DOCSLIB.ORG

Business Model

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Business Model imeem 1 imeem imeem Commercial? Mixed Type of site Viral content sharing, social network service Registration free, required to play many full-length songs Owner News Corp. Created by Community Current status Defunct The online service imeem was a social media Web site where users interacted with each other by streaming, uploading and sharing music and music videos. However, after MySpace acquired the service, it was shut down, in 2009. The company was founded in 2003 by Dalton Caldwell (formerly of VA Linux) and Jan Jannink (formerly of Napster), and many of its core engineering team came from the original Napster file-sharing service.[1] The company takes its name from "meme", a term coined by biologist Richard Dawkins to describe the ideas and cultural phenomena that spread as if they had a life of their own. Helping to pioneer the free, advertising-supported model for online music, imeem permitted consumers to legally upload, stream and share music and music playlists for free with the costs supported by advertising. In 2007, imeem became the first-ever online music site to secure licenses from all four U.S. major music labels to offer their music catalogs for free streaming and sharing on the web.[2] The company also created the web's first embeddable music and video playlists. People could use imeem's widgets to embed songs and playlists from imeem virtually anywhere on the web, including on their MySpace and Facebook profiles or on their personal blogs. Headquartered in San Francisco's South of Market district (SoMa),[3] imeem had additional offices in New York and Los Angeles. The company's investors included Morgenthaler Ventures and Warner Music Group. On December 8, 2009, imeem was bought out by MySpace Music in a firesale for an undisclosed amount. However, it is stated to have been less than $1 million.[4] Business model Revenue generation at imeem was through a combination of direct and indirect advertising sales, sales of MP3 downloads, ringtones and concert tickets, and subscription revenue from premium services. The bulk of its revenue came from direct advertising sales; advertisers who have run campaigns with imeem include TheTruth.com/American Legacy Foundation,[5] Kia Motors,[6] [7] and Dr Pepper,[8] [9] among others. The company was one of the pioneers of the ad-supported streaming music model.[10] In 2007, imeem became the first-ever online music site to secure licenses from all 4 major music labels to offer their music catalogs for free streaming and sharing on the web.[11] Under this model, artists and labels were paid a share of imeem's ad revenue in proportion to the popularity of their music on imeem, and had the right to register their content and determine how (or whether) that content is available on the site or through its embeddable widgets.[12] imeem 2 This business model was made possible by imeem's proprietary content fingerprinting and digital registry technology. Initially, imeem licensed this technology from SNOCAP, the digital rights and content management startup founded by Napster creator Shawn Fanning.[13] In 2008, imeem acquired SNOCAP and its technology outright.[14] imeem continued to operate the SNOCAP digital registry, and used the technology acquired from SNOCAP to power its ad-supported streaming music service. Products The company provided two main services: imeem.com, where people could discover, stream and share music and music videos for free, and imeem Mobile, an Internet radio service for mobile devices. In addition, the company offered a premium service, imeem VIP, that gave people access to additional features on the imeem site. imeem.com Registered users of the site could stream and share millions of songs and tens of thousands of music videos free of charge, with the costs for licensing and streaming supported by advertising on the site and on imeem Mobile.[15] One of imeem's key features was the playlist. Users could create personal playlists, via a "Create Music Playlist" page, with music they had uploaded themselves or with music and video already available on the site. They could publish and share these playlists on imeem, where they could be played by, shared with, commented on, or tagged by other users. Visitors could also share music, videos and playlists beyond imeem,[16] either by embedding imeem players into external sites. imeem Mobile With the free cell phone application imeem Mobile, users could discover, purchase and enjoy music on their mobile device. It was available as a free download to users on the Android and iPhone/iPod touch platforms. Users could create custom Internet radio stations based on their favorite artists, discover new music through personalized recommendations and buy DRM-free MP3 downloads directly onto their mobile device (on Android, downloads are from the Amazon MP3 application; on the iPhone and iPod touch, downloads are from the iTunes Store.[17] The app also enabled people to browse and stream their personal imeem music libraries to their mobile device. People could upload up to 20,000 songs of the music they own directly to imeem.com, and then access that music through their mobile devices.[18] To upload more than 100 songs, users had to subscribe to one of imeem's premium services. The company introduced imeem Mobile on the Android platform in October 2008,[19] and launched it for iPhone and iPod touch users in May 2009. At launch, it was the only streaming music application on the Android platform, which in turn led to it being one of the most popular applications installed on Android devices.[20] In June 2009, imeem Mobile crossed a milestone of over 1 million installs on the Android and iPhone platforms.[21] The application received several awards, including a 2009 Crunchie Award for Best Mobile Application,[22] the Editor's Choice award from the blog AndroidGuys,[23] and an award for 'Best Streaming Music App' in the 2009 Android Network Awards.