Search

This article focuses on the music recording industry. The legal battles surrounding peer-to-peer file sharing are a losing proposition for everyone. The record labels continue to face lackluster sales, while tens of millions of American file-sharing music fans are made to feel like criminals. The litigation campaign against music fans does not appear to have substantially reduced the popularity of file-sharing networks and has failed to put a penny in the pockets of the artists. One solution is that artists and copyright holders deserve to be compensated fairly. A number of copyright law scholars and technology industry groups have suggested that alternative compensation systems be considered to replace the current lawsuit campaign against file sharers. Among the proposals, voluntary collective licensing deserves special consideration. The music industry would form one or more collecting societies to offer file-sharing music fans the opportunity to get legit in exchange for a reasonable regular payment. So long as they pay, these people would be free to keep doing what they are going to do anyway, share the music they love, using whatever software works best, without fear of being sued.

In the rapidly emerging market for information goods, a key strategic issue is control of content. For example, it is rare for a week to go by without some news of another technological advance, legal development, or business realignment that has its roots in the development of the MP3 open standard for audio compression/decompression. It has been convincingly argued that the Internet, in particular the MP3 standard, is changing the music industry. The development of the MP3 open standard for audio-video compression, the ready availability of free software for MP3 encoding and playback of digital music, and the ease with which MP3 files are transported across the Internet combine to create a large and growing threat to the recording industry. This threat is manifested in both legitimate uses of MP3 compression for electronic-distribution of music, and what is commonly referred to as Internet piracy, involving violation of music copyrights.

Describes how the Recording Industry Association of America (RIAA) filed suit against 261 defendants in the U.S. who allegedly traded files illegally over the Internet. Use of online file-sharing services such as iMesh and Kazaa; How new versions of the file-sharing services are being released with added encryption devices; Consideration of how people can be sued for up to $150,000 per song; Likelihood that people will continue to download music on the Internet. INSET: Can't Hold Them Down.

Reports on the entertainment industry's fight against digital piracy in the United States. Attitudes of consumers that lead them to download copyrighted material from the Internet; Lawsuits being brought against people who offer to trade copyrighted materials; Comments by Cary Sherman, president of the Recording Industry Association of America; Costs of film piracy to the movie industry; Problems faced by songwriters and independent record companies who lose money due to piracy; Convenience and anonymity of file sharing; Suit against file trading networks such as Napster, Grokster and Morpheus; Case against Kerry Gonzalez who pleaded guilty to one count of federal copyright infringement; Opinion of one consumer that the penalties seem disproportionate to the offense.

Discusses the effects of digital piracy on the entertainment industry. How people can download music, motion pictures, and television programs from the Internet; Use of file-sharing software such as Kazaa, Gnutella, and Direct Connect; Importance of a decentralized business strategy; Controversy over the legality of products made by 321 Studios; Efforts of privacy and consumer organizations to protect customers; Speculation that future compact discs may be impossible to copy. INSET: TO PAY OR TO PIRATE?.

Focuses on the anti-piracy campaign of Cary Sherman, president of the Recording Industry Association of America (RIAA), to stop internet music downloaders. Scrutinization of the RIAA's legal battles; Sherman's pride in his anti-piracy crusade; Study of the possibility of suing individual consumers of internet music; Attempts to shut down websites that facilitate piracy; Challenge of minimizing negative publicity; Announcement that file sharers would be sued; Filing of the first suits on September 8, 2003; Amnesty program allowing those who have offered music illegally to avoid liability by signing an affidavit promising to stop downloading music.

Describes the efforts of the music industry in the U.S. to file suit against people who share files illegally on the Internet. Consideration of how 12-year-old Brianna LaHara was charged with the crime of file-sharing; Impact of the high prices of compact discs on profits for the music industry; How the labels will focus on encouraging people to buy music online; Use of services that detect music piracy.

Focuses on the impact of a decline in music sales on the sound recording industry. Sales of CDs fell almost 9 percent in 2002 and are expected to be in 2003 an additional 6 percent. Instead of buying music, fans are flocking to online services like Kazaa that allow users to digitally swap songs free. All five major music companies--BMG, EMI, Sony, Universal, and Warner--are either losing money or barely making any, and most analysts predict that it won't be long before consolidation forces five into four and maybe even three. Retail music outlets such as Wherehouse and Musicland are closing down by the hundreds. And heads are rolling, among them, legendary Sony Music Entertainment chief executive Tommy Mottola. To regain their footing in a digital world, music companies must find a way to market single tracks to buyers conveniently and cheaply; stave off the pirates who use services like Kazaa and divert billions in revenue from record companies each year; and cut the spiraling costs of grooming new artists. The industry says it is moving aggressively to provide music online to counter illegal downloaders, investing more than $1 billion so far. Meanwhile, retailers are trying to rekindle their own relationship with music buyers by creating subscription services. Companies need to tap into new sources of revenue as competition from DVDs, video games, and virtually every other source of entertainment swells.

