, some But the social mission of the project is what
donate images, some donate financially,” Ste- binds the global community together. “Wikipe-
phen told us. “They are all contributors.” dia is an example of how a mission can moti-
vate an entire movement,” Stephen told us.
But the vast majority of us who use Wiki-
pedia are not contributors; we are passive Of course, what results from that move-
readers. The Wikimedia Foundation survives ment is one of the Internet’s great public re-
primarily on individual donations, with about sources. “The Internet has a lot of businesses
$15 as the average. Because Wikipedia is one and stores, but it is missing the digital equiva-
of the ten most popular websites in terms of lent of parks and open public spaces,” Stephen
total page views, donations from a small por- said. “Wikipedia has found a way to be that
tion of that audience can translate into a lot of open public space.”
money. In the 2015-16 fiscal year, they received
more than $77 million from more than five mil- Web link
lion donors. 1 gimletmedia.com/episode/14-the-art-of

The foundation has a fund-raising team that -making-and-fixing-mistakes/
works year-round to raise money, but the bulk
of their revenue comes in during the Decem-
ber campaign in Australia, Canada, Ireland,
New Zealand, the United Kingdom, and the
United States. They engage in extensive user
testing and research to maximize the reach
of their fund-raising campaigns. Their basic
fund-raising message is simple: We provide
our readers and the world immense value, so
give back. Every little bit helps. With enough
eyeballs, they are right.

The vision of the Wikimedia Foundation is a 145
world in which every single human being can

Made With Creative Commons

146 Made With Creative Commons

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ACKNOWLEDGMENTS

We extend special thanks to Creative Com- guez, Daniel Morado, Darius Irvin, Dave Taille-
mons CEO Ryan Merkley, the Creative Com- fer, David Lewis, David Mikula, David Varnes,
mons Board, and all of our Creative Commons David Wiley, Deborah Nas, Diderik van Wing-
colleagues for enthusiastically supporting our erden, Dirk Kiefer, Dom Lane, Domi Enders,
work. Special gratitude to the William and Flora Douglas Van Houweling, Dylan Field, Einar
Hewlett Foundation for the initial seed funding Joergensen, Elad Wieder, Elie Calhoun, Erika
that got us started on this project. Reid, Evtim Papushev, Fauxton Software, Felix
Maximiliano Obes, Ferdies Food Lab, Gatien
Huge appreciation to all the Made with de Broucker, Gaurav Kapil, Gavin Romig-Koch,
Creative Commons interviewees for sharing George Baier IV, George De Bruin, Gianpaolo
their stories with us. You make the commons Rando, Glenn Otis Brown, Govindarajan Uma-
come alive. Thanks for the inspiration. kanthan, Graham Bird, Graham Freeman,
Hamish MacEwan, Harry Kaczka, Humble
We interviewed more than the twenty-four Daisy, Ian Capstick, Iris Brest, James Cloos, Ja-
organizations profiled in this book. We extend mie Stevens, Jamil Khatib, Jane Finette, Jason
special thanks to Gooru, OERu, Sage Bionet- Blasso, Jason E. Barkeloo, Jay M Williams, Jean-
works, and Medium for sharing their stories Philippe Turcotte, Jeanette Frey, Jeff De Cagna,
with us. While not featured as case studies in Jérôme Mizeret, Jessica Dickinson Goodman,
this book, you all are equally interesting, and Jessy Kate Schingler, Jim O’Flaherty, Jim Pel-
we encourage our readers to visit your sites legrini, Jiří Marek, Jo Allum, Joachim von Goetz,
and explore your work. Johan Adda, John Benfield, John Bevan, Jonas
Öberg, Jonathan Lin, JP Rangaswami, Juan Car-
This book was made possible by the gener- los Belair, Justin Christian, Justin Szlasa, Kate
ous support of 1,687 Kickstarter backers listed Chapman, Kate Stewart, Kellie Higginbottom,
below. We especially acknowledge our many Kendra Byrne, Kevin Coates, Kristina Pop-
Kickstarter co-editors who read early drafts ova, Kristoffer Steen, Kyle Simpson, Laurie
of our work and provided invaluable feedback. Racine, Leonardo Bueno Postacchini, Leticia
Heartfelt thanks to all of you. Britos Cavagnaro, Livia Leskovec, Louis-David
Benyayer, Maik Schmalstich, Mairi Thomson,
Co-editor Kickstarter backers (alphabetically by Marcia Hofmann, Maria Liberman, Marino
first name): Abraham Taherivand, Alan Gra- Hernandez, Mario R. Hemsley, MD, Mark Co-
ham, Alfredo Louro, Anatoly Volynets, Aurora hen, Mark Mullen, Mary Ellen Davis, Mathias
Thornton, Austin Tolentino, Ben Sheridan, Ben- Bavay, Matt Black, Matt Hall, Max van Balgooy,
edikt Foit, Benjamin Costantini, Bernd Nurn- Médéric Droz-dit-Busset, Melissa Aho, Men-
berger, Bernhard Seefeld, Bethanye Blount, achem Goldstein, Michael Harries, Michael
Bradford Benn, Bryan Mock, Carmen Garcia Lewis, Michael Weiss, Miha Batic, Mike Stop
Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Continues, Mike Stringer, Mustafa K Calik, MD,
Cat Cooper, Chip McIntosh, Chris Thorne, Chris Neal Stimler, Niall McDonagh, Niall Twohig,
Weber, Chutika Udomsinn, Claire Wardle, Clau- Nicholas Norfolk, Nick Coghlan, Nicole Hick-
dia Cristiani, Cody Allard, Colleen Cressman,
Craig Thomler, Creative Commons Uruguay,
Curt McNamara, Dan Parson, Daniel Domin-

