Group items tagged

My friend had hundreds of these examples. We could have sat in his living room playing at musical genealogy for hours. Did the examples upset him? Of course not, because he knew enough about music to know that these patterns of influence-cribbing, tweaking, transforming-were at the very heart of the creative process. True, copying could go too far. There were times when one artist was simply replicating the work of another, and to let that pass inhibited true creativity. But it was equally dangerous to be overly vigilant in policing creative expression, because if Led Zeppelin hadn't been free to mine the blues for inspiration we wouldn't have got "Whole Lotta Love," and if Kurt Cobain couldn't listen to "More Than a Feeling" and pick out and transform the part he really liked we wouldn't have "Smells Like Teen Spirit"-and, in the evolution of rock, "Smells Like Teen Spirit" was a real step forward from "More Than a Feeling." A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings. Yes, she had copied my work. But no one was asking why she had copied it, or what she had copied, or whether her copying served some larger purpose.

But, where PRS really shines is in threatening tons of small businesses. Over the years, we've had stories on PRS threatening car repair shops, because mechanics in the garage were playing their radios loud enough that customers in the waiting room could hear them. That's a public performance, according to PRS. Then they went after a police station because some cops were listening to radios. Then they went after a children's charity for singing Christmas carols without paying up. The group has even been known to call up small businesses and if they hear music in the background, demand payment, including one case involving a guy working at home with his dog. Apparently, that constitutes a "public performance." The latest (sent in by a few folks) is that PRS has now threatened a woman who plays classical music to her horses in her stable to keep them calm. She had been turning on the local classical music station, saying that it helped keep the horse calm -- but PRS is demanding £99 if she wants to keep providing such a "public performance." And it's not just a one-off. Apparently a bunch of stables have been receiving such calls.

"But what's missing from the whole debate is some data. Just how much unlawful file-sharing is going on in the UK and what effect is it having on the creative industries? It's hard to be sure really - the music industry often says that twenty unauthorised tracks are downloaded for every one that's paid for, but I'm not sure how that figure was worked out. The government, too, seems hazy, unable to say how it will know when file-sharing has been reduced by 70%, the target to be attained by the initial deterrence campaign before stronger measures are contemplated."

Google has banned subscribers to its Korean blogging platform, Textcube (www.textcube.org), from uploading songs onto their blogs, citing the country's new anti-file sharing provisions aimed at thwarting online piracy. This is the first time that the U.S. giant has disabled its bloggers from posting music files on their personal Web pages. Last month, Google blocked users from posting videos and comments on the Korean site of YouTube (kr.youtube.com), its online video service. This was to avoid the new regulations that mandate Internet users to make verifiable real-name registrations on all Web sites with more than 100,000 daily visitors, which means they have to submit their resident registration codes, the Korean equivalent of social security numbers.

The Long Tail was a response to an essay by Clay Shirky, a prominent technology writer who also teaches at New York University. Shirky's argument dampened much of the nascent utopianism about blogs, pointing out that the readership of early blogs followed what economists call a Pareto curve, or "power curve": a small number of sites (the "head") attracted a huge number of readers, but most (the "tail") had few or none. This jarred with the utopian notion of the internet as a new kind of democracy. Why bother to participate if our fates were decided for us by a few block votes? So Anderson turned the notion upside down. The blockbuster was over, he proclaimed, and, like a man possessed, he began to see long tails everywhere. It was the Guardian that lauded this logic by comparing Anderson to Copernicus. The implicit message was that the little people would win. Many people were so keen to believe that Web 2.0 would make the world fairer that they rejected any evidence to the contrary. It was only last year, with an exhaustive study of online music sales by the economist Will Page and an experienced digital retailer, Andrew Bud, that a more useful picture of digital markets begin to emerge. Page and Bud found that most of the songs available for purchase had never been downloaded, and that the concentration of hits was more pronounced than ever before. On the file-sharing networks, the same pattern emerged. So, carrying a huge retail inventory, though cheaper than before, was of little or no value. Now, with Free, Anderson has turned to the criticism that the internet destroyed the value of movies, newspapers and music. Firms could, and now should, cross-subsidise this unprofitable activity, he argues. But cross-subsidies aren't new: they have been the subject of decades of observation by economists. Nor are they a panacea. Alan Patrick, co-founder of the Broadsight media and technology consultancy, points out that despite falling marginal costs, th

From Thimpu: We have our own Pirate Bay: the Indian city of Jaigoan, where Bhutanese films and music are rampantly pirated by Indian vendors. Local film and music producers would like to see similar action taking place against these pirates, but the problem is they are not operating on Bhutanese territory. Therefore, being outside the copyright law enforcement abilities of our government, our authorities have not taken any legal action, nor are there any plans to do so.

