Villagex 2020 Cohort

Total Page:16

File Type:pdf, Size:1020Kb

Villagex 2020 Cohort VILLAGEx 2020 Cohort Kick Off 2020 Lucid • Confidential QUESTION “What is your story?” 2019 Lucid • Confidential 1996 – Graduated from Sewanee 1997 – Carpenter / Director / Choral Teacher 1998 – moneyNexus – BUST! 1999 – govWorks – raised $65M – BUST! 2000 – Instant Gravity – killed by 9/11 2001 – Columbia MBA / What have I done? 2003 – iFilm – WIN – Sold to Viacom for $49M! 2004 – Sample Czar – BUST! 2005 – OTX – WIN – Sold to Ipsos for $71M! 2010 – Founded Lucid 2011 – Series A = $2.8M 2017 – Series B = $60M 2020 Lucid • Confidential 2010 2020 Lucid • Confidential 2020 Lucid • Confidential REMOTE - 41 LONDON - 54 461 PRAGUE - 12 As of 12.05.19 HAMBURG - 1 MINNEAPOLIS - 2 NYC - 25 DALLAS - 15 NOLA - 172 SINGAPORE - 2 GURGAON - SYDNEY - 7 BRAZIL - 8 122 2019 Lucid • Confidential QUESTION “Growth metrics” 2019 Lucid • Confidential What exactly does LUCID do? 2020 Lucid • Confidential Lucid bridges the divide between global questions and human answers - to provide real impact. 2020 Lucid • Confidential Collecting all unknown information – so people can ask questions and get answers as fast as search. 2020 Lucid • Confidential How do we do that? 2020 Lucid • Confidential It’s easy now to make a survey 2020 Lucid • Confidential They are everywhere 2020 Lucid • Confidential No one wants to take them SURVEYS 2020 Lucid • Confidential But you like points and games 2020 Lucid • Confidential So we connect them 2020 Lucid • Confidential And made a marketplace 2020 Lucid • Confidential QUESTION “What you have learned during your experience that would help me go a little faster and smoother on my entrepreneurial journey?” 2019 Lucid • Confidential Lessons Learned Along the Way 2020 Lucid • Confidential 1998, was a long time ago… 2020 Lucid • Confidential In 1998, advise looked like this: 2020 Lucid • Confidential Now, it looks like this 2020 Lucid • Confidential Now, it looks like this Who should you listen to? 2020 Lucid • Confidential 2020 Lucid • Confidential 2020 Lucid • Confidential Worst Offenders • Business Executives • Lawyers • Bankers • I worked for Google, Facebook, etc… 2020 Lucid • Confidential Same goes for successful entrepreneurs 2020 Lucid • Confidential So who should you listen to? • Entreps who have failed • Your friends • Your parents and family 2020 Lucid • Confidential QUESTION “How do you balance work life balance while being a early stage CEO?” 2019 Lucid • Confidential 1996 – Graduated from Sewanee 1997 – Carpenter / Director / Choral Teacher 1998 – moneyNexus – BUST! 1999 – govWorks – raised $65M – BUST! 2000 – Instant Gravity – killed by 9/11 2001 – Columbia MBA / What have I done? 2003 – iFilm – WIN – Sold to Viacom for $49M! 2004 – Sample Czar – BUST! 2005 – OTX – WIN – Sold to Ipsos for $71M! 2010 – Founded Lucid 2011 – Series A = $2.8M 2017 – Series B = $60M 2020 Lucid • Confidential 2020 Lucid • Confidential Simple vs. Compound Interest Sea of Despair Wait, what!? Awesomeness T Years 2020 Lucid • Confidential QUESTION “What was the darkest moment in your company’s history that you’re willing to share, and how did you pull through it?” 2019 Lucid • Confidential Startups quickly teach you how to execute and “get it done anyway” 2020 Lucid • Confidential The Art of Juggling • Learn to toss one ball • Watch the balls, not your hands • Know your limits 2020 Lucid • Confidential QUESTION “Getting to yes: how do you overcome the no’s?” 2019 Lucid • Confidential THE SHOW MUST GO ON 2020 Lucid • Confidential Build your own ladder and trust it. 2020 Lucid • Confidential And once you get to the top, reach out to help others up. 2020 Lucid • Confidential Takes more than one “You can do it!” “That’s OK, try again.” 2020 Lucid • Confidential Doesn’t have to be your baby… FAILED CO NEW CO 2020 Lucid • Confidential A startup community is judged by “successful failures” 2020 Lucid • Confidential Will being a successful entrepreneur enable me to impact my community positively? YES. 2020 Lucid • Confidential $119,700,000 Direct Impact2019 Lucidto • Confidential New Orleans Thank you. Questions? 2020 Lucid • Confidential QUESTION “How much should we prioritize setting up an advisory board?” 2019 Lucid • Confidential QUESTION “What is your top “do-over” that you would take regarding your startup days? ” 2019 Lucid • Confidential.
