Statment by Assistant Attorney General R. Hewitt Pate Regarding
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What's the Download® Music Survival Guide
WHAT’S THE DOWNLOAD® MUSIC SURVIVAL GUIDE Written by: The WTD Interactive Advisory Board Inspired by: Thousands of perspectives from two years of work Dedicated to: Anyone who loves music and wants it to survive *A special thank you to Honorary Board Members Chris Brown, Sway Calloway, Kelly Clarkson, Common, Earth Wind & Fire, Eric Garland, Shirley Halperin, JD Natasha, Mark McGrath, and Kanye West for sharing your time and your minds. Published Oct. 19, 2006 What’s The Download® Interactive Advisory Board: WHO WE ARE Based on research demonstrating the need for a serious examination of the issues facing the music industry in the wake of the rise of illegal downloading, in 2005 The Recording Academy® formed the What’s The Download Interactive Advisory Board (WTDIAB) as part of What’s The Download, a public education campaign created in 2004 that recognizes the lack of dialogue between the music industry and music fans. We are comprised of 12 young adults who were selected from hundreds of applicants by The Recording Academy through a process which consisted of an essay, video application and telephone interview. We come from all over the country, have diverse tastes in music and are joined by Honorary Board Members that include high-profile music creators and industry veterans. Since the launch of our Board at the 47th Annual GRAMMY® Awards, we have been dedicated to discussing issues and finding solutions to the current challenges in the music industry surrounding the digital delivery of music. We have spent the last two years researching these issues and gathering thousands of opinions on issues such as piracy, access to digital music, and file-sharing. -
My Friend P2p
MY FRIEND P2P Music and Internet for the Modern Entrepreneur Lucas Pedersen Bachelor’s Thesis December 2010 Degree Program in Media Digital Sound and Commercial Music Tampereen ammattikorkeakoulu Tampere University of Applied Sciences 2 ABSTRACT Tampere University of Applied Sciences Degree Program in Media Digital Sound and Commercial Music PEDERSEN, LUCAS: My Friend p2p – Music and Internet for the Modern Entrepreneur Bachelor’s thesis 81 pages December 2010 _______________________________________________________________ The music industry is undergoing an extensive transformation due to the digital revolution. New technologies such as the PC, the internet, and the iPod are empowering the consumer and the musician while disrupting the recording industry models. The aim of my thesis was to acknowledge how spectacular these new technologies are, and what kind of business structure shifts we can expect to see in the near future. I start by presenting the underlying causes for the changes and go on to studying the main effects they have developed into. I then analyze the results of these changes from the perspective of a particular entrepreneur and offer a business idea in tune with the adjustments in supply and demand. Overwhelmed with accessibility caused by democratized tools of production and distribution, music consumers are reevaluating recorded music in relation to other music products. The recording industry is shrinking but the overall music industry is growing. The results strongly suggest that value does not disappear, it simply relocates. It is important that both musicians and industry professionals understand what their customers value and how to provide them with precisely that. _______________________________________________________________ Key Words: Music business, digital revolution, internet, piracy, marketing. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Napster: Winning the Download Race in Europe
Resolution 3.5 July/Aug 04 25/6/04 12:10 PM Page 50 business Napster: winning the download race in Europe A lot of ones and zeros have passed under the digital bridge on the information highway since November 2002, when this column reviewed fledgling legal music download services. Apple has proved there’s money to be made with iTunes music store, street-legal is no longer a novelty, major labels are no longer in the game ... but the Napster name remains. NIGEL JOPSON N RESOLUTION V1.5 Pressplay, co-owned by UK. There’s an all-you-can-download 7-day trial for Universal and Sony, received top marks for user UK residents who register at the Napster.co.uk site. Iexperience. Subscription service Pressplay launched While Apple has gone with individual song sales, with distribution partnerships from Microsoft’s MSN Roxio has stuck to the subscription model and service, Yahoo and Roxio. Roxio provided the CD skewed pricing accordingly. ‘We do regard burning technology. In November 2002, Roxio acquired subscription as the way forward for online music,’ the name and assets of the famed Napster service (which Leanne Sharman told me, ‘why pay £9.90 for 10 was in Chapter 11 protective bankruptcy) for US$5m songs when the same sum gives you unlimited access and 100,000 warrants in Roxio shares. Two months to over half a million tracks?’ earlier, Napster’s sale to Bertelsmann had been blocked Subscription services have come in for heavy — amid concerns the deal had not been done in good criticism from many informed commentators — mostly faith — this after Thomas Middlehoff had invested a multi-computer and iPod owning techno journalists like reputed US$60m of Bertelsmann’s money in Napster. -
Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
Archos-AV400-En.Pdf