Discusses how the organization Moving Picture Experts Group-1 Audio Layer 3 (MP3) may change the recording industry. Example of Ani Difranco, with an insight into her release of an album on the Web Site MP3.com; Comment on how MP3 sites work; Reaction of consumers following the release of the album; Concerns in the industry that consumers will get illegal or pirated versions of songs off the Internet and no longer buy albums; Efforts of the Recording Industry Association of America (RIAA) against the Web Sites.

Focuses on the music record industry and the Internet. How record companies are concerned about their products being pirated off the Internet; Digital music files being downloaded for free; Estimated percentage of college students who are music pirates; Effect on music industry revenues; The software program called MP3 or Mpeg1 Layer 3; Why lifting tunes online is illegal; The response of the Record Industry Association of America (RIAA); The Madison project relying on broad-band-cable-television modems. INSET: Music Without Lables, by Christopher John Farley.

A conference paper on background of the recorded music industry in New Zealand is presented. Topics discussed include the nonprofit trade organization Recorded Music New Zealand responsible for recorded music copyrights, piracy in New Zealand music industry, and challenges in getting New Zealand catalogue online. It also mentions various efforts made to reissue various record labels of New Zealand.

The article examines whether the streaming service Spotify is capable of reviving the ailing record business. It offers information on some of the arguments of the critics against the service, including the claim that streaming is only suited for established acts with a deep catalogue. It also examines the truth to the claim by Spotify that it is weaning music fans off piracy.

This article focuses on piracy and artist impersonation in the U.S. music industry. Record label executives and musicians are concerned on the effect of piracy on the industry. According to Amanda Hunter, deputy director of communications for the Recording Industry Association of America, piracy can affect the jobs of recording artists. Though a 2001 court ruling makes Internet file sharing of music as illegal, there is no national legislation to protect artists from piracy.

Reports on the lawsuits filed by the Recording Industry Association of America against individuals across the U. S., accusing each of stealing copyrighted music via Internet file-sharing platforms. Representation of the legal tactic; Implications of the stricter enforcement of copyrights for the future of the Internet; Threat to current expectations about the Internet; Reason copyright infringement is such a big problem; Tactics used by the record companies in combating privacy problem.

Focuses on the impact of the MP3 digital music technology on the recording industry in Asia. Method of storing and transmitting digital content called Motion Picture Experts Group 1 Layer 3; Music piracy issues; Asia for the International Federation of the Phonographic Industry's identification of websites in the region providing links to illegal files; Chance for unknown artists to gain exposure.

Provides an overview of the fledgling market for downloadable music, and the companies hoping to profit from it. Relaunch of Napster as a legitimate company selling music online; Other companies which plan to offer music downloads, and the intense sense of competition between them; Affects on, and response of, the major record labels; Extended goals of the companies who are involved in marketing downloadable music.

Comments on copyright law and efforts to punish those who swap music files over the Internet. Intent of the U.S. music industry to bring lawsuits against Internet users for stealing songs online; Implications of the legal confrontation; Efforts of the recording industry's main lobbying group, the Recording Industry Association of America (RIAA), to shut down key file-sharing services that facilitate song piracy; The harsh penalties for swapping music over the Internet; The RIAA's fear campaign; The industry's strategy; Cost; Outlook.

Describes the types of bootleg CDs and music piracy which plague the record industry. Consideration of CD burners and music theft; Economic loss for recording companies in the United States; Favorableness of certain bootlegging ventures for hip-hop artists; Effects of free publicity; Speculation that certain albums are leaked out deliberately; Efforts of law enforcement agencies to stop bootlegging.

Comments on what the music industry might face after the restriction of Napster from freely trading copyrighted songs. View that music users will not stop downloading, but will seek alternative consumer-friendly Web sites; Speculation that AOL Time Warner will emerge as the primary force in music distribution; Role of Bertelsmann with Napster.

