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The article offers information on the history, purpose and significant impact of the compulsory licensing scheme for streaming on-demand music videos on digital music industry. It informs that the compulsory licenses help in prohibition of illegal downloading of contents under the Copyright Act and the Digital Millennium Copyright. It discusses judicial decision of the U.S. Court of Appeals for the Ninth Circuit in the case of A&M Records Inc. v. Napster Inc. regarding digital music ownership.

The article discusses unenforceable copyrights in America in relation to the nation's music industry and the process of sharing digital music on the Internet through the use of peer-to-peer (P2P) computer software as of 2014. The U.S. Recording Industry Association of America (RIAA) and litigation involving P2P services such as Napster Inc. and Grokster Ltd. are mentioned. Other topics include class action lawsuits, copyright infringement cases, and the U.S. Digital Millennium Copyright Act.

The article discusses the history of copyright and piracy, from pirate radio and analogue recordings, to Napster, The Pirate Bay and Megaupload and the potential future of digital media. It points out the term "piracy" was used exclusively in relation to the cut-lass wielding pirates of the high seas until the early 17th century when it was used in an intellectual property context. It notes that the music industry was forced to take steps to provide legitimate alternatives to P2P sharing.

The article presents information on the authorization of piracy in the music industry through the Internet with reference to the compensation for the rights holder of the music recordings in the U.S. The concept of free downloading of copyrighted music files that falls under the issue of copyright infringement started by company Napster Inc. was responded by a legal action by the Record Industry of America. Information on the impact of the judgment by the judges regarding the court case Record Industry of America v. Napster on the issue digital music piracy is also presented.

The article focuses on copyright infringement on the Internet. Information is provided on the evolution of file sharing, piracy, and intellectual property rights between 1999 and 2011 through the shutdown of the music sharing website Napster. It is noted that U.S. law regarding copyright infringement on the Internet will be strengthened through judgments on future cases.

The article reports on the impact of digital technology on the music industry in the U.S. It discusses the efforts of the Recording Industry Association of America Inc. (RIAA) in eliminating digital music and the companies that offer it including Limewire LLC and Napster Inc. It offers suggestions on how the content industry can survive despite the development of new technologies. It also mentions the impact of these technologies on the content industry's business model.

The article discusses developments in music technology and the music industry. Since 1877 when Thomas Edison invented the phonograph people have been buying music. The Fraunhofer Institute developed an MP3 encoder in 1994 which allowed users to encode audio compact discs into MP3 format and store them on their computers' hard disks. However, this took up a lot of space. Napster, the music file database and sharing system, launched in 1999 featuring peer-to-peer file sharing. The music industry acted against these systems by suing Napster. They felt this file sharing was theft of their intellectual property. They also sued the users of Napster, and other services like Kazaa, for copyright violation.

Abstract: The following is a more detailed analysis of the Norwegian Napster case (reported in [2005] 21 CLSR 461–62) in which the Supreme Court considered the legality of deep linking to copyright infringing MP3 files. [Copyright &y& Elsevier]

In the 5 years since its inception, some interpretations of the software program known as Napster have been inscribed into laws, business plans, and purchasing decisions while others have been pushed to the fringes. This article examines how and why certain assumptions about Napster have gained greater currency while others have not. Our analytical approach involves an examination of discourse about Napster in several arenas—legal, economic, social, and cultural—and is informed by a conceptualization of Napster as an ongoing encounter between, rather than the accomplishment of, inventor(s), institution(s), and interest(s). While we recognize the value of empirical examinations of Napster's impact on firms and markets, as well as the proscriptive advice which it supports, we opt here for providing a contextualized understanding of the technology that complements rather than substitutes for empirical analyses of it. [ABSTRACT FROM AUTHOR]

This article focuses on the U.S. Supreme Court case MGM v. Grokster and the recommendation of appropriate peer-to-peer network (P2P) copyright infringement standards. In 1998, Shawn Fanning, founder of Napster Inc., took a complaint from his roommate that there was no easy way to find free music on the Internet, and made this wish a reality by creating Napster Inc. Any individual with computer access could go on to Napster's Web site and download its free file-sharing software. Significant players in the music recording industry brought suit against Napster claiming copyright infringements on the reproduction and distribution rights of the copyrighted works that were uploaded and subsequently downloaded from the Napster site. The artists and innovators never gave Napster users permission to copy or distribute their works, nor were they paid royalty payments they would otherwise be paid. The courts eventually held in favor of the recording industry. As a result, Napster was shut down in its original form. In 2000, two software distributors, Grokster Ltd. and StreamCast Networks Inc., provided the public with new software that enabled users to exchange digital media via a peer-to-peer network. Unlike the technology in Napster, Grokster and StreamCast's software did not rely on a central server. Grokster and StreamCast users could now share directly with each other, rather than through some central location.

Discusses a telephone survey conducted by the Pew Internet & American Life Project to depict the audience of music downloaders during Napster's emergence. Review of previous literature related to popular music and the Internet; Description of the project's study method and findings; Consequences of the Internet for the music industry, music fans and popular music studies.

Examines the impact of the Napster music Web site on the identities of both artists and Napster users. Historical background on Internet music distribution; Discussion on the impact of Napster on artists as an archetype, using the theories of authorship developed by both Mark Rose and Michel Foucault; Overview of the music industry's rhetoric of file swapping.

My challenge to those that use Derrida or Bey or Adorno or Bourdieu within their disciplinary frameworks to advance our understanding of new media, is can you enact the ideas of these thinkers in a sophisticated way through new media, or can it only be done through writing books about books? I challenge cultural studies and new media theorists to produce a Derrida engine or a Bourdieu database or a Bey GIS map. I am not aware of any major contribution that cultural studies has made within this medium beyond using it as a publishing and networking mechanism, and beyond writing innumerable valuable books to critique it from a distance. We need more people engaged in building academic resources on-line that help us to look at things in new ways. Craig Bellamy, "The Milk Bar Challenge," posted on the fibreculture mailing list on 22 July, 2002 [ABSTRACT FROM AUTHOR]