English Language User Manual Table of Contents 1 INTRO - Ports, Buttons and Connections 6 2 INTRO - First Time Usage 8 2.1 Plugging in the AC Adapter 8 2.2 Turning on the AV400 8 2.3 Shutting off the AV400 and Battery saving features 8 2.4 Changing the Language 9 2.5 Foreign Character Sets 9 2.6 Charging the Batteries 9 2.7 Caring for the AV400 10 2.8 Hardware Reset 10 3 MUSIC - Playing Music Files 11 3.1 Button Control 11 3.2 Playing Through your Stereo System 12 3.3 Artist, Album, Title … ID3 Tags 13 3.4 The ARCLibrary (Browsing by Album, Artist, or Song name) 13 3.5 Setting a Bookmark 14 3.6 The Resume Function 15 4 MUSIC - Playlists 16 4.1 Playing a Playlist 16 4.2 Creating a Playlist 17 4.3 Saving a Playlist 17 4.4 Adding songs to a Playlist while listening to Music 18 5 MUSIC - Recording Music 19 5.1 Cable Connections for Audio Recording 19 5.2 Recording Procedure 19 • MPEG-4 Video Player & Recorder • MP3 & WMA Music Player • Photo Viewer 5.3 Where is the Recording Saved? 21 • USB 2.0 Hard Disk 5.4 Audio Editing 21 • Digital Audio Recorder 6 MUSIC - Using Windows™ Media Player 9 23 6.1 Installing Windows Media Player 9 23 6.2 Installing the WMP9 Service Provider Plug-in 23 6.3 Copying Music to your AV400 24 7 MUSIC - Using iTunes™ with your AV400 25 8 VIDEO - Playing Video 26 8.1 Setting a Bookmark 27 User Manual for ARCHOS Pocket AV400 8.2 The Resume Function 27 Manual version 2.0 pn: 103090V2 8.3 Display Format Settings 28 8.4 Playing Video Files from the Internet 28 Please visit our website to download the most recent manual and software for this product. -
Interoperability Between Antitrust and Intellectual Property
DEPARTMENT OF JUSTICE INTEROPERABILITY BETWEEN ANTITRUST AND INTELLECTUAL PROPERTY THOMAS O. BARNETT Assistant Attorney General Antitrust Division U.S. Department of Justice Presentation to the George Mason University School of Law Symposium Managing Antitrust Issues in a Global Marketplace Washington, DC September 13, 2006 Good afternoon and thank you for inviting me today. I also extend a special thanks to our foreign guests for taking the time to come to today’s event. Their presence does more to illustrate the importance of this conference’s topic, antitrust issues in the global marketplace, than anything I might say this afternoon. My remarks today focus on intellectual property in the global antitrust arena and certain difficulties with applying the concept of “dominance” to the market power that successful companies sometimes gain by creating new technologies and IP rights. In particular, regulatory second-guessing of private firms’ solutions to technological problems, which I perceive to be on the increase, threatens to harm the very consumers it claims to help. To address this topic, I will start with some first principles on innovation and consumer welfare and then expand on the issues in the context of a specific example. Next, I will offer some general principles to guide the antitrust analysis of dominance and single-firm conduct. Finally, I will address what I consider to be a related topic: process integrity and the importance of carefully designing, and complying with, legal orders. I. Intellectual Property and Dynamic -
Entertainment, Arts and Sports Law Journal a Publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association
NYSBA SUMMER 2005 | VOLUME 16 |NO. 2 Entertainment, Arts and Sports Law Journal A publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association Remarks From the Chair/Editor’s Note Remarks From the Chair In continuing with the theme of excellence among It is with a sad heart that EASL members, I am extremely pleased that Elisabeth I write to say that one of our Wolfe, Chair of our Pro Bono Committee, received one longtime Executive Commit- of the NYSBA President’s Pro Bono Service Awards. We tee members, James Henry are so proud of all of Elisabeth’s accomplishments, Ellis, who most recently Co- which help to make available pro bono opportunities for Chaired with Jason Baruch our members and their pro bono clients, and for raising our Theater and Performing EASL’s pro bono activities and programs to a nationally Arts Committee, passed recognized level. The President’s Pro Bono Service away on May 26th, at the age Awards were created more than ten years ago to honor of seventy-two. When I law firms, law students and attorneys from each judicial spoke with his daughter and district who have provided outstanding pro bono serv- asked if there was a specific ice to low income people. Elissa D. Hecker organization to which dona- In addition, our new Committee on Alternate Dis- tions could be made in Jim’s pute Resolution has launched itself with programs name, she mentioned the Parsons Dance Foundation. already held and many more underway. In addition, its Jim will be missed. -
Copyright Cartels Or Legitimate Joint Ventures? What the Musicnet and Pressplay Litigation Means for the Entertainment Industry's New Distribution Models
Copyright Cartels or Legitimate Joint Ventures? What the MusicNet and Pressplay Litigation Means for the Entertainment Industry's New Distribution Models Rachel Landy* Starr v. Sony BMG Music Entertainment illustrates the inherent tension between copyright holders seeking to enforce their exclusive rights and antitrustdoctrine. In Starr, competing record labels pooled their copyrights into digital distributionjoint ventures, MusicNet and Pressplay. Such collaboration toes a thin line between cartel-like conduct andjoint venture legitimacy. Competitors in the entertainment industry have often collaborated to protect their copyrights. While some of these joint ventures have survived antitrust scrutiny, others have not. The result is often guided by the choice of antitruststandard of review: per se or rule of reason. The current MusicNet/Pressplay litigation demonstrates how the fundamental tenets of competition law become muddied when intellectualproperty owners attempt to use their monopolies to control new online distribution models. After examining how the choice of antitrust standard will impact the MusicNet/Pressplay litigation, this Comment considers how current digitaljoint ventures between content owners, Vevo, Hulu and Ultraviolet, would be analyzed under antitrust doctrine. Despite the record labels' apparent anti-competitive conduct in MusicNet/Pressplay, the conflicting statutory policies of copyright and antitrustlaw, and lack ofjudicial scrutiny in this area suggests the rule of reason would be more appropriate. * J.D., UCLA School of Law. 2012; B. Mus.. New York University. 