Recommended publications
  • Stream Name Category Name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---TNT-SAT ---|EU| FRANCE TNTSAT TF1 SD |EU|
    stream_name category_name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---------- TNT-SAT ---------- |EU| FRANCE TNTSAT TF1 SD |EU| FRANCE TNTSAT TF1 HD |EU| FRANCE TNTSAT TF1 FULL HD |EU| FRANCE TNTSAT TF1 FULL HD 1 |EU| FRANCE TNTSAT FRANCE 2 SD |EU| FRANCE TNTSAT FRANCE 2 HD |EU| FRANCE TNTSAT FRANCE 2 FULL HD |EU| FRANCE TNTSAT FRANCE 3 SD |EU| FRANCE TNTSAT FRANCE 3 HD |EU| FRANCE TNTSAT FRANCE 3 FULL HD |EU| FRANCE TNTSAT FRANCE 4 SD |EU| FRANCE TNTSAT FRANCE 4 HD |EU| FRANCE TNTSAT FRANCE 4 FULL HD |EU| FRANCE TNTSAT FRANCE 5 SD |EU| FRANCE TNTSAT FRANCE 5 HD |EU| FRANCE TNTSAT FRANCE 5 FULL HD |EU| FRANCE TNTSAT FRANCE O SD |EU| FRANCE TNTSAT FRANCE O HD |EU| FRANCE TNTSAT FRANCE O FULL HD |EU| FRANCE TNTSAT M6 SD |EU| FRANCE TNTSAT M6 HD |EU| FRANCE TNTSAT M6 FHD |EU| FRANCE TNTSAT PARIS PREMIERE |EU| FRANCE TNTSAT PARIS PREMIERE FULL HD |EU| FRANCE TNTSAT TMC SD |EU| FRANCE TNTSAT TMC HD |EU| FRANCE TNTSAT TMC FULL HD |EU| FRANCE TNTSAT TMC 1 FULL HD |EU| FRANCE TNTSAT 6TER SD |EU| FRANCE TNTSAT 6TER HD |EU| FRANCE TNTSAT 6TER FULL HD |EU| FRANCE TNTSAT CHERIE 25 SD |EU| FRANCE TNTSAT CHERIE 25 |EU| FRANCE TNTSAT CHERIE 25 FULL HD |EU| FRANCE TNTSAT ARTE SD |EU| FRANCE TNTSAT ARTE FR |EU| FRANCE TNTSAT RMC STORY |EU| FRANCE TNTSAT RMC STORY SD |EU| FRANCE TNTSAT ---------- Information ---------- |EU| FRANCE TNTSAT TV5 |EU| FRANCE TNTSAT TV5 MONDE FBS HD |EU| FRANCE TNTSAT CNEWS SD |EU| FRANCE TNTSAT CNEWS |EU| FRANCE TNTSAT CNEWS HD |EU| FRANCE TNTSAT France 24 |EU| FRANCE TNTSAT FRANCE INFO SD |EU| FRANCE TNTSAT FRANCE INFO HD
    [Show full text]
  • A Channel Guide
    Intelsat is the First MEDIA Choice In Africa Are you ready to provide top media services and deliver optimal video experience to your growing audiences? With 552 channels, including 50 in HD and approximately 192 free to air (FTA) channels, Intelsat 20 (IS-20), Africa’s leading direct-to- home (DTH) video neighborhood, can empower you to: Connect with Expand Stay agile with nearly 40 million your digital ever-evolving households broadcasting reach technologies From sub-Saharan Africa to Western Europe, millions of households have been enjoying the superior video distribution from the IS-20 Ku-band video neighborhood situated at 68.5°E orbital location. Intelsat 20 is the enabler for your TV future. Get on board today. IS-20 Channel Guide 2 CHANNEL ENC FR P CHANNEL ENC FR P 947 Irdeto 11170 H Bonang TV FTA 12562 H 1 Magic South Africa Irdeto 