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    Friday
    Jul162010

    EMI Eyes a Revival

    Roger Faxon, the newly installed EMI Group CEO, is expected to present his plan for turning around the struggling music label to boss Guy Hands in the next two weeks, sources tell The Post.

    Faxon's plan, the sources add, includes new distribution deals and securitizing assets on the publishing side.

    "They're looking at new ways to monetize their assets," said one source. "They're looking for distribution deals or a sale on the recorded music side."

    While EMI boasts successful artists such as Katy Perry, Coldplay and Robbie Williams, the iconic British music company is struggling to stay afloat.

    Distribution deals, which involve outsourcing the delivery and sale of music to retailers and digital distribution platforms, would help EMI cut its internal sales and marketing expenses.

    On the publishing side, EMI may cherry-pick certain catalogs and securitize them, which involves giving up a stake in the catalog for up-front cash. EMI declined to comment.



    Read more: http://www.nypost.com/p/news/business/emi_eyes_revival_hwnQ2q3bCYGaSuqrGINEEK#ixzz0tr2kMTGd

    Thursday
    Jul152010

    Spotify 'growing healthily and on track for US launch'

     

    Daniel Ek, the chief executive of the internet music streaming service, said that Spotify now had more than half a million subscribers. He said: “It is growing healthily and if you look at any subscription service around the world we are, if not the biggest, then one of the two or three biggest.”

    He said the long rumoured American launch of the service was still on track and would happen before the end of the year. “We’re still on track for launching it this year and I’m going back to the US all the time to meet with people.”

    Spotify has had a busy year, adding social features in April and launching tiered subscription plans in May. The service now offers up to 20 hours of free music streaming per month but users will have to listen to ads. For £4.99 per month listeners can turn off the ads and the time limit, while a £9.99 monthly subscription adds the option to play music offline or on a mobile phone.

    Ek said his focus was on how Spotify can help transform the music industry. “Is it a perfect system? No. Does it work? No, not yet. It works when you reach enough of a scale. Hence, one of the most important things Spotify can do is to grow. It’s not really about how many paying users have we got versus free users, it’s about how big we can grow the entire system.”

    He added: “Music needs to be like water. It needs to be ubiquitous. We need to understand that this is not about MP3 files anymore; the MP3 file has become the URL and through that unique identifier I can send you something and you’ll be able to know what it is and listen to it."

    Spotify are unlikely to be alone in their plans. Apple are thought to be developing a version of iTunes that will store music in ‘the cloud’ - a series of internet-connected servers that will allow people to access their music collection without having the files with them on an iPod or laptop.

    Meanwhile, We7, one of Spotify’s main competitors in the UK, yesterday launched a news service that would allow listeners to add a news bulletin to their playlists, turning the service into an effective competitor for music radio.  For more information on We7's news service click the following link.

    Monday
    Jul122010

    Google Wins Viacom Copyright Lawsuit

    Google-owned YouTube won a major victory Wednesday when a federal judge ruled the video-sharing site was protected under U.S. copyright law.

    Viacom, which vowed an appeal, was seeking $1 billion in damages in a case testing the depths of copyright-infringement protection under the Digital Millennium Copyright Act of 1998.

    The ruling, if it survives, is a boon for internet freedom, especially as it applies to search engines, video-hosting companies, picture-hosting services like Flickr, social-networking sites like Facebook and micro-blogging services such as Twitter. But it will make it all the more difficult for rights holders to protect their works.

    In short, Wednesday’s decision says internet companies, even if they know they are hosting infringing material,  are immune from copyright liability if they promptly remove works at a rights-holder’s request — under what is known as a takedown notice.

    “Today’s decision isn’t just about YouTube,” said Center for Democracy & Technology lawyer David Sohn. “Without this decision, user generated content would dry up and the internet would cease to be a participatory medium.”

    U.S. District Judge Louis L. Stanton of New York disagreed with Viacom’s claims that YouTube had lost the so-called “safe harbor” protection under the DMCA. Viacom, parent of Paramount Pictures and MTV, maintained Google did not qualify, because internal records showed Google was well aware its video-hosting site was riddled with infringing material posted by its users.