Discusses the impact of the San Francisco, California Ninth Circuit Court of Appeals ruling against Napster's online music sharing service. Issue of exchanging unauthorized copyrighted material; Effort of Napster and Bertelsmann to devise a form of digital-rights management architecture that will let Napster keep track of and impose restrictions on music shared over its system; Challenge of getting the cooperation of major music companies. INSET: It's a Musical Zoo in Headphones, by Chris Taylor.

The article focuses on the American recording industry. Present economic conditions are forcing major cutbacks in new recording activity, and it seems probable that an increasing proportion of the catalogue will be devoted to reissues and repackaging. One of the anomalies of the American record industry is the absence of a legally defined public domain, since there is, under current laws, no copyright in sound recordings, a legal "gray area" exists, occasionally defended against "unfair competition" or similar grounds which, if applicable, are presumably effective in perpetuity. Recently, counterfeiting of popular records has become a serious drain on income, and the manufacturers have taken aggressive steps to combat this, but the money at stake in the field of classical historic recordings is evidently insufficient to warrant legal action on what are generally agreed to be uncertain grounds.

The article discusses how digital technology is changing the copyright trend and why publishers and writers should adapt to this change. The copyright claims against Google reflect on how digital technology is reshaping copyright principles. The author also cites the case of the music industry to warn other creative industries. According to the author, the slow response of the music industry to new business models has led many consumers to pirate songs.

The article discusses the ways to recognize a fake copy of the "Introducing The Beatles,' album from its original, to be able to give value to it. It presents several differences between a counterfeit and true copy which includes the place where the name of the band is being placed on the album and suggested to let it undergo a flap test, which inspect the inside of a cardboard jacket and honey test which look over the back cover. In addition, it relates other distinctions on both copies.

Focuses on the impact of piracy and Internet downloads and peer-to-peer file sharing networks on the sound recording industry in the U.S. Information on several file-sharing networks in the U.S.; Decline in the total value of music shipments for all formats in 2002; Issues associated with the sales statistics that were released by the Recording Industry Association of America; Other factors that may have affected the declining sales of music recordings in the U.S. United States INSET: The Big Picture.

The article reports on the profitability for Chinese recording labels of cellular telephone ringtones, which unlike compact discs (CD) are difficult to pirate, or counterfeit. Chinese consulting firm BDA International reports as much as half of Chinese record labels' income in 2006 came from ringtones.

Speculates on the effectiveness of law suits against illegal file sharers who download and share movies and music. Efforts of the Motion Picture Association of America, and the Recording Industry Association of America; How the legal action's impact on file sharers has proven inconclusive; Consideration of file sharing's impact on music sales.

Discusses the dispute between hotel heiress Paris Hilton and singer-actress Haylie Duff over who has first-release rights to a song called 'Screwed' which is included on each girl's debut album. Consideration of a bootleg copy of Hilton's version of the song on the Internet.

Discusses the business failures of music retailers such as Tower Records. How the downloading of music online has decreased CD sales; Plans for Tower to file for bankruptcy and be reorganized; Financial losses for stores such as HMV, FYE, and Trans World Entertainment; Competition between chains such as Sam Goody, Suncoast, Media Play, and On Cue.

The article reports that an increasing number of users are listening to anti-piracy campaigns instead of music, according to survey results from the New York-based research firm, NPD Group Inc. When it first began tracking music deletions last May, NPD found 606,000 U.S. households eliminated music stored on their PCs. Three months later, 1.4 million households deleted all music files saved on their home computers. Moreover, the firm found the number of households acquiring digital music via peer-to-peer file-sharing services declined 11% in a single month. NPD credits the ongoing anti-piracy campaign by the Recording Industry Association of America Inc. (RIAA), including its move to sue hundreds of people alleged to have illegally shared music online, claiming publicity about the move led more consumers to delete music files. In a related survey NPD notes that consumers' overall opinion of the recording industry is suffering significantly due to the RIAA tactics.

Comments of the return of Napster 2.0 as a legal pay-per-download and subscription music service. Comparisons with Apple and iTunes; Lure of playlists and variety of services; Inability to download some artists legally.

Focuses on the attempts of peer-to-peer (P2P) file sharing services to prove that file-sharing is a legitimate technology and negotiate with the recording industry. Formation of a trade group by file-sharing companies to counter the Recording Industry Association of America (RIAA); Attempts by P2P to unify file sharers to help convince Congress that peer-to-peer technology is not a criminal enterprise; Proposal of ways for record companies to make money from file sharing.