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Driving the Application Explosion Implications for Network Providers – Challenges and Recommendations by Ann Marie Vega and Cindy Mills
STRATEGIC WHITE PAPER Driving the Application Explosion Implications for network providers – challenges and recommendations by Ann Marie Vega and Cindy Mills The past 18 months have seen an explosion in the number of applications that are available to end users — mobile applications, widgets on TVs and PCs, as well as enterprise applications of all types. As end users discover how to use their connected devices in new and innovative ways, they have demonstrated an almost insatiable appetite for applications. The question for network providers is how to capitalize on this opportunity in an effective and sustainable way. This paper discusses the current trends, challenges, and success factors for network providers seeking to add value in application delivery. Among the challenges, the most significant are: 1) difficulty in justifying the business case; 2) legacy mindsets and organizational structures, 3) adherence to legacy partnership models that limit innovation opportunities, 4) inefficient processes that cannot deliver applications in a rapid and cost-effective manner, and 5) issues with fragmentation from the developer perspective. The combined effect of these challenges is that network providers may not be optimized for efficiently providing a broad array of applications to their customers. From our research and experience, Alcatel-Lucent has developed concrete recommendations to help network providers capitalize on the application opportunity. Specifically, we recommend: 1) building a holistic business case; 2) exploring new business models; 3) industrializing operational processes; and 4) lessening fragmentation to achieve scale. Though recommendations are provided, they are offered with the recognition that suitability/applicability will vary based on each network provider’s unique situation. -
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"Licensing Music Works and Transaction Costs in Europe”
"Licensing music works and transaction costs in Europe” Final study September 2012 1 Acknowledgements: KEA would like to thank Google, the internet services company, for financing which made this study possible. The study was carried out independently and reflects the views of KEA alone. 2 EXECUTIVE SUMMARY Establishing and running online music services is a complex task, raising both technical and legal difficulties. This is particularly the case in Europe, where complex rights licensing structures hinder the development of the market and the launch of new innovative online services. Compared to the US, Europe is lagging behind in terms of digital music revenue. Furthermore, the development of the market is fairly disparate among different countries in the European Union. This study aims to identify and analyse transaction costs in music licensing. It examines the online music markets and outlines the licensing processes faced by online services. It offers a qualitative and quantitative analysis of transaction costs in the acquisition of the relevant rights by online music services. The study also suggests different ways of decreasing transaction costs. The research focuses on three countries (the UK, Spain and the Czech Republic) and builds on data collected through a survey with online music service providers available in the three countries as well as interviews with relevant stakeholders in the field of music licensing. THE EUROPEAN ONLINE MUSIC MARKET The music industry has steadily expanded over the past few years, away from selling CDs towards selling music online or through concerts and live music. (Masnick, Ho, 2012). Among the 500 licensed online music services in the world (according to IFPI), many emulate the physical record store, by offering ‘download to own’ tracks at a similar price point. -
(12) United States Patent (10) Patent No.: US 9.294,430 B2 Knight Et Al