Made With Creative Commons 151

man, Nikki Thompson, Norrie Mailer, Omar Ericsson, Andi Popp, André Bose Do Amaral,
Kaminski, OpenBuilds, Papp István Péter, Pat Andre Dickson, André Koot, André Ricardo, An-
Sticks, Patricia Brennan, Paul and Iris Brest, dre van Rooyen, Andre Wallace, Andrea Bagna-
Paul Elosegui, Penny Pearson, Peter Mengel- cani, Andrea Pepe, Andrea Pigato, Andreas
ers, Playground Inc., Pomax, Rafaela Kunz, Ra- Jagelund, Andres Gomez Casanova, Andrew A.
jiv Jhangiani, Rayna Stamboliyska, Rob Berkley, Farke, Andrew Berhow, Andrew Hearse, An-
Rob Bertholf, Robert Jones, Robert Thomp- drew Matangi, Andrew R McHugh, Andrew
son, Ronald van den Hoff, Rusi Popov, Ryan Tam, Andrew Turvey, Andrew Walsh, Andrew
Merkley, S Searle, Salomon Riedo, Samuel A. Wilson, Andrey Novoseltsev, Andy McGhee,
Rebelsky, Samuel Tait, Sarah McGovern, Scott Andy Reeve, Andy Woods, Angela Brett, Ange-
Gillespie, Seb Schmoller, Sharon Clapp, She- liki Kapoglou, Angus Keenan, Anne-Marie
ona Thomson, Siena Oristaglio, Simon Law, Scott, Antero Garcia, Antoine Authier, Antoine
Solomon Simon, Stefano Guidotti, Subhendu Michard, Anton Kurkin, Anton Porsche, Antònia
Ghosh, Susan Chun, Suzie Wiley, Sylvain Carle, Folguera, António Ornelas, Antonis Triantafyl-
Theresa Bernardo, Thomas Hartman, Thomas lakis, aois21 publishing, April Johnson, Aria F.
Kent, Timothée Planté, Timothy Hinchliff, Traci Chernik, Ariane Allan, Ariel Katz, Arithmomani-
Long DeForge, Trevor Hogue, Tumuult, Vickie ac, Arnaud Tessier, Arnim Sommer, Ashima
Goode, Vikas Shah, Virginia Kopelman, Wayne Bawa, Ashley Elsdon, Athanassios Diacakis,
Mackintosh, William Peter Nash, Winie Evers, Aurora Thornton, Aurore Chavet Henry, Austin
Wolfgang Renninger, Xavier Antoviaque, Yanc- Hartzheim, Austin Tolentino, Avner Shanan,
ey Strickler Axel Pettersson, Axel Stieglbauer, Ay Okpo-
kam, Barb Bartkowiak, Barbara Lindsey, Barry
All other Kickstarter backers (alphabetically by Dayton, Bastian Hougaard, Ben Chad, Ben
first name): A. Lee, Aaron C. Rathbun, Aaron Doherty, Ben Hansen, Ben Nuttall, Ben Rosen-