[24] imeem 3 imeem VIP In 2008, imeem launched a premium imeem VIP service that gave subscribers access to additional site features, most prominently the ability to upload more music (over 100 songs), and to watch videos up to 1080p in resolution. There were three imeem VIP subscription tiers. * The imeem "VIP" plans started at US$$9.99 per year for the "VIP Lite" plan, which gave subscribers access to streaming songs through the VIP Player, and 480p video (up from 360p for basic users). The "VIP" subscription option allowed uploading of up to 1,000 songs and viewing of 720p video, for $29.99 per year. And the "VIP Plus" subscription allowed uploading of up to 20,000 songs and viewing of 1080p video, for $99.99 per year[25] [26] History Early history: 2003-2005 The imeem service has changed drastically since its original inception as an messaging application that let people communicate by online chat, blogging, instant messaging and file sharing.[27] The service was billed as a "distributed, peer-to-peer, social network".[28] Founder Dalton Caldwell began working on what would become the imeem messaging application during Thanksgiving weekend in 2003. Initially, he worked on the software from his home. In 2004, imeem moved into offices in downtown Palo Alto's 285 Hamilton building,[29] with Caldwell, Jannink and a small team of engineers continuing work on the software. The company first unveiled its software in February 2005 at the DEMO conference[30] and formally launched it that August.[31] When imeem first launched, to use the service, users were required to download and install the desktop messaging and file-sharing software; the imeem Web site merely existed as a means for users to register and download the client. Though originally designed for messaging, it was the file-sharing function that took off. The client software supported the service's distributed database model: Every imeem client on the network had a database that would generate and store references to media content shared on the network; this system would accelerate access to content deemed to be close to the user. The service's media-sharing was peer-to-peer – if a user shared photos or a podcast, then the data would only exist on the client database network; users who wanted to view the actual content would access it by peering directly with the publisher. 2006 In March 2006, imeem re-launched at the South by Southwest (SXSW) conference in Austin, Texas, with a new focus on enabling people to interact through the imeem.com website, using media (photos, videos, music) to express their personalities and interests. Timed to coincide with the re-launch, imeem introduced new features enabling users to upload and play music and video on the site. In September 2006, imeem introduced embeddable Adobe Flash-based playlists that gave people the ability to take music and video playlists they created (or found) on the site and embed them virtually anywhere on the web. The company's players quickly became popular with consumers using MySpace and other social networks, giving them a way to customize & personalize their profiles with music. As a result, imeem quickly gained traction, with the site's traffic growing to 10 million unique monthly users by the end of 2006. By March 2007, imeem's monthly traffic reached over 16 million unique monthly users.[13] imeem 4 2007 In February 2007, MySpace took steps to limit the posting of imeem content on its site: any updates or comments with "imeem" even mentioned in them were removed upon posting. However, MySpace stopped blocking imeem in 2008. In March 2007, imeem announced it was partnering with SNOCAP,[32] the digital rights and content management startup founded by Napster creator Shawn Fanning, to enable legal uploading, streaming and sharing of music on imeem, utilizing SNOCAP's content fingerprinting and digital registry technology.
Load more

Recommended publications
  • Uila Supported Apps
    Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage.
    [Show full text]
  • 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.
    [Show full text]
  • Heavy? You Must Be Crazy
    YOUR FREE WEEKDAY AFTERNOON SOURCE FOR NEWS, SPORTS AND ENTERTAINMENT 03 27 2008 Heavy? You must be crazy Sporting a belly at 40 seriously increases your chances of getting Alzheimer’s later. p.10 Look whom John McCain brought to Utah. p.4 Huge bills freak out Questar customers. p.4 All-you-can-eat seats for sports fan. p.14 SOMETHING TO BUZZ ABOUT Bartender, Another Hemotoxin Please Murder Suspect Not a Flight Risk A Texas rattlesnake rancher found Popplewell said his intent is not A morbidly obese Texas woman Mayra Lizbeth Rosales, who a new way to make money: Stick a to sell an alcoholic beverage but a who authorities originally thought weighs at least 800 pounds and is rattler inside a bottle of vodka and healing tonic. He said he uses the might have crushed her 2-year-old bedridden, was photographed and market the concoction as an “an- cheapest vodka he can find as a nephew to death was arraigned in fingerprinted at her La Joya home cient Asian elixir.” But Bayou Bob preservative for the snakes. The her bedroom Wednesday on a cap- before being released on a per- Popplewell has no liquor license and end result is a super sweet mixed ital murder charge, accused of strik- sonal recognizance bond, Hidalgo faces charges. drink he compared to cough syrup. ing him in the head. County Sheriff Lupe Trevino said. 27mar08 TheWeather Tonight Partly cloudy. 29° theprimer Sunset: 7:47 p.m. Friday 50° Mostly cloudy; 50 INTERNET percent chance of late rain and snow An Educational, Saturday and Fruitful, Site 45° Mostly cloudy; 40 A colorful, new interactive Web site, percent chance of rain designed to educate children ages 2 and snow.
