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An interview with bass guitarist Verdine White of the band Earth, Wind & Fire is presented. White states that the only bass guitar that he used was his 1990s orange Yamaha BB-3000, which is said to be a great recording bass with a crystal-clear sound. He says that one of his favorite music tracks is "My Promise," which was written by Seidah Garrett. White adds that the Internet, social media and piracy have forced artists to be more proactive in order to survive.

The article discusses the career of pianist Joyce Hatto and how her husband William Barrington-Coupe marketed songs by his wife that had been performed by others. Barrington-Coupe maintained a correspondence with Ernst Lumpe, who was a classical music enthusiast and the men shared information and recordings. Lumpe discussed Hatto's work in an online discussion group where people were interested to know and hear more.

The article discusses the efforts of law enforcement agencies and the Recording Industry Association of America (RIAA) to halt piracy of music. In November 2000, law enforcement agencies and the RIAA raided the offices of Marc Ferman, founder of mixtape.com. Ferman pleads no contest to selling copyrighted music over the internet. Khalid Ahmed Satary was indicted on 15 counts of conspiracy for manufacturing $50 million worth of pirated compact discs.

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.

The article presents a round table discussion regarding counterfeit culture in the United Kingdom. Jeff Randall, Bryan Lewin, Jill Johnstone, Lisa Lovell, Roz Groome, Ian Pearson, Colette Goldrick, Julyan Elbro, Michelle Childs, Jo Bryce, Sandy Thomas, Jonathan Harper, Mike Smith, and Jason Rutter are the participants. Topics which are examined include intellectual property rights, counterfeiting, piracy, clothing, medication, compact discs, criminals, consumers, terrorism and others.

The article reflects on the fundamental laws that govern the digital media and subverting the rationale for old media. It also suggests key survival strategies for old media. It also discusses some of the lessons learned from the travails of the music industry which include that economic determinism will prevail, piracy in the industry will be hard to eliminate and that false comfort is an easy friend but a poor counselor. It also presents an opinion on News Corp. and ITV Plc in their acquisition of MySpace and Friends Reunited, respectively.

The article examines the effect of the war on piracy on consumers. According to the software, motion picture and music industries, billions of dollars in potential sales are lost each year to piracy. Illegal installation of software usually involves personal computer sellers, even in Western nations. However, users who pay for and download music from online music stores have decided to act within the law.

Presents observations about a variety of popular music halls in New York City including Zankel and Carnegie Halls. How many popular artists such as Wilco and Emmylou Harris are members of Nonesuch Records; Growth of the Nonesuch label to annual sales of $35 million; Ways in which the label has stayed profitable despite rampant music downloading and piracy; Role of Robert Hurwitz as the chief executive of Nonesuch and the person who signs artists onto the label; How the label began initially as a showcase for classical records; Success based on the relationships between the label and reviewers and artists.

Reports on the concerns of middle level and high school administrators regarding lawsuits against college students who violated copyright for musical composition in the U.S. Provisions of the copyright law; Effort done by some universities in preventing students from illegal file sharing; Number of options that districts have to decide in order to improve copyright compliance.

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.

Examines issues surrounding intellectual property and unauthorized reproduction of music and videos. Use of a digital technology to prevent counterfeiting; Autonomy in the practice of reproducibility; Determination of appropriation in reproducibility; Substitution of data through sampling and digital manipulation.

The article discusses issues on copyright violations in the Internet. The author presents information about legislation protecting copyright in the Internet. A discussion is presented about allegations against Napster for copyright infringement violations. The author presents an outline of the legal issues involved in the case and speculates as to the case's outcome. A discussion is presented about the importance of the Napster case to the copyright issue in the Internet and how it could affect Internet users.

