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Now, with OneDrive for Business — the new SkyDrive Pro — Microsoft is selling cloud storage directly to businesses, no other strings attached. If you don’t want to buy into an Office-as-a-service contract, you can still buy cloud storage from Microsoft.

Microsoft is offering a deep discount — 50 percent

Byrne and Doctorow were there to talk about how the internet has affected the music business. While that was certainly a large part of the discussion, the conversation also touched on all the ways technology and music interact, from file sharing to sampling.

Doctorow pointed out that two of the best-selling and most critically acclaimed hip-hop records of the 1980s—Public Enemy’s It Takes a Nation of Millions to Hold Us Back, and the Beastie Boys Paul’s Boutique—would have each cost roughly $12 million to make given today’s rules surrounding sample clearance.

They ran models of Nelson's subscription-based theater idea, showing that to break even they would need 3,000 people, or 15% of the mountain communities, to sign up. For $19.95 per month, a member would be able to see each movie one time and buy individual tickets for friends. Non-members could buy a $16 day pass.

Kim Dotcom is determined to put the major music labels out of business with Megabox. At the same time he promises to give artists full control over their own work and a healthy revenue stream. Today Dotcom released a video on the making of Megabox which unveils some of the service’s features. The video also shows “The Black Keys,” “Rusko,” “Two Fingers” and “Will.i.am” as exclusive artists.

So why would artists join Megabox in the first place? The goal of Megabox is to give the public access to free music and compensate artists through advertising revenue. Megaupload’s founder believes that this “free music” business model has the potential to decrease music piracy while giving artists proper compensation for their work. This revenue comes from the Megakey application that users have to install. Megakey works like an ad blocker, but instead of blocking ads it replaces a small percentage with Mega’s own ads. Those who prefer not to install the app have the option to buy the music instead.

“These new solutions will allow content creators to keep 90% of all earnings and generate significant income from the untapped market of free downloads,” Dotcom said.

File-hosting service RapidGator has had nearly all of its search results wiped from Google, including many clearly non-infringing pages. The URLs in question were removed by the search engine after a DMCA notice from several copyright holders. RapidGator is outraged and says the overbroad censorship is hurting its business, warning that the same could happen to others. “If it happens to us, it can happen to MediaFire or Dropbox tomorrow,” they state.

Thus far this has resulted in more than 200 million URLs being removed from Google’s search engine. While many of these takedown claims are legit, some are clearly false, censoring perfectly legitimate webpages from search results. File-hosting service RapidGator.net is one site that has fallen victim to such overbroad takedown requests. The file-hosting service has had nearly all its URLs de-listed, including its homepage, making the site hard to find through Google. Several other clearly non-infringing pages, including the FAQ, the news section, and even the copyright infringement policy, have also been wiped from Google by various takedown requests.

“Our robots.txt forbids search engines bots to index any file/* folder/ URLs. We only allow them to crawl our main page and the pages we have in a footer of the website. So most of the URLs for which Google gets DMCA notices are not listed in index by default,” RapidGator’s Dennis explains.

the IRS appears to argue that because there might be some "non-charitable" uses of the software, the Foundation doesn't deserve non-profit status, which would make it exempt from certain taxes (and make donations tax deductible).

Last December, we wrote about a report put out by the Swiss executive branch noting that, based on their research, it appeared that unauthorized file sharing was not a big deal, showing that consumers were still spending just as much on entertainment, and that much of it was going directly to artists, rather than to middlemen. In other words, it was a market shift, not a big law enforcement problem. At the time, we wondered if Switzerland had just bought itself a place on the USTR's "Special 301 list" that the administration uses each year to shame countries that Hollywood doesn't like.

Of course, internet access has already been spreading to the far corners of the planet without any "help" from the ITU. Over two billion people are already online, representing about a third of the planet. And, yes, spreading that access further is a good goal, but the ITU is not the player to do it. The reason that the internet has been so successful and has already spread as far as it has, as fast as it has, is that it hasn't been controlled by a bureaucratic government body in which only other governments could vote. Instead, it was built as an open interoperable system that anyone could help build out. It was built in a bottom up manner, mainly by engineers, not bureaucrats. Changing that now makes very little sense.

And that's the thing. The internet works just fine. The only reason to "fix" it, is to "break" it in exactly the way the ITU wants, which is to favor a few players who have done nothing innovative to actually deserve it.

And, yes, the "but what about my $100 million movie" crowd will scoff and argue that this number is so "small." But, two points there: first, this number is growing very, very, very fast. And if you can't understand how trends explode, then you're going to be in trouble soon. Second -- and this is the more important point -- those funds helped create 8,000 films. For those who have been arguing about culture and how we're going to lose the ability to make movies... this suggests something amazing and important is happening which goes against all those gloom and doom predictions. By way of comparison, the UN, which keeps track of stats on film production, claimed that in 2009, 7,233 films were made. Worldwide.

Industry organizations have abandoned litigation efforts, and many copyright owners now compete directly with infringing products by offering licit content at a price of $0.