11514 H Boomerang EMEA Irdeto 11634 V 1 Magic South Africa Irdeto 11674 H Botswana TV FTA 12634 V 1485 Radio Today Irdeto 11474 H Botswana TV FTA 12657 V 1KZN TV FTA 11474 V Botswana TV Irdeto 11474 H 1KZN TV Irdeto 11594 H Bride TV FTA 12682 H Nagravi- Brother Fire TV FTA 12562 H 1KZN TV sion 11514 V Brother Fire TV FTA 12602 V 5 FM FTA 11514 V Builders Radio FTA 11514 V 5 FM Irdeto 11594 H BusinessDay TV Irdeto 11634 V ABN FTA 12562 H BVN Europa Irdeto 11010 H Access TV FTA 12634 V Canal CVV International FTA 12682 H Ackermans Stores FTA 11514 V Cape Town TV Irdeto 11634 V ACNN FTA 12562 H CapeTalk Irdeto 11474 H Africa Magic Epic Irdeto 11474 H Capricorn FM Irdeto 11170 H Africa Magic Family Irdeto
    [Show full text]
  • KPMG FICCI 2013, 2014 and 2015 – TV 16
    #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways.
    [Show full text]
  • Open Pbaxter Thesis Final110308.Pdf
    The Pennsylvania State University The Graduate School College of Communications A COMPARATIVE STUDY OF THE U.S. AND KOREAN FILM INDUSTRIES: HISTORY, STRUCTURE, AND FINANCE A Thesis in Media Studies by Patrick D. Baxter © 2008 Patrick D. Baxter Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2008 This thesis of Patrick D. Baxter was reviewed and approved* by the following: Krishna Jayakar Associate Professor of the Department of Telecommunications Thesis Adviser Amit Schejter Assistant Professor of the Department of Telecommunications C. Michael Elavsky Assistant Professor of the Department of Film-Video and Media Studies John S. Nichols Professor of the Department of Film-Video and Media Studies Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School iii ABSTRACT This project is a comparative case-study of the U.S. and Korean (South Korea) film industries along historical, structural, and financial dimensions. The genesis of this thesis came through an overall fascination with the film industry globally as nations compete and cooperate with each other, as well as contend with the dominance of the U.S. film industry. It uses the industrial organization model focusing primarily on "market structure." Further, it applies A.J. Scott’s bipartite (major, independent) and tripartite (major, subsidiary, independent) models of the U.S. film industry. The analysis is mainly descriptive being informed by historical development. To elaborate on market structure, samples of studio/mainstream and independent films were collected in both the U.S. and Korean film industries. The samples were analyzed along production company affiliation, distribution affiliation, sources of funding, and other elements.