    Stanton ruled that YouTube’s “mere knowledge” of infringing activity “is not enough.”

    “To let knowledge of a generalized practice of infringement in the industry, or of a proclivity of users to post infringing materials, impose responsibility on service providers to discover which of their users’ postings infringe a copyright would contravene the structure and operation of the DMCA,” the judge wrote.

    Stanton ruled that YouTube had no way of knowing whether a video was licensed by the owner, was a “fair use” of the material “or even whether its copyright owner or licensee objects to its posting.”

    Stanton added, “Indeed, the present case shows that the DMCA notification regime works efficiently: When Viacom over a period of months accumulated some 100,000 videos and then sent one mass takedown notice on Feb. 2, 2007, by the next business day YouTube had removed virtually all of them.”

    Jonathan Band, a copyright attorney who helped craft the DMCA, said “The argument Viacom was making would have neutered the DMCA. I think the judge understood that.”

    The DMCA, which was heavily lobbied into existence by the Hollywood studios, has been a boon for internet freedom. But it has been a bust in other areas.

    Among its provisions, it prohibits the circumvention of encryption technology. DVDs are encrypted with what is known as the Content Scramble System, and DVD players must secure a license to play discs. So a San Francisco federal judge ruled in March that RealNetworks breached the DMCA when it marketed a DVD-copying device, and precluded it from the market. Apple also claims the DMCA makes it unlawful to jailbreak iPhones.

    The Motion Picture Association of America declined comment on Stanton’s decision.

    What’s more, the DMCA’s “safe harbor” privilege comes with another price. The law demands intermediaries such as YouTube to take down content in response to a notice from rights holders, without evaluating the claim for reasonableness or accuracy, or considering the fair use rights of users. That has opened the door to many abuses of free expression, including Universal Music’s 2008 takedown notice to YouTube over a Pennsylvania woman’s 29-second video of her toddler dancing to Prince’s “Let’s Go Crazy.”

    The YouTube-Viacom decision came nearly a year after a Los Angeles federal judge ruled similarly in a case against little-known, video-sharing site Veoh, which has gone bankrupt. The difference between Wednesday’s ruling and the Veoh outcome, Band said, is that YouTube is mainstream, used by millions daily and is owned by one of the world’s most popular and richest internet brands: Google.

    Google, which purchased YouTube for $1.8 billion in 2006, hailed the decision, saying it was “an important victory not just for us, but also for the billions of people around the world who use the web to communicate and share experiences with each other.”

    Viacom, which brought the case three years ago, said “We believe that this ruling by the lower court is fundamentally flawed and contrary to the language of the Digital Millennium Copyright Act.”

    Judge Stanton ruled the Supreme Court’s 2005 decision against Grokster did not apply. He said Grokster distributed software that allowed computer-to-computer exchanges of infringing material, “with the expressed intent of succeeding to the business of the notoriously infringing Napster.”

    Here is the case’s entire docket.

    See Also:



    Read More http://www.wired.com/threatlevel/2010/06/dmca-protects-youtube/#ixzz0tU8MQqvA

    Monday
    Jul122010

    Ten Ways to Combat Illegal File Sharing: Institutions get advice on how to comply with a federal mandate that takes effect July 1

    As colleges and universities prepare to meet a new federal directive to curb illegal file sharing, one expert has a list of 10 suggestions for higher-education technology officials.

    In a recent webinar hosted by Audible Magic, a company that sells content protection technology to schools, participants learned that as of July 1, colleges and universities must comply with the peer-to-peer (P2P) provisions of the Higher Education Opportunity Act (HEOA), a federal regulation that aims to stem illegal file sharing.

    “This is an important issue,” said Jay Friedman, vice president of marketing for Audible Magic, “because [according to a report by the Administrative Office of the United States Courts], in just the last year, the number of lawsuits filed by the U.S. Copyright Group alone has jumped. In 2009, there were 2,000 lawsuits filed. In just the few months in 2010, 14,000 have been filed.”