USOO929443OB2 (12) United States Patent (10) Patent No.: US 9.294,430 B2 Knight et al. (45) Date of Patent: *Mar. 22, 2016 (54) METHOD OF ENABLING DIGITAL MUSIC (58) Field of Classification Search CONTENT TO BE DOWNLOADED TO AND CPC ....... H04W 4/003; H04W 4/08; H04W 4/206; USED ON A PORTABLE WIRELESS H04W 8/205; H04W 12/08; H04L 67/04; COMPUTING DEVICE H04L 67/32; H04L 2463/101 (71) Applicant: OMNIFONE LIMITED, London (GB) USPC ............................................. 709/225; 726/26 (72) Inventors: Mark Stephen Knight, London (GB); See application file for complete search history. Michael Ian Lamb, London (GB); (56) References Cited Robert John Lewis, London (GB); Stephen William Pocock, Egham (GB); U.S. PATENT DOCUMENTS Philip Anthony Sant, London (GB); Mark Peter Sullivan, Birmingham 8,229,856 B1* 7/2012 Reddick .......................... 705/50 (GB); Christopher John Evans, London 2002.0049679 A1 4/2002 Russell et al. (GB) (Continued) (73) Assignee: OMNIFONE LIMITED, London (GB) FOREIGN PATENT DOCUMENTS (*) Notice: Subject to any disclaimer, the term of this patent is extended or adjusted under 35 EP 1 6.24 446 A1 8, 2006 U.S.C. 154(b) by 0 days. JP 2000.112858 A 4/2000 This patent is Subject to a terminal dis (Continued) claimer. OTHER PUBLICATIONS (21) Appl. No.: 13/959,079 Haworth, A., “Napster Launches Digital Music Service in Germany.” (22) Filed: Aug. 5, 2013 (online) Napster, Los Angeles, USA (Dec. 8, 2005), http://investor. (65) Prior Publication Data napster.com/releasedetail.cfm?ReleaseID=181439. US 2013/0318.187 A1 Nov. 28, 2013 (Continued) Related U.S. -
IFPI Digital Music Report 2010 Music How, When, Where You Want It Contents
IFPI Digital Music Report 2010 Music how, when, where you want it Contents 3. Introduction 4. Executive Summary: Music – Pathfinder In The Creative Industries’ Revolution 8. The Diversification Of Business Models 10. Digital Music Sales Around The World 12. In Profile: Pioneers Of Digital Music 18. Competing In A Rigged Market – The Problem Of Illegal File-Sharing 20. ‘Climate Change’ For All Creative Industries 24. Graduated Response – A Proportionate, Preventative Solution 28. The World Of Legal Music Services 30. Consumer Education – Lessons Learned Music How, When, Where You Want It – But Not Without Addressing Piracy By John Kennedy, Chairman & Chief Executive, IFPI This is the seventh IFPI Digital Music in new artists, we have to tackle mass legislation to curb illegal file-sharing. Report. If you compare it to the first piracy. Second, we are progressing towards Another clear change is within the music report published in 2004, you can an effective response. The progress is sector itself. It was, until recently, rare see a transformation in a business agonisingly slow for an industry which does for artists to engage in a public debate which has worked with the advance not have a lot of time to play with – but it is about piracy or admit it damages them. of technology, listened to the consumer progress nonetheless. In September 2009, the mood changed. and responded by licensing its music Lily Allen spoke out about the impact of in new formats and channels. On page 20 of the Report, Stephen illegal file-sharing on young artists’ careers. Garrett, head of the production company When she was attacked by an abusive In 2009 globally, for the first time, more Kudos, refers to a “climate change” in online mob, others came to her support. -
The Future of Licensing Music Online: the Role of Collective Rights Organizations and the Effect of Territoriality, 25 J
The John Marshall Journal of Information Technology & Privacy Law Volume 25 Issue 3 Journal of Computer & Information Law Article 1 - Summer 2008 Summer 2008 The Future of Licensing Music Online: The Role of Collective Rights Organizations and the Effect of Territoriality, 25 J. Marshall J. Computer & Info. L. 409 (2008) Neil Conley Follow this and additional works at: https://repository.law.uic.edu/jitpl Part of the Computer Law Commons, Entertainment, Arts, and Sports Law Commons, Internet Law Commons, and the Science and Technology Law Commons Recommended Citation Neil Conley, The Future of Licensing Music Online: The Role of Collective Rights Organizations and the Effect of Territoriality, 25 J. Marshall J. Computer & Info. L. 409 (2008) https://repository.law.uic.edu/jitpl/vol25/iss3/1 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in The John Marshall Journal of Information Technology & Privacy Law by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. ARTICLES THE FUTURE OF LICENSING MUSIC ONLINE: THE ROLE OF COLLECTIVE RIGHTS ORGANIZATIONS AND THE EFFECT OF TERRITORIALITY NEIL CONLEYt I. INTRODUCTION The right to control the performance of a creative work' represents for most songwriters and music publishers ("rights holders")2 their great- est source of income.3 However, the current licensing regime practiced t The author will receive his LL.M. in intellectual property law at the George Wash- ington University Law School in August of 2008. I would like to thank Ralph Oman, my professor, for his guidance, suggestions, and edits. -