The article discusses efforts by entertainment businesses to use digital rights management (DRM) to prevent product piracy and theft including their audio recordings. The music industry has been unable to stop music fans from obtaining free copies of favorite songs by using online file-sharing networks such as LimeWire. Other topics include the Digital Millennium Copyright Act (DMCA), the use of DRM to control attempts by music purchasers to convert digital media into other formats, and region-coding DRM.

Probes into the efforts by the five major music labels in the United States to fight piracy in light of the popularity of Napster and other underground digital music services on the Internet. Warner Music Group; Universal Music Group; BMG Entertainment; Sony Music Entertainment; EMI Recorded Music.

Discusses the threat to business with the rise of Internet file-sharing technology such as Napster. Details of the cross-stitching patterns of Pegasus Original which were shared over the Internet; Prediction of Forrester Research which suggests that the music industry will lose revenues to piracy; Legal outlook for Napster and file-sharing programs in the United States.

Discusses the controversy surrounding the software created by Napster Inc. that allowed people with a Napster client program to download MP3s from another person's hard drive. Plaintiffs in the lawsuit against Napster Inc.; Factors that will change the traditional means of purchasing CD online; Artists that support having their music freely distributed. INSETS: The Long Arm of the (Copyright) Law, by Susan P. Butler;point;counterpoint.

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.

The article looks at Baidu.com, a Chinese Internet search engine that allows users to download unlicensed music for free. Several companies within the music industry are calling for the site to be shut down. EMI Music has announced a pairing with Baidu to provide online music streaming, which allows users to listen to music without downloading. The International Federation of the Phonographic Industry (IFPI) has filed 300 lawsuits against Baidu in Chinese courts.

Reports on the continuing integration of wireless technology by the music industry, specifically the use of ringtones by cellular phone customers. Details of rapper 50 Cent's involvement with ringtone technology during the production of his album entitled "The Massacre"; Author's view that cellular phone technology has enough revenue potential to warrant the establishment of mobile-business divisions at every major music company; Challenges facing the music industry regarding Internet based piracy; Comments from media analyst Mark Harrington regarding the music industry's integration of new music formats.

The article focuses on the issue of copyright and intellectual property in the music industry. In a digital world, where entire songs and movies can be composed from bits and pieces of other media, lawyers are working overtime to protect what their clients see as the right to be paid for every scrap of intellectual property. In a September ruling by the Sixth Circuit Court of Appeals in Cincinnati, Ohio, a three-judge panel determined that any copy of a sound recording, no matter how brief, violates federal copyright law unless the copier obtains a license. Artists, as a group, do not benefit from this zealous defense. Record companies charge the costs of sampling licenses against the royalties of the performers who use the samples; at the other end, they keep half or more of the royalties. In many cases the original artist no longer owns the sampled recording anyway. The process certainly is not pleasant for musicians who rely on digital technology to compose.

The author argues that the Recording Industry Association of America's attempts to persecute music file-sharers are self-serving and, ultimately, self-defeating. The recent vicious turn in the file-sharing struggle marks a new epoch in the defeat of ownership: Suing your own customers is not a sustainable business model. But the oligopolists of culture are running out of alternatives. The recording industry--which has done no small amount of stealing from musicians in its brief history--likes to claim that sharing a song with someone else is equivalent to stealing a CD from a store. All over the world the children of the Internet Age recognize that networks are for sharing data, and that technology makes excluding those who don't pay literally impossible. Perfect digital copying and costless electronic distribution raise once again the issue of the morality of exclusion: if we can give everyone on earth a copy of any digital work of beauty or utility for the same price that we make the first copy, why is it ever moral to exclude anyone from anything? There is every reason to believe that new forms of interaction between artist and audience can actually improve artists' financial lot. If those of us who can afford it were to set up our computers to pay a quarter automatically to the artist for each song we get by sharing and decide to keep, musicians would earn enough to repay everyone in the creative chain (songwriters, producers, engineers) while keeping more than the pittance the "owners" condescend to award them now.

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.