    [Show full text]
  • Australian Film Commission, (2002) Get the Picture (GTP), Th Edition, Available from 6 4
    .ç~\r\c~v1 Submission No. AUSTRALIAN ____ iFILM COMMISSION SUBMISSION TO THE HOUSE OF REPRESENTATIVES STANDING COMMITTEE ON COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS INQUIRY INTO THE FUTURE OPPORTUNITIES FOR AUSTRALIA’S FILM, ANIMATION, SPECIAL EFFECTS AND ELECTRONIC GAMES INDUSTRIES JULY 2003 TABLE OF CONTENTS EXECUTIVE SUMMARY 3 INTRODUCTION 5 PART 1 - THE TERMS OF REFERENCE 5 PART2-THE FUTURE 20 APPENDICES 28 Appendix 1 28 Appendix 2 29 Appendix 3 30 2 EXECUTIVE SUMMARY • The government ensures cultural outcomes through its regulation and subsidisation of the screen content industry: to ensure that Australian audiences have access to Australian stories and characters. Film and television have contributed to the creation of the imaginative, independent and diverse societythat we project to ourselves and to the world. • Over the last thirty years, government has ensured the delivery of minimum levels of Australian content to Australian audiences through a framework consisting of the twin interventions ofregulation and subsidy. • The success ofthe industry has been built upon the skills and the creativity of Australians and the successful application offunding and appropriate policies by successive governments. This positions Australia to benefit from the opportunities that will come from digital content creation in a converging media world. However, these benefits are not assured without further work by the industry and continued resourcing and policy development by government. • Australian audiovisual sector revenue in 1999/2000 was $7.247 billion. This figure includes television (including the public broadcasters), cinema (including associated revenue such as advertising and food sales), video sales and rentals, subscription television and electronic games.
    [Show full text]
  • Unclassified DSTI/ICCP/IE(2006)7/FINAL
    Unclassified DSTI/ICCP/IE(2006)7/FINAL Organisation de Coopération et de Développement Economiques Organisation for Economic Co-operation and Development 12-Apr-2007 ___________________________________________________________________________________________ English - Or. English DIRECTORATE FOR SCIENCE, TECHNOLOGY AND INDUSTRY COMMITTEE FOR INFORMATION, COMPUTER AND COMMUNICATIONS POLICY Unclassified DSTI/ICCP/IE(2006)7/FINAL Working Party on the Information Economy PARTICIPATIVE WEB: USER-CREATED CONTENT English - Or. English JT03225396 Document complet disponible sur OLIS dans son format d'origine Complete document available on OLIS in its original format DSTI/ICCP/IE(2006)7/FINAL FOREWORD This report was presented to the Working Party on the Information Economy (WPIE) in December 2006 and declassified by the Committee for Information, Computer and Communications Policy in March 2007. The report was prepared by Sacha Wunsch-Vincent and Graham Vickery of the OECD's Directorate for Science, Technology and Industry as part of the WPIE work on Digital Content (www.oecd.org/sti/digitalcontent). It is published on the responsibility of the Secretary-General of the OECD. © OECD/OCDE 2007 2 DSTI/ICCP/IE(2006)7/FINAL TABLE OF CONTENTS SUMMARY.................................................................................................................................................. 4 PARTICIPATIVE WEB: USER-CREATED CONTENT (UCC) ............................................................... 7 INTRODUCTION .......................................................................................................................................
    [Show full text]
  • Internet TV: Business Models and Program Content
    Waterman/Internet TV Internet TV: Business Models and Program Content by David Waterman Dept. of Telecommunications Radio and TV Center 1229 E. 7th St. Indiana University 812-855-6170 [email protected] Revised September, 2001 Paper for presentation to the 29th Annual TPRC Research Conference on Information, Communication, and Internet Policy, Washington, D.C., October 27-29, 2001 This paper is forthcoming in Darcy Gerbarg (ed.), IPTV (tentative title), Lawrence Erlbaum Associates, 2002. An earlier version was published as D. Waterman (2001), The Economics of Internet Television, Info: The Journal of Policy, Regulation and Strategy for Communications, Information, and the Media, Vol. 3, No. 3. I am especially indebted to Andrew Odlyzko, Ben Compaine, Robert LaRose, and to participants at the Columbia Institute for Tele-Information “TV Over the Internet” conferences in New York (November 2000) and Dusseldorf (December 2000), for their comments. 1 Waterman/Internet TV Internet TV: Business Models and Program Content Abstract Internet technology should eventually provide important improvements over established media not only in the efficiency of broadband delivery, and of particular importance, in the efficiency of business models that can be used to collect money for that programming. I identify five economic characteristics of Internet technology that should lead to these greater efficiencies: (1) lower delivery costs and reduced capacity constraints, (2) more efficient interactivity, (3) more efficient advertising and sponsorship, (4) more efficient direct pricing and bundling, and (5) lower costs of copying and sharing. The most successful Internet TV business models are likely to involve syndication to or from other media, and also international distribution.