    Friedman explained that “the burden is really on the institution to be HEOA compliant, because this new regulation requires annual disclosure to students, requires the use of one or more tech-based deterrents, and states that institutions must ‘effectively combat unauthorized P2P use with measurable results.’”

    But knowing how to comply with HEOA might take more than a simple read-through of the law’s very vague definition…

    Read the full story on eCampus News.

    Monday
    Jul122010

    Eight Recent Social and Technical Phenomena That Are Making Your Music The Only Thing That Matters To Your Success.

    I will argue here (just to be controversial) that prior to becoming popular (as in financially viable), you could choose to have no website, no Facebook fan page, no widgets, no videos, no album, no twitter, no centralized location on the Internet, and never do much of anything on the Internet that could be called self-promotion, and that your fans can and could effortlessly do everything for you now; including the recording and the distribution of your music. 

    Moreover, I will also stipulate that all the stuff I just listed above is practically a waste of your time now, as it’s all being steamrolled anyways.  See the list below:

    Social Amplification.  With the unprecedented, widespread use of social utilities like Facebook and Twitter, hundreds of millions humans now have super simple mechanisms that enable all of us to rapidly connect, communicate, and share thoughts and stuff between targeted and/or widespread groups of people.  Collectively, people are currently doing this billions of times a day.
     
    Swarming Capabilities.  With wireless devices, GPS, and the location-aware and geo-tagging capabilities that are (or will be) part of Facebook, Twitter, FourSquare, Flickr, YouTube, and part of countless other programs, humans can and are swarming upon physical sites, happenings and events.  If the swarm/crowd/herd wants to be someplace together, they can and will be.

    Fan-Driven Crowd-Control.  Prior to obtaining 50,000,000 spins / impressions (niche-fame), fans can and will exert unprecedented and real-time control over the size and the composition of your crowds.  The shared knowledge of who is going to your shows, and who is already there, is equal to, or more important than…you are.

    Effort Shifting.  The camera, video and recording capabilities that are baked into the devices that ordinary people carry in their pockets now, are capable of capturing moments and events, and at a quality level that’s entertaining enough, to engage today’s entire online population.  Fans can and will record everything and anything that’s remarkable.  You no longer need to do this for them.

    Brand Un-Control.  Your brand name, your images and your music will be linked and tagged to thousands or even to tens of thousands of images, videos, and status updates that may or may not have anything to do with you or the brand you once tried to control.  You and your brand will often be sideshows attached to someone’s permanent online memory.

    Thumbs Up.  And all those images, videos, recordings, and status updates that are linked and tagged to your name - they’re all being quality-rated…in real-time.  Think about the Facebook thumbs up button; it’s not only a rating tool, it’s a social amplifier.

    Decentralization.  Both Microsoft Bing and Google Search feature mixed search results that include traditional text-based search results, audio, video, images and real-time stream postings.  Look for social (quality) ratings, location awareness, scheduling and other tidbits to also become part of every search-results presentation. 

    Your brand (and brand rating) will be everywhere and anywhere fans put it and rate it.  Search results are becoming (to artists and fans) what MySpace use to be (a glorified directory).  However this time, you won’t be able to completely control the presentation.  Every bit of information about you will be found and smartly presented as the result of a search query.

    Remixing.  The ability to slice, dice and remix whatever you create is also unprecedented.  There are even smart phone applications that will enable fans to remix your show before you have even left the stage.  Don’t expect anything to remain as you intended it.

    Given these eight relatively recent social and technical phenomena, the only three things you have to get right now are: 1) incrementally improve your songs or a song, until it is, or they are, all over the Internet (via the efforts of fans); 2) incrementally improve your live show to the point where fans are asking you to turn up the volume; and 3) learn how to throw an ongoing party that keeps people coming back week after week, or month after month (to be covered in my next post).  If you give fans great songs, a great show, and a great party…they can and will do everything else now.  Everything