Mentions legal action taken by the music industry against Internet users for pirating copyright music. Amount of revenue lost by the digital-music industry to consumers who download songs; Efforts of Universal Music Group and others to introduce pay-per-song services; Example of subscription services such as iTunes Music Store and the Listen.com Rhapsody service; Problems with the pay-per-song business model; Comments from people who regularly download free music and from music industry executives.

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.

Discusses the creation of online music trading company Napster by 19-year-old Shawn Fanning. Details of the copyright violation lawsuit brought against Napster by the Recording Industry Association of America (RIAA); How Napster offers free software to download music from the Internet; Resistance from the traditional music industry to music technology; Outlook for Napster.

Ponders whether China will keep its promise to end the pirating of American software and CDs. How American CEOs supported the trade agreement that aims to end the counterfeiting; Opinion that change will come slowly; Why Chrysler ended negotiations with the Chinese over the building of a minivan plant in Guangdong province.

Discusses the growing and increasingly visible risks confronting Western and Asian companies doing business in the People's Republic of China as of March 6, 1995. China's flagrant piracy of American popular music, movies and computer software; The prospect of turmoil following the demise of ailing leader Deng Xiaoping; Inflation; Rampant corruption; Other problems; The US-China dispute over heisted copyrights.

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 the contents of the International Federation of the Phonographic Industry's (IFPI's) Digital Music Report 2012 which deals with topics such as copyright infringement, the legal aspects of the music industry, and digital music download revenues. Other topics include streaming music services, cloud technology, and music piracy in relation to peer-to-peer file sharing services. Several federal legislative measures are addressed, including South Korea's copyright law reforms.

The article focuses on the stand of the Deep Purple band about bootleg recording. Bassist Roger Glover explains that the band have no single position on bootlegs, as the members have their own views to it. Listening to bootleg recordings, Glover says he came to realize what they are as a band. Glover reveals that bootleggers presented him with the only version of a blues recording of the band for BBC.

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 actions taken by the music industry to resolve music piracy amid technological change. Attempts to enforce property rights are cited as the initial response of the music industry to file-sharing. The sector also filed lawsuit against individual users when lawsuits against peer-to-peer file-sharing networks failed to address illegal downloading. Some of the new business models in the digital age are the liberal use of downloaded music and the inclusion of complementary products. The significance of digitization of music is noted.

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.

The article discusses the standard and quality of a sound in music industry. The author stresses the digital revolution that eradicated the standards and everyone is speaking a different language. He further stresses the solution of the problem in which quality of a sound can bring life back in music industry. Joseph Henry Burnett, producer also stressed the piracy as one of the problem in recording industry that leads people to copy without any permission from the source.

This article focuses on the illegal digital music and movie trading in the U.S., as of October 2004. According to Com-Score, BitTorrent peer-to-peer (P-to-P) network nearly doubled in users, EMule grew from under 100,000 users to nearly 300,000, and EDonkey has made even bigger gains. These services may pose a greater threat to content owners than previous P-to-P networks. All three use an advanced technique called swarming, in which portions of files are downloaded from multiple sources and immediately offered to the network. The result: potentially faster downloads and more rapid propagation of content. And there are other options for pirated content. Internet newsgroups, best known by the collective name Usenet, offer a vast reservoir of music, movies, and software. In the past, the difficulty of using newsgroups, has stunted the growth of piracy on them. That could change, particularly with the emergence of user-friendly software that makes accessing content in newsgroups easier than dealing with the more unpredictable P-to-P services. But even if newsgroups become a more popular venue for illegal file trading, they are generally still public and easy to track. Private networks set up by file traders are harder to track or quantify.

Focuses on the decision of the Recording Industry Association of America to file suits against people involved in illegal downloading and trading of music files. Estimated amount of damages for downloading a pirated song; Remarks from litigator Melissa Klipp on the move; Percentage of decline in music sales.

Reports the lawsuit filed by the Recording Industry Association of America against a number of college students for the illegal copying of music files.

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.