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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. -
Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms
\\jciprod01\productn\H\HLS\7-1\HLS101.txt unknown Seq: 1 28-MAR-16 12:46 Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms Loren Shokes* In the age of iPods, YouTube, Spotify, social media, and countless numbers of apps, anyone with a computer or smartphone readily has access to millions of hours of music. Despite the ever-increasing ease of delivering music to consumers, the recording industry has fallen victim to “the disease of free.”1 When digital music was first introduced in the late 1990s, indus- try experts and insiders postulated that it would parallel the introduction and eventual mainstream acceptance of the compact disc (CD). When CDs became publicly available in 1982,2 the music industry experienced an un- precedented boost in sales as consumers, en masse, traded in their vinyl records and cassette tapes for sleek new compact discs.3 However, the intro- duction of MP3 players and digital music files had the opposite effect and the recording industry has struggled to monetize and profit from the digital revolution.4 The birth of the file sharing website Napster5 in 1999 was the start of a sharp downhill turn for record labels and artists.6 Rather than pay * J.D. Candidate, Harvard Law School, Class of 2017. 1 See David Goldman, Music’s Lost Decade: Sales Cut in Half, CNN Money (Feb. 3, 2010), available at http://money.cnn.com/2010/02/02/news/companies/napster_ music_industry/. 2 See The Digital Era, Recording History: The History of Recording Technology, available at http://www.recording-history.org/HTML/musicbiz7.php (last visited July 28, 2015). -
The Quality of Recorded Music Since Napster: Evidence Based on The
Digitization and the Music Industry Joel Waldfogel Conference on the Economics of Information and Communication Technologies Paris, October 5-6, 2012 Copyright Protection, Technological Change, and the Quality of New Products: Evidence from Recorded Music since Napster AND And the Bands Played On: Digital Disintermediation and the Quality of New Recorded Music Intro – assuring flow of creative works • Appropriability – may beget creative works – depends on both law and technology • IP rights are monopolies granted to provide incentives for creation – Harms and benefits • Recent technological changes may have altered the balance – First, file sharing makes it harder to appropriate revenue… …and revenue has plunged RIAA Total Value of US Shipments, 1994-2009 16000 14000 12000 10000 total 8000 digital $ millions physical 6000 4000 2000 0 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Ensuing Research • Mostly a kerfuffle about whether file sharing cannibalizes sales • Oberholzer-Gee and Strumpf (2006),Rob and Waldfogel (2006), Blackburn (2004), Zentner (2006), and more • Most believe that file sharing reduces sales • …and this has led to calls for strengthening IP protection My Epiphany • Revenue reduction, interesting for producers, is not the most interesting question • Instead: will flow of new products continue? • We should worry about both consumers and producers Industry view: the sky is falling • IFPI: “Music is an investment-intensive business… Very few sectors have a comparable proportion of sales -
Social Network
DEADLINE.com FROM THE BLACK WE HEAR-- MARK (V.O.) Did you know there are more people with genius IQ’s living in China than there are people of any kind living in the United States? ERICA (V.O.) That can’t possibly be true. MARK (V.O.) It is. ERICA (V.O.) What would account for that? MARK (V.O.) Well, first, an awful lot of people live in China. But here’s my question: FADE IN: INT. CAMPUS BAR - NIGHT MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger. He has trouble making eye contact and sometimes it’s hard to tell if he’s talking to you or to himself. ERICA, also 19, is Mark’s date. She has a girl-next-door face that makes her easy to fall for. At this point in the conversation she already knows that she’d rather not be there and her politeness is about to be tested. The scene is stark and simple. MARK How do you distinguish yourself in a population of people who all got 1600 on theirDEADLINE.com SAT’s? ERICA I didn’t know they take SAT’s in China. MARK They don’t. I wasn’t talking about China anymore, I was talking about me. ERICA You got 1600? MARK Yes. I could sing in an a Capella group, but I can’t sing. 2. ERICA Does that mean you actually got nothing wrong? MARK I can row crew or invent a 25 dollar PC. -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
Case Study Master
! 1 Fundamentals of Screenwriting: Assessment Two Analyse EITHER a film OR a screenplay of your choice, referring in detail to one or more of the models and/ or theories of narrative structure that you have encountered on this module. --------------------------- The Social Network in an adapted screenplay based on the book ‘The Accidental Billionaires’ By Ben Mezrich. The screenplay was written by Aaron Sorkin and tells the story of the social networking site, Facebook, and its founder Mark Zuckerberg, from the inception of the idea to Zuckerberg’s establishment as one of the youngest billionaires in recent history. It also details the other people said to be involved in Facebook’s creation including Eduardo Saverin, Zuckerberg’s best friend, and the Winklevoss twins, who claim that Zuckerberg stole the idea of Facebook from them. The Social Network is both an adaptation of book ‘The Accidental Billionaires’, by Ben Mezich, and a historical adaptation. Whilst Mezrich claims to have tried to accurately re-tell the events of the creation of Facebook, himself saying “I have tried to keep the chronology as close to exact as possible” (Mezrich, 2009), Sorkin appears to have written the screenplay for The Social Network under no such restriction, adhering more to the logic mentioned in unused dialogue of Lawrence of Arabia, “History isn’t made up of truth anyhow, so why worry”. (Chopra-Gant, 2008). This essay will analyse the screenplay of the Social Network, first through the lens of a number of classical film theories, before discussing the tendency of Sorkin’s screenplay to bend rules, particularly those of the modern screenwriting gurus. -