Stubbs, Aaron Suggs, Abdul Razak Manaf, thal, Ben Sheridan, Benedikt Foit, Benita Tsao,
Abraham Taherivand, Adam Croom, Adam Fin- Benjamin Costantini, Benjamin Daemon, Ben-
er, Adam Hansen, Adam Morris, Adam Procter, jamin Keele, Benjamin Pflanz, Berglind Ósk
Adam Quirk, Adam Rory Porter, Adam Sim- Bergsdóttir, Bernardo Miguel Antunes, Bernd
mons, Adam Tinworth, Adam Zimmerman, Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Adrian Ho, Adrian Smith, Adriane Ruzak, Adria- Tillinghast, Bethanye Blount, Bill Bonwitt, Bill
no Loconte, Al Sweigart, Alain Imbaud, Alan Browne, Bill Keaggy, Bill Maiden, Bill Rafferty,
Graham, Alan M. Ford, Alan Swithenbank, Alan Bill Scanlon, Bill Shields, Bill Slankard, BJ Beck-
Vonlanthen, Albert O’Connor, Alec Foster, Ale- er, Bjorn Freeman-Benson, Bjørn Otto Walle-
jandro Suarez Cebrian, Aleks Degtyarev, Alex vik, BK Bitner, Bo Ilsøe Hansen, Bo Sprotte Ko-
Blood, Alex C. Ion, Alex Ross Shaw, Alexander fod, Bob Doran, Bob Recny, Bob Stuart, Bonnie
Bartl, Alexander Brown, Alexander Brunner, Chiu, Boris Mindzak, Boriss Lariushin, Borjan
Alexander Eliesen, Alexander Hawson, Alexan- Tchakaloff, Brad Kik, Braden Hassett, Bradford
der Klar, Alexander Neumann, Alexander Benn, Bradley Keyes, Bradley L’Herrou, Brady
Plaum, Alexander Wendland, Alexandre Rafa- Forrest, Brandon McGaha, Branka Tokic, Brant
lovitch, Alexey Volkow, Alexi Wheeler, Alexis Anderson, Brenda Sullivan, Brendan O’Brien,
Sevault, Alfredo Louro, Ali Sternburg, Alicia Brendan Schlagel, Brett Abbott, Brett Gaylor,
Gibb & Lunchbox Electronics, Alison Link, Ali- Brian Dysart, Brian Lampl, Brian Lipscomb,
son Pentecost, Alistair Boettiger, Alistair Brian S. Weis, Brian Schrader, Brian Walsh, Bri-
Walder, Alix Bernier, Allan Callaghan, Allen Rid- an Walsh, Brooke Dukes, Brooke Schreier
dell, Allison Breland Crotwell, Allison Jane Ganz, Bruce Lerner, Bruce Wilson, Bruno Bou-
Smith, Álvaro Justen, Amanda Palmer, Amanda tot, Bruno Girin, Bryan Mock, Bryant Durrell,
Wetherhold, Amit Bagree, Amit Tikare, Amos Bryce Barbato, Buzz Technology Limited,
Blanton, Amy Sept, Anatoly Volynets, Anders Byung-Geun Jeon, C. Glen Williams, C. L. Couch,