    [Show full text]
  • 10903395.Pdf
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive This is the author’s version of a work that was submitted/accepted for pub- lication in the following source: Silver, Jon & Alpert, Frank (2003) Digital dawn : a revolution in movie distribution? Business Horizons, 46(5), pp. 57-66. This file was downloaded from: http://eprints.qut.edu.au/41190/ c Copyright 2003 Elsevier. Notice: Changes introduced as a result of publishing processes such as copy-editing and formatting may not be reflected in this document. For a definitive version of this work, please refer to the published source: http://dx.doi.org/10.1016/S0007-6813(03)00072-7 “Digital Dawn: A Revolution in Movie Distribution?” Business Horizons Vol. 46, Issue 5. Sept-Oct. 2003 pp. 57-66 Jon Silver Lecturer, School of Marketing Queensland University of Technology, Brisbane QLD 4111 Australia [email protected] Frank Alpert Associate Professor, School of Business University of Queensland, Brisbane QLD 4111 Australia [email protected] “Digital Dawn: A Revolution in Movie Distribution?” Abstract How will the digital technology revolution impact the movie business? Hollywood developed a highly successful industrial system that has functioned well for almost a century in the sense that it enabled the Major film studios to largely control and dominate the industry. However, the new digital technology may now be propelling Hollywood toward the biggest technological transition since the creation of the studio system almost a century ago. For example, Major Hollywood studios are already beginning to provide video-on-demand (VOD) digital distribution of movies over the Internet.
    [Show full text]
  • Feasibility Study of a Digital Platform for the Delivery of UK Independent and Specialised Films to the Home
    UK FILM COUNCIL Feasibility Study of a Digital Platform for the delivery of UK Independent and Specialised films to the Home by Screen Digest/Magic Lantern Feasibility Study for a Digital Platform for the delivery of Independent UK films and Specialised films to the Home 1 UK Film Council © 2006 UK FILM COUNCIL 1 Executive Summary .........................................................................................................................................4 Key Objectives.................................................................................................................................................... 4 Summary........................................................................................................................................................... 4 Proposals and Recommendations........................................................................................................................... 6 2. Demand for independently produced UK film and specialised titles ..................................................................9 Key findings ....................................................................................................................................................... 9 Opening up the market ...................................................................................................................................... 10 Missing opportunities?.......................................................................................................................................
    [Show full text]
  • RENTRAK Worldwide Film Distributors
    RENTRAK Worldwide Film Distributors ABBREVIATED NAME FULL NAME 518 518 Media 757 7-57 Releasing 1211 1211 Entertainment 2020 2020 Films @ENT At Entertainment @MOV @MOVIE JAPAN +me +me 01 DIST 01 Distribution 104 FLM 104 Films 11ARTS Eleven Arts 120D 120 Degree Films 13DIST Les Films 13 Distribution 1A FLM 1A Films 1CUT 1st Cut 1M60FILM 1meter60 Film 1MRFM 1 More Film 1ST INDP First Independent 1stRUN First Run 21ST 21st Century 21ST CENT Twenty First Century Films 24BD 24 Bilder 24FRMS 24 Frames 2Corzn Dos Corazones 2GN 2nd Generation 2MN Two Moon 2ND GEN Second Generation Films 2RIVES Les Films des Deux Rives 2SR 2 Silks Releasing 35MI 35 Milim Filmcilik 360 DEGREE 360 Degrees Film 3DE 