AT&T MOBILE MUSIC: Take Control of Your Music
AT&T MOBILE MUSIC: Take Control of Your Music AT&T Mobile Music is the only service that lets you bring subscription music services to your wireless phone, and it offers the largest collection of mobile music content available today from leading music retailers, such as Napster, Yahoo!® Music and eMusic. Designed to deliver “your music, your way,” AT&T Mobile Music puts you in touch with all things music directly from the handset. Available on select handsets, such as the Samsung a717 and a727, AT&T Mobile Music is the ultimate mobile music experience and provides one-click access to a complete suite of music-related content. Music Player Rip music from your CD collection, load it to your phone and select handsets, or play tracks that are accessible from digital music stores. You’ll need a data cable, memory card and stereo headset to fully rock your phone. Shop Music Show your style by downloading ringtones and Answer Tones™. Buy tracks from leading digital music stores, such as Napster, Yahoo! Music and eMusic on select handsets. Streaming Music When you need a change from your music, dozens of commercial-free channels stream the latest tunes in rock, hip-hop, jazz, Latin and other favorites. Add XM Radio or MobiRadio for $8.99 a month. Music Video With an AT&T 3G phone, you can watch your favorite music videos anytime, anywhere. The dancing, the amazing effects, the hot hits — all in the palm of your hand. MusicID “Who sings this?” “What’s this song called?” Know in a flash just by holding up your phone to the music. -
Jab, Jab, Jab, Right Hook
DEDICATION TO MY TWO KIDS, MISHA AND XANDER. YOU HAVE BROUGHT A KNOCKOUT PUNCH OF LOVE TO MY LIFE THAT I DIDN’T KNOW EXISTED. AND TO THE WOMAN WHO BROUGHT THEM TO ME, THE LOVE OF MY LIFE, LIZZIE. CONTENTS Dedication Acknowledgments Author’s Note Introduction: Weigh-In Round 1: The Setup Round 2: The Characteristics of Great Content and Compelling Stories Round 3: Storytell on Facebook Round 4: Listen Well on Twitter Round 5: Glam It Up on Pinterest Round 6: Create Art on Instagram Round 7: Get Animated on Tumblr Round 8: Opportunities in Emerging Networks Round 9: Effort Round 10: All Companies Are Media Companies Round 11: Conclusion Round 12: Knockout Notes About the Author Also by Gary Vaynerchuk Credits Copyright About the Publisher ACKNOWLEDGMENTS I have so many people to thank I could never fit all their names into a tweet, so I decided to put them in an acknowledgments page. First and foremost, I want to thank my family, whom I love very much and who always help me, support me, and drive me. They really are the guiding light to my life. I also want to thank Stephanie Land, who is my true partner in writing these books. This is the third book we’ve written together. Steph—thank you so much. I truly, truly could never write a book without you. Huge shout-out to my boy Nathan Scherotter, who is the CEO of this book. Nate has been an amazing friend and business associate for many years. His help in guiding this book’s content and then its sales afterward was immensely important. -
Las Revoluciones De Facebook
CIBERESPACIO Las revoluciones de Facebook POR JAIME YÉPEZ Las rebeliones populares, juveniles y democráticas que están tenien - da a la gente a organizarse, rompiendo do lugar en estos días en los países árabes tienen como causa pro - las jerarquías y monopolios (http://tin - yurl.com/644r2rm). funda el desempleo, el aumento del costo de la vida, la falta de Otro autor, David Weinberger , da libertades civiles y de respeto a los derechos humanos, y la aspi - la vuelta al dicho de Andy Warhol de ración de sus pueblos por derrotar a regímenes autoritarios y clep - que cada persona tiene sus 15 minutos de fama, para afirmar que cada perso - tócratas de diversa índole (repúblicas, monarquías, “democracias na es famosa para 15 personas. populares y socialistas”, etc.). Incluso un autor antiglobalización, Si bien esos son los factores desencadenantes, un instrumento Jorge Majfud , hace una contorsión intelectual para decir, al mismo tiem - común en todos estos casos ha sido la presencia de las nuevas tec - po, que los nuevos medios no consti - nologías de información y comunicación (TIC), y, en particular, tuyen un factor central en las revuel - las redes sociales (Facebook, Twitter, YouTube, mensajes de tex - tas árabes, pero que posiblemente algu - na agencia de inteligencia este utili - to telefónicos, etc.). Ya sucedió algo así con las manifestaciones zándolos. escribe en la Agencia Lati - contra las FARC. Pero Facebook es mucho más. He aquí la his - noamericana de Información (ALAI) toria real de este fenómeno contemporáneo que ya tiene 600 millo - que “Los actuales levantamientos en el mundo árabe no son siquiera revolu - nes de usuarios. -