152 Made With Creative Commons

Cable Green, Callum Gare, Cameron Callahan, iel Kossmann, Daniel Kruse, Daniel Morado,
Cameron Colby Thomson, Cameron Mulder, Daniel Morgan, Daniel Pimley, Daniel Sabo,
Camille Bissuel / Nylnook, Candace Robertson, Daniel Sobey, Daniel Stein, Daniel Wildt, Dan-
Carl Morris, Carl Perry, Carl Rigney, Carles Ma- iele Prati, Danielle Moss, Danny Mendoza,
teu, Carlos Correa Loyola, Carlos Solis, Carmen Dario Taraborelli, Darius Irvin, Darius Whelan,
Garcia Wiedenhoeft, Carol Long, Carol mar- Darla Anderson, Dasha Brezinova, Dave Ain-
quardsen, Caroline Calomme, Caroline Mail- scough, Dave Bull, Dave Crosby, Dave Eagle,
loux, Carolyn Hinchliff, Carolyn Rude, Carrie Dave Moskovitz, Dave Neeteson, Dave Taille-
Cousins, Carrie Watkins, Casey Hunt, Casey fer, Dave Witzel, David Bailey, David Cheung,
Milford, Casey Powell Shorthouse, Cat Cooper, David Eriksson, David Gallagher, David H.
Cecilie Maria, Cedric Howe, Cefn Hoile, Bronke, David Hartley, David Hellam, David
@ShrimpingIt, Celia Muller, Ces Keller, Chad Hood, David Hunter, David jlaietta, David Lew-
Anderson, Charles Butler, Charles Carstensen, is, David Mason, David Mcconville, David Miku-
Charles Chi Thoi Le, Charles Kobbe, Charles S. la, David Nelson, David Orban, David Parry,
Tritt, Charles Stanhope, Charlotte Ong-Wisen- David Spira, David T. Kindler, David Varnes, Da-
er, Chealsye Bowley, Chelle Destefano, Chen- vid Wiley, David Wormley, Deborah Nas, Denis
pang Chou, Cheryl Corte, Cheryl Todd, Chip Jean, dennis straub, Dennis Whittle, Denver
Dickerson, Chip McIntosh, Chris Bannister, Gingerich, Derek Slater, Devon Cooke, Diana
Chris Betcher, Chris Coleman, Chris Conway, Pasek-Atkinson, Diane Johnston Graves, Diane
Chris Foote (Spike), Chris Hurst, Chris Mitchell, K. Kovacs, Diane Trout, Diderik van Wingerden,
Chris Muscat Azzopardi, Chris Niewiarowski, Diego Cuevas, Diego De La Cruz, Dimitrie Grig-
Chris Opperwall, Chris Stieha, Chris Thorne, orescu, Dina Marie Rodriguez, Dinah Fabela,
Chris Weber, Chris Woolfrey, Chris Zabriskie, Dirk Haun, Dirk Kiefer, Dirk Loop, DJ Fusion -
Christi Reid, Christian Holzberger, Christian FuseBox Radio Broadcast, Dom jurkewitz,