2007. All errors and views are my own. Many thanks to Cecily Mak, Griff Morris, Kevin Montler, Ken Hertz and Seth Lichtenstein for your support and mentoring. 372 UCLA ENTERTAINMENT LAW REVIEW [Vol. 19:2 I. -
The Napster Case: the Whole World Is Listening, 15 Transnat'l Law
Global Business & Development Law Journal Volume 15 Issue 2 Symposium: Beyond Napster -- The Future of Article 7 the Digital Commons 1-1-2002 The aN pster Case: The Whole World is Listening Grace J. Bergen General Counsel for MTS, Inc. d/b/a Tower Records Follow this and additional works at: https://scholarlycommons.pacific.edu/globe Part of the International Law Commons Recommended Citation Grace J. Bergen, The Napster Case: The Whole World is Listening, 15 Transnat'l Law. 259 (2002). Available at: https://scholarlycommons.pacific.edu/globe/vol15/iss2/7 This Symposium is brought to you for free and open access by the Journals and Law Reviews at Scholarly Commons. It has been accepted for inclusion in Global Business & Development Law Journal by an authorized editor of Scholarly Commons. For more information, please contact [email protected]. The Napster Case: The Whole World is Listening Grace J. Bergen* TABLE OF CONTENTS I. INTRODUCTION: IS NAPSTER DEAD? ................................... 260 A. Napsterand Its Progeny ......................................... 260 B. The Recording Industry Dilemma ................................. 261 1I. BACKGROUND OF THE NAPSTER DECISION ............................. 261 A. The District CourtDecision ...................................... 261 1. Napster's "Safe Harbor"Arguments .......................... 262 2. Napster's FairUse Arguments ................................ 263 i. Works on NapsterAre Not "Transformative".............. 263 ii. Negative Economic Impact............................... -
Copyright by Timothy Andrew Box 2015
Copyright by Timothy Andrew Box 2015 The Report committee for Timothy Andrew Box Certifies that this is the approved version of the following report: Swapbeat.com: A Streaming, Adaptive Music Service in the Browser APPROVED BY SUPERVISING COMMITTEE: Supervisor: ______________________________________________ Christine Julien ______________________________________________ Joydeep Ghosh Swapbeat.com: A Streaming, Adaptive Music Service in the Browser by Timothy Andrew Box, B.A.; M.P.Aff. Report Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Science in Engineering The University of Texas at Austin December 2015 “Necessity is a ferocious teacher.” - Michel de Montaigne Acknowledgements I would like to thank my family – Jim, Nancy and Emily – for their unconditional love and their unwavering support in helping me pursue my dreams. I would also like to thank my advisor, Christine Julien, and my reader, Joydeep Ghosh, for their contributions to this project. Finally, I would like to acknowledge the support of the late Tim Mauldin, a great friend and mentor who passed too soon. v Swapbeat.com: A Streaming, Adaptive Music Service in the Browser by Timothy Andrew Box, M.S.E. The University of Texas at Austin, 2015 SUPERVISOR: Christine Julien In recent years, ongoing shifts in the economics of the music industry have driven many artists to reevaluate how they intend to make money, with some artists now deciding that they will give their music away for free if it will increase their popularity and drive more fans to buy tickets to see their live shows. -
Case No COMP/M.3333 Œ SONY / BMG
EN This text is made available for information purposes only. A summary of this decision is published in all Community languages in the Official Journal of the European Union. Case No COMP/M.3333 – SONY / BMG Only the English text is authentic. REGULATION (EC) No 4064/89 MERGER PROCEDURE Article 8 (2) Date: 03/10/2007 COMMISSION OF THE EUROPEAN COMMUNITIES Brussels, 03/X/2007 C(2007) 4507 PUBLIC VERSION COMMISSION DECISION of 03/X/2007 declaring a concentration to be compatible with the common market and the EEA Agreement (Case No COMP/M.3333 – Sony/ BMG) 2 I. INTRODUCTION..................................................................................................... 11 II. THE PARTIES.......................................................................................................... 12 III. THE CONCENTRATION ........................................................................................ 12 IV. COMMUNITY DIMENSION .................................................................................. 12 V. RELEVANT MARKETS.......................................................................................... 13 A. RELEVANT PRODUCT MARKET .............................................................. 13 1. PHYSICAL RECORDED MUSIC ................................................... 13 2. RECORDED MUSIC IN DIGITAL FORMATS ............................. 14 a) Introduction ....................................................................... 14 b) The wholesale market for licensing of digital music ........ 15 c) The digital