This sea change has ushered in an era of “copyright freeconomics.” Drawing on an emerging body of behavioral economics and consumer psychology literature, this Article demonstrates that, when faced with the “magic” of zero prices, the neoclassical economic model underpinning modern U.S. copyright law collapses. As a result, the shift to a freeconomic model raises fundamental questions that lie at the very heart of copyright law and theory. What should we now make of the established distinction between “use” and “ownership”? To what degree does the dichotomy separating “utilitarian” from “moral” rights remain intact? And — perhaps most importantly — has copyright’s ever-widening law/norm divide finally been stretched to its breaking point? Or can copyright law itself undergo a sufficiently radical transformation and avoid the risk of extinction through irrelevance?

The other interesting bit of the report is Newman's suggestion that an interesting proposal for changing copyright laws that might actually make traditional "maximalists" and "minimalists" both happy is to increase more moral rights for copyright -- and allow copyright holders to effectively choose if they want to enforce the "economic" rights to exclude by going after statutory damages, or, alternatively, enforce the "moral" rights to protect their reputation. His argument is that this might fit better with the nature of content creation today:

the commission will put the newly-freed blocks of spectrum up for auction. If, as expected, the spectrum is more valuable when used for mobile services than broadcast television, then the FCC should reap significantly more from these traditional auctions than it had to pay for the spectrum in the original reverse auctions, producing a tidy profit for taxpayers.

Free and Open Another reason there are so many audio codecs: silly licensing restrictions. Would you base a business on technology a competitor controls? That's why the Opus specification and complete source are Free, Open, and available for any use whatsoever without IP restrictions, explicit licensing or royalties. Opus was developed and tested in a public, fully transparent process within the IETF, proof that open collaboration can produce a better audio codec than proprietary, secretive, patent-encumbered systems. Open standards benefit-- and benefit from-- open source organizations and traditional commercial software companies alike. Opus itself is the result of a collaboration including Broadcom, Google, the IETF, Microsoft (through Skype), Mozilla, Octasic and Xiph.Org.

All telecommunications operators, sales outlets and distributors are obliged to register their business at local authorities. Meanwhile, all locations serving telephone services and Internet shall be equipped with closed circuit television camera and shall store footage data of users for at least 03 months. Telephone service corporation owners along public roads shall record National Identity Cards of any subscriber.

The past was, and the future is going to be, much more about performance. In this new world, recordings often function as more as ads for concerts than as money-makers themselves. (And sometimes are bundled with concert tickets, as Madonna's latest album was.) As a result, copying looks a lot less fearsome. A copied ad is just as effective--and maybe much more so--than the original.

Just ask pop singer Colbie Caillat. Caillet's music career began in 2005 when a friend posted several of her home-recorded songs to MySpace. One song, Bubbly, began to get word of mouth among MySpace users, and within a couple of months went viral. Soon Colbie Caillat was the No. 1 unsigned artist on MySpace. Two years after posting Bubbly, Caillet had more than 200,000 MySpace friends, and her songs had been played more than 22 million times. Caillet had built a global fan base while never leaving her Malibu home. In 2007, Universal Records released her debut album, Coco, which peaked at No. 5 on the Billboard charts and reached platinum status.

The problem of piracy in music is, of course, very different from the problem in comedy. Stand-up comics worry most about a rival, not a fan, copying their jokes. Still, the reduction of consumer copying of music via norms may be possible, and will become more imaginable if the music industry experiences ever-greater fragmentation and communication. There is already an interesting example of norms playing a substantial role in controlling copying in music. In the culture of jambands, we see the fans themselves taking action to deter pirates. What are jambands? In a fascinating 2006 paper, legal scholar Mark Schultz studied the unique culture of a group of bands that belong to a musical genre, pioneered by the Grateful Dead, characterized by long-form improvisation, extensive touring, recreational drug use, and dedicated fans. Although acts like Phish, Blues Traveler, and the Dave Mathews Band vary in their styles, they are all recognizably inspired by the progenitors of jam music, the Dead. But the Dead's influence is not only musical. Most jambands adhere to a particular relationship with their fans that also was forged by the Dead.

Last year, we reported that Amazon was talking to the labels about an on-demand music service, and Recode has essentially confirmed that a dialog is ongoing.

At this point, the novelty of music streaming services has largely worn off, but Amazon's business approach could prove interesting. Just as it does with movies and TV shows, the company would likely include music streaming as part your Amazon Prime subscription. And while all of that content may seem like a lot when you factor in Prime's $79 fee, Amazon has recently said it's considering upping the annual cost by as much as $40. Having both music and video at your fingertips could help make a price hike easier to swallow.

the 11,000 mile Lunar equator

will beam microwave and laser energy to giant energy conversion facilities on Earth. These beams will travel to semiconductors and inverters which will convert that energy to clean electricity to the grid that will power households, businesses and factories.

Shimizu’s plan uses Earthly materials, ceramics, water, glass, concrete, oxygen and solar cells. They would not ship water from Earth, they will make user of the Moon’s own resources and reduce the lunar soil using hydrogen shipped from our planet and then extract the water for use in construction.