Schubert, Christian Sheehy, Christian Thibault, Dom Lane, Domi Enders, Domingo Gallardo,
Christian Villum, Christian Wachter, Christina Dominic de Haas, Dominique Karadjian, Dong-
Bennett, Christine Henry, Christine Rico, Chris- po Deng, Donnovan Knight, Door de Flines,
topher Burrows, Christopher Chan, Christo- Doug Fitzpatrick, Doug Hoover, Douglas Crav-
pher Clay, Christopher Harris, Christopher er, Douglas Van Camp, Douglas Van Houwel-
Opiah, Christopher Swenson, Christos Keramit- ing, Dr. Braddlee, Drew Spencer, Duncan
sis, Chuck Roslof, Chutika Udomsinn, Claire Sample, Durand D’souza, Dylan Field, E C Hum-
Wardle, Clare Forrest, Claudia Cristiani, Clau- phries, Eamon Caddigan, Earleen Smith, Eden
dio Gallo, Claudio Ruiz, Clayton Dewey, Clem- Sarid, Eden Spodek, Eduardo Belinchon, Edu-
ent Delort, Cliff Church, Clint Lalonde, Clint ardo Castro, Edwin Vandam, Einar Joergensen,
O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Ejnar Brendsdal, Elad Wieder, Elar Haljas, Elena
Colin Campbell, Colin Dean, Colin Mutchler, Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun,
Colleen Cressman, Comfy Nomad, Connie Elizabeth Holloway, Ellen Buecher, Ellen Kaye-
Roberts, Connor Bär, Connor Merkley, Con- Cheveldayoff, Elli Verhulst, Elroy Fernandes,
stantin Graf, Corbett Messa, Cory Chapman, Emery Hurst Mikel, Emily Catedral, Enrique
Cosmic Wombat Games, Craig Engler, Craig Mandujano R., Eric Astor, Eric Axelrod, Eric Ce-
Heath, Craig Maloney, Craig Thomler, Creative leste, Eric Finkenbiner, Eric Hellman, Eric
Commons Uruguay, Crina Kienle, Cristiano Go- Steuer, Erica Fletcher, Erik Hedman, Erik Lind-
zzini, Curt McNamara, D C Petty, D. Moonfire, holm Bundgaard, Erika Reid, Erin Hawley, Erin
D. Rohhyn, D. Schulz, Dacian Herbei, Dagmar McKean of Wordnik, Ernest Risner, Erwan
M. Meyer, Dan Mcalister, Dan Mohr, Dan Par- Bousse, Erwin Bell, Ethan Celery, Étienne Gilli,
son, Dana Freeman, Dana Ospina, Dani Leviss, Eugeen Sablin, Evan Tangman, Evonne Okafor,
Daniel Bustamante, Daniel Demmel, Daniel Evtim Papushev, Fabien Cambi, Fabio Natali,
Dominguez, Daniel Dultz, Daniel Gallant, Dan- Fauxton Software, Felix Deierlein, Felix Gebau-