3D Entertainment 3ETAGE Productions du 3e Etage 3L 3L 3MONDE La Médiathèque des Trois Mondes 3RD WINDOW Third Window Fims 3ROS 3Rosen 41Inc 41 Inc 42FILM 42film 45RDLC 45 RDLC 4DIGITAL 4Digital Media Ltd 4STFM Four Star Film 4TH 4th & Broadway 4TH DIG 4TH Digital Asia 5&2 Five & Two Pictures 50TH 50th Street 5PM Five Points Media 5STR Five Star Trading 5STRET Five Star Entertainment 6PCK Sixpack-Film 791C 791 Cine 7ARTS Seven Arts Distribution 7FLR The 7th Floor 7PP 7th Planet Prods 7TH ART Seventh Art Production 8X 8X Entertainment A B FILM A.B. Film Distributors A. LEONE Andrea Leone Films A3DIST A3 Distribution AA AA Films AAA Acteurs Auteurs Associés (AAA) AAAM Arts Alliance America AAC Alliance Atlantis Communications AAM Arts Alliance Media Aanna Aanna Films AARDMAN Aardman Animations AB&GO AB & GO ABBEY Abbey Home Entertainment ABCET ABC Entertainment ABCF ABC-Films ABFI Absinthe Films ABH Abhi Films ABKCO ABKCO Films ABLO Ablo ABR Abramorama Entertainment ABS ABS-CBN ABSOLUT Absolut media ACADRA ACADRA Distribution ACAF Acacia Films Acajou Acajou Films ACCDIS Accatone Distribution ACCTN Accatone ACD Academy ACE Ace Films ACHAB Achab Film AchimHae Achim Hae Nori ACM Access Motion Picture Group ACME ACME ACOMP A Company ACONTRA A contracorriente ACROB Acrobate Films ACT/TDT Actions Cinémas/Théâtre du Temple ACTAEON Actaeon Film Ltd.
    [Show full text]
  • Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation
    Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation Philippe Perebinossoff Brian Gross Lynne S. Gross ELSEVIER Programming for TV, Radio, and the Internet Programming for TV, Radio, and the Internet Strategy, Development, and Evaluation Philippe Perebinossoff California State University, Fullerton Brian Gross EF Education, Jakarta, Indonesia Lynne S. Gross California State University, Fullerton AMSTERDAM · BOSTON · HEIDELBERG · LONDON NEW YORK · OXFORD · PARIS · SAN DIEGO SAN FRANCISCO · SINGAPORE · SYDNEY · TOKYO Focal Press is an imprint of Elsevier Acquisition Editor: Amy Jollymore Project Manager: Bonnie Falk Editorial Assistant: Cara Anderson Marketing Manager: Christine Degon Cover Design: Dardani Gasc Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2005, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: [email protected] may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]
  • Clash of the Titans: Viacom V. Youtube
    Daily Journal - California's Largest Legal News Provider http://dailyjournal.com/common/printemail/printArticle.cfm?eid=907441... Daily Journal Newswire Articles www.dailyjournal.com © 2010 The Daily Journal Corporation. All rights reserved. • select Print from the File menu above PERSPECTIVE • Jan. 25, 2010 Clash of the Titans: Viacom v. YouTube By David Given It began as a war of words. The media and entertainment giant Viacom was an early skeptic of YouTube, the video sharing Web site that launched in November 2005. Viacom objected that YouTube's service was facilitating the reproduction, broadcasting and other distribution of copyrighted content without the owner's authority. That objection employed an easily understood optic in the much publicized legal battle over Napster, the music sharing Web site, which produced a strong decision by the 9th Circuit U.S. Court of Appeals in favor of content owners. YouTube responded by accusing the content owners of giving with one hand while taking away with the other. Content owners' "marketing departments are uploading content directly to the [YouTube] site," accused one YouTube founder, "while on the other side of the company their attorney is demanding we remove this content." Looking back to that time, Viacom certainly had the most to lose among the major content providers as its copyrighted content migrated to the Internet. For years Viacom dominated the so-called "youth market" on cable television. In 2005, these cable networks - MTV, VH-1, Nickelodeon, and Comedy Central - were extraordinarily valuable brands and (unlike YouTube) consistently profitable, taking down hefty license fees from the cable system providers in addition to substantial advertising revenue.
    [Show full text]