Beyond Napster, Beyond the United States: the Technological and International Legal Barriers to On-Line Copyright Enforcement
NYLS Law Review Vols. 22-63 (1976-2019) Volume 46 Issue 1 Judge Jon. O. Newman: A Symposium Celebrating his Thirty Years on the Federal Article 10 Bench January 2003 BEYOND NAPSTER, BEYOND THE UNITED STATES: THE TECHNOLOGICAL AND INTERNATIONAL LEGAL BARRIERS TO ON-LINE COPYRIGHT ENFORCEMENT Jeffrey L. Dodes Follow this and additional works at: https://digitalcommons.nyls.edu/nyls_law_review Part of the Communications Law Commons, Intellectual Property Law Commons, Internet Law Commons, Law and Society Commons, Legal History Commons, Litigation Commons, and the Rule of Law Commons Recommended Citation Jeffrey L. Dodes, BEYOND NAPSTER, BEYOND THE UNITED STATES: THE TECHNOLOGICAL AND INTERNATIONAL LEGAL BARRIERS TO ON-LINE COPYRIGHT ENFORCEMENT, 46 N.Y.L. SCH. L. REV. (2002-2003). This Note is brought to you for free and open access by DigitalCommons@NYLS. It has been accepted for inclusion in NYLS Law Review by an authorized editor of DigitalCommons@NYLS. \\server05\productn\N\NLR\46-1-2\NLR102.txt unknown Seq: 1 11-FEB-03 13:48 BEYOND NAPSTER, BEYOND THE UNITED STATES: THE TECHNOLOGICAL AND INTERNATIONAL LEGAL BARRIERS TO ON-LINE COPYRIGHT ENFORCEMENT I. INTRODUCTION Courts in the United States and throughout the world are faced with great challenges in adjudicating legal conflicts created by the rapid development of digital technologies. The proliferation of new technologies that allow for fast, reliable and widespread transmission of digital files has recently created a swell of litigation and media cover- age throughout the world. Copyright -
ONLINE COMMUNITIES, ECHO CHAMBERS and the ANTI-VACCINE MOVEMENT | David R Poiner/ Curtin University
Social Media, Communities and Networks Conference paper Online communities, echo chamber and the anti-vaccine movement David Poiner Curtin university [email protected] Keywords Social media, Facebook, Instagram, Pintrest, Twitter, Anti-Vaccine, Anti-Vax, Echo Chambers, Confirmation bias, Elective exposure theory, Bias assimilation, Targeted advertising, Online freedom, World Health Organisation, WHO Abstract In the first few months of 2019 a large amount of attention has been drawn to the roles that social media giants like Facebook, Instagram, Pintrest and Youtube are playing in the spread of misinformation. This attention has primarily been focused around the spread of anti-vaccine propaganda as a global resurgence of diseases have been observed by the World Health Organisation. These giants have created this problem through the use of targeted advertising, bolstering confirmation bias, aiding the creation of echo chambers and using their platforms to hijack the neural chemistry of its users. This paper will endeavour to show the real-world negative consequences that come hand-in-hand with giving people freedom of association online. Introduction The technology boom of the 21st century has brought with it the overconsumption of social media platforms, like Facebook, that lead to the creation of online communities. These communities allow communication and instantaneous information sharing. Albeit, factual or not. Platforms like Facebook give users the freedom to connect with likeminded peers and facilitate the forging of strong relationships. Often with complete strangers and based entirely on personal interests, hobbies, ideologies and beliefs. There are, however, potential consequences that come with this freedom. Facebook allows users to create closed communities’ and groups which have the potential ONLINE COMMUNITIES, ECHO CHAMBERS AND THE ANTI-VACCINE MOVEMENT | David R Poiner/ Curtin University to aid in the creation of online echo chambers. -
Internet Radio: an Analysis of Pandora and Spotify
Internet Radio: An Analysis of Pandora and Spotify BY Corinne Loiacono ADVISOR • Jim Bishop EDITORIAL REVIEWER • Phyllis Schumacher _________________________________________________________________________________________ Submitted in partial fulfillment of the requirements for graduation with honors in the Bryant University Honors Program APRIL 2014 Internet Radio Customizations: An Analysis of Pandora and Spotify Senior Capstone Project for Corinne Loiacono Table of Contents Acknowledgements: ..................................................................................................................................... 3 Abstract: ........................................................................................................................................................ 4 Introduction: ................................................................................................................................................. 5 Review of Literature: .................................................................................................................................... 7 An Overview of Pandora: ................................................................................................................ 7 An Overview of Spotify: ............................................................................................................... 10 Other Mediums: ............................................................................................................................. 12 A Comparison: ..............................................................................................................................