    [Show full text]
  • 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).
    [Show full text]
  • Summit Guide Guide Du Sommet Guía De La Cumbre Contents/Sommaire/Sumario
    New Frontiers for Creators in the Marketplace 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA www.copyrightsummit.com Summit Guide Guide du Sommet Guía de la Cumbre Contents/Sommaire/Sumario Page Welcome 1 Conference Programme 3 What’s happening around the Summit? 11 Additional Summit Information 12 Page Bienvenue 14 Programme des conférences 15 Autres événements autour du sommet ? 24 Informations supplémentaires du sommet 25 Página Bienvenidos 27 Programa de las Conferencias 28 ¿Lo que pasa alrededor del conferencia? 38 Información sobre el conferencia 39 Page Sponsor & Advisory Committee Profiles 41 Partner Organization Profiles 44 Media Partner Profiles 49 Speaker Biographies 53 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Welcome Welcome to the World Copyright Summit! Two years on from our hugely successful inaugural event in Brussels it gives me great pleasure to welcome you all to the 2009 World Copyright Summit in Washington, DC. This year’s slogan for the Summit – “New Frontiers for Creators in the Marketplace” – illustrates perfectly what we aim to achieve here: remind to the world that creators’ contributions are fundamental for cultural, economic and social development but also that creators – and those who represent them – face several daunting challenges in this new digital economy. It is imperative that we bring to the forefront of political debate the creative industries’ future and where we, creators, fit into this new landscape. For this reason we have gathered, under the CISAC umbrella, all the stakeholders involved one way or another in the creation, production and dissemination of creative works.
    [Show full text]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • 01 Worlock Editech 2008
    Editech 2008 The European Digital Publishing Marketplace: An Overview David R Worlock Chief Research Fellow Outsell, Inc. [email protected] June 2008 © 2008 Outsell, Inc. All rights reserved. Slower Growth Ahead © 2008 Outsell, Inc. All rights reserved. 2 Search Surges Ahead of Information Industry 26.1% 25.1% 25.2% 24.8% 21.6% 22.5% 18.3% 9.0% 5.0% 4.3% 3.1% 3.1% 3.2% 3.4% 2004 2005 2006 2007 (P) 2008 (P) 2009 (P) 2010 (P) Search, Aggregation & Syndication Info Industry w/o SAS Source: Outsell’s Publishers & Information Providers Database © 2008 Outsell, Inc. All rights reserved. 3 Information Industry $380 Billion in 2007 9% 7% B2B Trade Publishing & Company Information 10% Credit & Financial Information 11% Education & Training HR Information Legal, Tax & Regulatory 5% 10% Market Research, Reports & Services IT & Telecom Research, 1% Reports & Services News Providers & Publishers 4% Scientific, Technical & Medical Information Search, Aggregation & 8% Syndication 1% Yellow Pages & Telephone 34% Directories Source: Outsell’s Publishers & Information Providers Database © 2008 Outsell, Inc. All rights reserved. 4 Search to Soar, While News Nosedives 2007-2010 Est. Industry Growth 5.5% Search, Aggregation & 22.7% Syndication HR Information 15.4% 9.5% IT & Telecom Research, Reports & Services 8.4% Credit & Financial Information 8.1% Market Research, Reports & Services 6.7% Scientific, Technical & Medical 6.7% Information Legal, Tax & Regulatory 5.8% B2B Trade Publishing & 5.7% Company Information Education & Training 5.2% -2.9% Yellow Pages & Directories Source: Outsell's Publishers & Information Providers Database News Providers & Publishers © 2008 Outsell, Inc. All rights reserved. 5 Global Growth in Asia and EMEA © 2008 Outsell, Inc.
    [Show full text]
  • 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.