The Songwriters Assn. of Canada proposes to allow domestic consumers access to all recorded music available online in return for adding a $5 Canadian ($4.96) monthly fee to every wireless and Internet account in the country. It has been slammed as "a pipe dream" by Canadian labels.

So maybe Coldplay is not a group of plagiarists; rather, it is a group of pop hacks working on tropes that the entire pop music industry since the 1950's has stolen from elsewhere. Originality is a tricky thing. Just ask Shepard Fairey.

OnMobile Global Limited is India's largest value-added service (VAS) company.[2][3][4] The company offers contest management, content aggregation and distribution, voice short codes, mCommerce solutions, missed call alerts, multimedia push services, mobile advertising, mobile search, ringtones, ringback tones, personalized music greetings, mobile media portals, phone backup, voiceportals, and voice SMS.

China's largest Internet search engine, Baidu, was said to be "responsible for the vast majority of illegal downloading of music in China, deriving significant advertising revenue." But last month China issued an IPR protection plan involving 28 ministries and organizations that had 170 concrete measures to fight copyright infringement. Also, the Supreme People's Court raised compensation for victims from 500,000 yuan ($73,000) to more than 1 million yuan ($146,000). Last year, China closed 192 websites that profited from copyright infringement and uncovered 5719 cases of copyright infringement, Commissioner of the State Intellectual Property Office Tian Lipu said.

63% of urban students spend over an hour online daily; 93% are aware of social networking; Orkut and Facebook are most popular online destinations; 46% use online sources to access news; TV, Newspaper users at 25%; 62% have a personal computer at home; 1 in 4 students own laptops in metros; 2 of 3 own music players; IT and engineering remain overwhelming popular career choices; Media & Entertainment, Travel and Tourism are emerging careers; USA, UK top list of international destinations for higher studies.

"I think the trend is now clear. There have been a number of cases in the last five years and if you look at the way they have been decided - the Kazaa case in Australia clearly referred to the American [Grokster] decision and just tweaked the law in a way that suited the rights holders. In Belgium, an ISP [Scarlet] was forced to implement filtering [June 2007, Belgian Society of Authors Composers and Publishers (SABAM) v Scarlet, Brussels Court of First Instance, currently under appeal]; there was a case in Finland [June 2008, Finnish Court of Appeal, where administrators of P2P site Finreactor were sued on an individual basis and 21 people were jointly fined €500,000 ($647,284) for copyright infringement and assisting copyright infringement; 14 are appealing] where the BitTorrent super-users were found guilty and they pleaded they were only linking. So I do see that trend." [...] "The big frustration is that we act for all these legal services who pay lots of money to the rights holders, and it's almost impossible to get licenses. They are so expensive and the process is so slow. Two or three years can go by and you can throw millions at trying to get a compelling service launched, and there are obstacles in the way all the time. Pandora is a great example, it's just not possible [to operate it in Europe]. We also advise Last.fm and MySpace, it's just so much hard work. This is the irony: they [labels] complain about piracy and then you walk in the door with a new service with some VC funding and an amazing bit of software that is essentially promoting and selling their content. But they say 'we are not moving unless you give us an advance of $5 million plus equity."

We found it rather ironic that, just as French President Nicolas Sarkozy was so adamant about passing a three strikes law to kick file sharers off the internet, he was being accused of copyright infringement himself, specifically for using music from the US band MGMT at an event and in two online videos without securing a license. Now, you might hope that this would cause Sarkozy to rethink his stance on copyright infringement. Instead, it looks like his political party has simply agreed to pay up and make the issue go away, while still pushing for the three strikes law. It sounds like they paid about 30,000 euros, which is a lot more than the single euro that Sarkozy's party initially offered (yes, seriously). No word on whether or not this counts towards the number of strikes on Sarkozy's internet connection.

Alleged file-sharer Joel Tenenbaum has a new ally in his battle against the record labels: Radiohead manager Brian Message. Tenenbaum, a grad student currently being sued for allegedly sharing seven tracks on Kazaa, intends to have Message testify that file-sharing can help the music industry, according to his lawyer, Charles Nesson of Harvard Law School.

"Since then downloads have come to dominate the top 40. About 98% of all single sales are now from downloads, with about 100,000 needed every week to get to the top spot."

Details of cheap Chinese phones.

By the end of last year, China's internet penetration rate - roughly, the percentage of the country that has access to the Internet - had surpassed the global average, according to the China Internet Network Information Center's latest report. They counted 298 million users, 88 million more than at the end of 2007, mostly because of the huge increase in Internet usage in rural parts of the country. As of last month, there were a total of 13,594,604 domain names registered under ".cn."

Anti-piracy groups and lawyers across Europe are unmovable - they say that since they logged a copyright infringement from a particular IP address, the bill payer is responsible. Now a court in Rome has decided that on the contrary, an IP address does not identify an infringer, only a particular connection.