Repertoire Licensing Body Pan-European Licensing Repertoire
Pan-European Repertoire Licensing Body licensing Repertoire Definition DSPs Use Type Start Date End Date Contact SonyATV & EMI – Anglo SOLAR Music Rights Y SonyATV & EMI – Anglo American repertoire: All except DSP's which come under the sub-agent/re- all digital 01 January 2015 [email protected] American repertoire Management The relevant repertoire at the work share level consists of any work share published by a Sony or EMI aggregation agreements. company in your territory (ie: for which you pay offline rights income to the local SonyATV or EMI affiliate) and which is written by a member of the Anglo American societies (PRS, ASCAP, BMI, SESAC, AMRA, SOCAN, IMRO, SAMRO or APRA) or a work share which is written by a writer or composer who is not a member of any society (NS) or represented by Global Music Rights (GMR). Sony ATV SGAE Y Online rights as defined in the GESAC/ICMP common declaration of the Musical Works or part of such all except DSPs which come under the sub-agent all digital 01 January 2009 Nick Connold ([email protected]) Latin repertoire a Musical Work directly or indirectly owned, controlled or administered by SONY/ATV which are agreements created by authors and composers who are members of collective rights organisations having their legal domicile in or doing business in Portugal and all countries in South and Central America, including but without limitation, Argentina, Belize, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama, Paraguay, Peru, Uruguay and Venezuela Peer Latin Repertoire PRS Y Peer Latin American Music Publishing repertoire (mechanical and CP rights) where the all except DSPs which come under the sub-agent all digital 01 July 2013 Steve.Meixner author/composer of the Musical Work (or part thereof as applicable) is non-society or a member of UBC agreements ([email protected]) or SACM. -
남아프리카공화국 Republic of South Africa
남아프리카공화국 REPUBLIC OF SOUTH AFRICA 01 | 정보통신(ICT)・방송 _ 정책 현황 02 | 정보통신(ICT)・방송 _ 품목 현황 03 | 정보통신(ICT)・방송 _ 사업자 현황 04 | 정보통신(ICT)・방송 _ 협력 현황 남아프리카공화국 정보통신(ICT)・방송 시장 주요 이슈 ■ 시장 - 2015년 12월 말 기준, 재원 확보의 어려움과 디지털 셋톱박스 보급 실패 등으로 남아공의 디지털 방송 전환은 지연 상태 - 2015년 7월, 남아공 법무부는 개인정보보호법 준수 여부를 감독할 정보 규제당국 설립 절차 착수 - 남아공은 온라인 사기와 피싱 공격으로 인해 연간 22억 랜드 이상의 피해가 발생 - 2014년 남아공 디지털 TV 보유가구 수는 597만 가구로 2013년 대비 11.5% 증가 - 2014년 남아공의 이동통신 가입자 수는 2013년 대비 3.4% 증가한 7,954만 명, 보급률은 149.7%로 집계 ■ 사업자 - 2014년 말 Telkom은 LTE-Advanced 네트워크를 남아공 외곽 5개 지역을 대상으로 증설 - Telkom은 2018년 3월 말까지 100만 가구를 커버리지 대상으로 광네트워크 구축 계획 수립 - 2015년 12월 Vodacom, 유선 사업자 Neotel의 이동통신 부문을 제외한 자산 인수案에 합의 - Cell C, 2015년 12월부터 Western Cape 지역을 중심으로 LTE 서비스 제공 개시 1. 정보통신(ICT)・방송 정책 현황 1.1. 정보통신(ICT)・방송 정책 및 규제 기관 정보통신(ICT)・방송 주무 기관 정보통신(ICT) 및 우편 부문 정책 수립 - 통신우편서비스부(Department of Telecommunications and Postal Services, DTPS) 남아공의 미디어, 방송, 영화, 출판 산업 및 공보부문 담당 - 통신부(Department of Communications, DOC) 정보통신(ICT)・방송 및 우편 부문 규제 - 독립통신청(Independent Communication Authority of South Africa, ICASA) 정보통신(ICT)・방송 관련 업무 구조 정보통신(ICT)・방송 정책 주요 계획 국가 브로드밴드 정책(SA Initiative) - 2010년 6월, 남아공 정부는 국가 브로드밴드 정책을 승인, 상기 계획은 2020년까지 추진되며, 同 계획의 비전은 적절한 가격에 안정된 브로드밴드 서비스를 보편적으로 이용할 수 있도록 보급 추구 독립통신청(ICASA) 2013~2017년 5개년 계획 - 브로드밴드 보급, 주파수 발급, 디지털 지상파 방송 리뷰, 적합한 규제 시행 등이 포함됨 디지털 지상파 방송 전환 계획 - 남아공은 당초 2011년 11월 1일을 디지털 지상파 방송 전환 완료일로 결정했으나, 2009년 9월 일정이 촉박하다고 판단한 독립통신청(ICASA)은 2013년으로 연기함 - 이후 2016년 6월로 다시 연기를 했으나, 2015년 12월 기준 디지털 방송 전환 관련 관계부처 장관들 간의 불협화음과 디지털 셋톱박스 보급 문제 등으로 인해 재차 지연되고 있는 상황 108 | 정보통신산업진흥원 정보통신(ICT) -
LIBRARY of CONGRESS Copyright Royalty Board 37 CFR Part
This document is scheduled to be published in the Federal Register on 07/25/2016 and available online at http://federalregister.gov/a/2016-17437, and on FDsys.gov LIBRARY OF CONGRESS Copyright Royalty Board 37 CFR Part 385 [Docket No. 16-CRB-0003-PR (2018-2022)] Determination of Rates and Terms for Making and Distributing Phonorecords (Phonorecords III) AGENCY: Copyright Royalty Board, Library of Congress. ACTION: Proposed rule. SUMMARY: The Copyright Royalty Judges publish for comment proposed regulations that set rates and terms applicable during the period beginning January 1, 2018, and ending December 31, 2022, for the section 115 statutory license for making and distributing phonorecords of nondramatic musical works. DATES: Comments and objections, if any, are due no later than [INSERT DATE 30 DAYS AFTER THE DATE OF PUBLICATION IN THE FEDERAL REGISTER]. ADDRESSES: The proposed