Made With Creative Commons 153

er, Felix Maximiliano Obes, Felix Schmidt, Felix Jaime Woo, Jake Campbell, Jake Loeterman,
Zephyr Hsiao, Ferdies Food Lab, Fernand Des- Jakes Rawlinson, James Allenspach, James
chambault, Filipe Rodrigues, Filippo Toso, Fio- Chesky, James Cloos, James Docherty, James
na MacAlister, fiona.mac.uk, Floor Scheffer, Ellars, James K Wood, James Tyler, Jamie Finlay,
Florent Darrault, Florian Hähnel, Florian Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan
Schneider, Floyd Wilde, Foxtrot Games, Francis Gondol, Jan Sepp, Jan Zuppinger, Jane Finette,
Clarke, Francisco Rivas-Portillo, Francois De- jane Lofton, Jane Mason, Jane Park, Janos Ko-
chery, Francois Grey, François Gros, François vacs, Jasmina Bricic, Jason Blasso, Jason Chu,
Pelletier, Fred Benenson, Frédéric Abella, Jason Cole, Jason E. Barkeloo, Jason Hibbets,
Frédéric Schütz, Fredrik Ekelund, Fumi Ya- Jason Owen, Jason Sigal, Jay M Williams, Jazzy
mazaki, Gabor Sooki-Toth, Gabriel Staples, Ga- Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-
briel Véjar Valenzuela, Gal Buki, Gareth Jordan, Philippe Dufraigne, Jean-Philippe Turcotte,
Garrett Heath, Gary Anson, Gary Forster, Ga- Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood,
tien de Broucker, Gaurav Kapil, Gauthier de Jeff De Cagna, Jeff Donoghue, Jeff Edwards, Jeff
Valensart, Gavin Gray, Gavin Romig-Koch, Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski Kinsey,
Geoff Wood, Geoffrey Lehr, George Baier IV, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
George De Bruin, George Lawie, George Strak- Garcia, Jens Erat, Jeppe Bager Skjerning, Jere-
hov, Gerard Gorman, Geronimo de la Lama, my Dudet, Jeremy Russell, Jeremy Sabo, Jere-
Gianpaolo Rando, Gil Stendig, Gino Cingolani my Zauder, Jerko Grubisic, Jerome Glacken,
Trucco, Giovanna Sala, Glen Moffat, Glenn D. Jérôme Mizeret, Jessica Dickinson Goodman,
Jones, Glenn Otis Brown, Global Lives Project, Jessica Litman, Jessica Mackay, Jessy Kate
Gorm Lai, Govindarajan Umakanthan, Graham Schingler, Jesús Longás Gamarra, Jesus Marin,
Bird, Graham Freeman, Graham Heath, Gra- Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pel-
ham Jones, Graham Smith-Gordon, Graham legrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Vowles, Greg Brodsky, Greg Malone, Grégoire Allum, Joachim Brandon LeBlanc, Joachim Pile-
Detrez, Gregory Chevalley, Gregory Flynn, Grit borg, Joachim von Goetz, Joakim Bang Larsen,
Matthias, Gui Louback, Guillaume Rischard, Joan Rieu, Joanna Penn, João Almeida, Jochen
Gustavo Vaz de Carvalho Gonçalves, Gustin Muetsch, Jodi Sandfort, Joe Cardillo, Joe Carpi-
Johnson, Gwen Franck, Gwilym Lucas, Haggen ta, Joe Moross, Joerg Fricke, Johan Adda, Johan
So, Håkon T Sønderland, Hamid Larbi, Hamish Meeusen, Johannes Förstner, Johannes Visinti-
MacEwan, Hannes Leo, Hans Bickhofe, Hans ni, John Benfield, John Bevan, John C Patterson,
de Raad, Hans Vd Horst, Harold van Ingen, John Crumrine, John Dimatos, John Feyler, John
Harold Watson, Harry Chapman, Harry Kaczka, Huntsman, John Manoogian III, John Muller,
Harry Torque, Hayden Glass, Hayley Rosen- John Ober, John Paul Blodgett, John Pearce,
blum, Heather Leson, Helen Crisp, Helen John Shale, John Sharp, John Simpson, John
Michaud, Helen Qubain, Helle Rekdal Sumser, John Weeks, John Wilbanks, John Wor-
Schønemann, Henrique Flach Latorre Moreno, land, Johnny Mayall, Jollean Matsen, Jon Alber-
Henry Finn, Henry Kaiser, Henry Lahore, Hen- di, Jon Andersen, Jon Cohrs, Jon Gotlin, Jon
ry Steingieser, Hermann Paar, Hillary Miller, Hi- Schull, Jon Selmer Friborg, Jon Smith, Jonas
ronori Kuriaki, Holly Dykes, Holly Lyne, Hubert Öberg, Jonas Weitzmann, Jonathan Campbell,
Gertis, Hugh Geenen, Humble Daisy, Hüppe Jonathan Deamer, Jonathan Holst, Jonathan
Keith, Iain Davidson, Ian Capstick, Ian Johnson, Lin, Jonathan Schmid, Jonathan Yao, Jordon Ka-
Ian Upton, Icaro Ferracini, Igor Lesko, Imran lilich, Jörg Schwarz, Jose Antonio Gallego
Haider, Inma de la Torre, Iris Brest, Irwin Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
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