    [Show full text]
  • Internet Peer-To-Peer File Sharing Policy Effective Date 8T20t2010
    Title: Internet Peer-to-Peer File Sharing Policy Policy Number 2010-002 TopicalArea: Security Document Type Program Policy Pages: 3 Effective Date 8t20t2010 POC for Changes Director, Office of Computing and Information Services (OCIS) Synopsis Establishes a Dalton State College-wide policy regarding copyright infringement. Overview The popularity of Internet peer-to-peer file sharing is often the source of network resource allocation problems and copyright infringement. Purpose This policy will define Internet peer-to-peer file sharing and state the policy of Dalton State College (DSC) on this issue. Scope The scope of this policy includes all DSC computing resources. Policy Internet peer-to-peer file sharing applications are frequently used to distribute copyrighted materials such as music, motion pictures, and computer software. Such exchanges are illegal and are not permifted on Dalton State Gollege computers or network. See the standards outlined in the Appropriate Use Policy. DSG Procedures and Sanctions Failure to comply with the appropriate use of these resources threatens the atmosphere for the sharing of information, the free exchange of ideas, and the secure environment for creating and maintaining information property, and subjects one to discipline. Any user of any DSC system found using lT resources for unethical and/or inappropriate practices has violated this policy and is subject to disciplinary proceedings including suspension of DSC privileges, expulsion from school, termination of employment and/or legal action as may be appropriate. Although all users of DSC's lT resources have an expectation of privacy, their right to privacy may be superseded by DSC's requirement to protect the integrity of its lT resources, the rights of all users and the property of DSC and the State.
    [Show full text]
  • Protecting Copyright and Innovation in a Post-Grokster World
    S. HRG. 109–1041 PROTECTING COPYRIGHT AND INNOVATION IN A POST-GROKSTER WORLD HEARING BEFORE THE COMMITTEE ON THE JUDICIARY UNITED STATES SENATE ONE HUNDRED NINTH CONGRESS FIRST SESSION SEPTEMBER 28, 2005 Serial No. J–109–40 Printed for the use of the Committee on the Judiciary ( U.S. GOVERNMENT PRINTING OFFICE 34–113 PDF WASHINGTON : 2009 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 VerDate Nov 24 2008 09:03 Mar 04, 2009 Jkt 047297 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 S:\GPO\HEARINGS\34113.TXT SJUD1 PsN: CMORC COMMITTEE ON THE JUDICIARY ARLEN SPECTER, Pennsylvania, Chairman ORRIN G. HATCH, Utah PATRICK J. LEAHY, Vermont CHARLES E. GRASSLEY, Iowa EDWARD M. KENNEDY, Massachusetts JON KYL, Arizona JOSEPH R. BIDEN, JR., Delaware MIKE DEWINE, Ohio HERBERT KOHL, Wisconsin JEFF SESSIONS, Alabama DIANNE FEINSTEIN, California LINDSEY O. GRAHAM, South Carolina RUSSELL D. FEINGOLD, Wisconsin JOHN CORNYN, Texas CHARLES E. SCHUMER, New York SAM BROWNBACK, Kansas RICHARD J. DURBIN, Illinois TOM COBURN, Oklahoma DAVID BROG, Staff Director MICHAEL O’NEILL, Chief Counsel BRUCE A. COHEN, Democratic Chief Counsel and Staff Director (II) VerDate Nov 24 2008 09:03 Mar 04, 2009 Jkt 047297 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 S:\GPO\HEARINGS\34113.TXT SJUD1 PsN: CMORC C O N T E N T S STATEMENTS OF COMMITTEE MEMBERS Page Cornyn, Hon. John, a U.S. Senator from the State of Texas ..............................
    [Show full text]
  • OECD‘S Directorate for Science Technology and Industry
    THE ECONOMIC AND SOCIAL ROLE OF INTERNET INTERMEDIARIES APRIL 2010 2 FOREWORD FOREWORD This report is Part I of the larger project on Internet intermediaries. It develops a common definition and understanding of what Internet intermediaries are, of their economic function and economic models, of recent market developments, and discusses the economic and social uses that these actors satisfy. The overall goal of the horizontal report of the Committee for Information, Computer and Communications Policy (ICCP) is to obtain a comprehensive view of Internet intermediaries, their economic and social function, development and prospects, benefits and costs, and responsibilities. It corresponds to the item on 'Forging Partnerships for Advancing Policy Objectives for the Internet Economy' in the Committee‘s work programme. This report was prepared by Ms. Karine Perset of the OECD‘s Directorate for Science Technology and Industry. It was declassified by the ICCP Committee at its 59th Session in March 2010. It was originally issued under the code DSTI/ICCP(2009)9/FINAL. Issued under the responsibility of the Secretary-General of the OECD. The opinions expressed and arguments employed herein do not necessarily reflect the official views of the OECD member countries. ORGANISATION FOR ECONOMIC CO-OPERATION AND DEVELOPMENT The OECD is a unique forum where the governments of 30 democracies work together to address the economic, social and environmental challenges of globalisation. The OECD is also at the forefront of efforts to understand and to help governments respond to new developments and concerns, such as corporate governance, the information economy and the challenges of an ageing population.
    [Show full text]