rule is posted on the agency’s website (www.loc.gov/crb) and on the web at Regulations.gov (www.regulations.gov). Interested parties should submit electronic comments via email to [email protected]. Those who chose not to submit comments electronically should see How to Submit Comments in the Supplementary Information section below for physical addresses and further instructions. FOR FURTHER INFORMATION CONTACT: Kimberly Whittle, Attorney Advisor, by telephone at (202) 707-7658, or by e-mail at [email protected]. SUPPLEMENTARY INFORMATION: Background Section 115 of the Copyright Act, title 17 of the United States Code, requires a copyright owner of a nondramatic musical work to grant a license (also known as the “mechanical” compulsory license) to any person who wants to make and distribute phonorecords of that work, provided that the copyright owner has allowed phonorecords of the work to be produced and distributed, and that the licensee complies with the statute and regulations. -
Ifpi Digital-Music-Report-2009.Pdf
DIGITAL MUSIC REPORT 2009 New BusiNess Models for a ChaNgiNg eNviroNMeNt. ifPi DIGITAL MusiC rePORT 2009 Contents p3 n Introduction: Music has embraced the future with new business models – Will governments secure a future for digital content? p4 n Section 1: Shaping a new era in digital music – Digital music: key facts and figures p8 n Section 2: New business models for a changing environment – The shift to ‘music access’ – More choice in music downloads – Social networks and ad-supported services deliver - New frontiers: brands, games and merchandising – Public performance: getting fair value for music – Digital music goes global – three countries in focus p18 n Section 3: The core mission – investing in talent – Cutting through the digital noise – Adding value to artists – Broadening services – Marketing an album in the digital world – A team sharing the same vision: The manager’s view p22 n Section 4: Monetising music in an era of free - the role of ISPs and governments – A future for local music and film? France and Spain in focus – From concept to reality: governments start to move on ISP cooperation p26 n Section 5: Education – the campaign for hearts and minds – Young People, Music and the Internet – Pro-music.org – National campaigns p28 n Section 6: Creative voices speak out – When did intellectual property become free? – music managers speak out – Commerce in the era of “free” – a common challenge for creative industries p30 n Section 7: Pre-release piracy: industry steps-up action 2 iNTRODUCtioN Music has embraced the future with new business models – will governments secure a future for digital content? By John Kennedy, chairman testimony to the commercial value of and chief executive, ifPi. -
Rara.Com Introduces First In-Car Music Streaming Service Across Europe
rara.com introduces first in-car music streaming service across Europe Submitted by: rara.com Tuesday, 21 May 2013 • rara.com (http://www.rara.com) launches first in-car music streaming service with BMW in UK, Germany, France, Italy, The Netherlands • No smartphone; SIM card, or dongle needed: rara.com (http://www.rara.com) streams direct to new BMW 5 Series with ConnectedDrive Online Entertainment • 14 million music tracks + over 200 curated music channels to stream from all major and leading independent labels • rara.com (http://www.rara.com) BMW music subscription includes access to rara.com apps for web, iOS, Android, Windows 8 PCs and tablets London – 21st May 2013 – London based music streaming service rara.com (http://www.rara.com) today announces an international partnership with BMW to introduce the first direct-to-car music streaming service across the UK, Germany, France, Italy, and the Netherlands. Launching this week* for BMW’s new 5 Series, BMW’s ConnectedDrive Online Entertainment option lets users instantly stream millions of tracks through the cloud and play hundreds of expertly curated playlists in their car’s head unit on rara.com (http://www.rara.com) – without needing to plug in a smartphone, SIM card or dongle. Music without limits: drive anywhere, play anything BMW’s ConnectedDrive Online Entertainment pack provides 12 months of unlimited music streaming on rara.com (http://www.rara.com). Underpinned by Vodafone, music can be streamed directly to the car in the UK, Germany, France, Italy and The Netherlands. Users stream music in-car on rara.com across the five European countries with all data included. -
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