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- From the archives â March 2001: Major label digital strategies
,----[ Quote ]
| The company's internet strategy begins and
| ends with AOL. The thinking here is that
| AOL, with 24 million subscribers, has a
| natural customer base for Time Warner's
| extensive music catalogue, as well as
| serious Internet expertise in house.
| Although MBI World Music Report lists Warner
| Music Group's global market share as equal
| to BMG's at 11.9 percent (tied for fourth),
| AOL was working to secure licensing rights
| from the other music titans.
|
| Combined with Time Warner's cable-modem Road
| Runner service, AOL also has control of fat
| pipes in the US. The reason many people
| didn't use Napster is because it is slow and
| expensive. With control of broadband,
| subscription is that much more compelling.
`----
http://musically.com/blog/2009/12/22/from-the-archives-march-2001-major-label-digital-strategies/
My only prediction for 2010 and it ainât pretty
,----[ Quote ]
| Sure we have all read posts about how the
| entertainment industry is trying to get
| changes made to existing copyright laws in
| various countries and the response has for
| the most part been a big *YAWN* and then
| itâs on to whining and gushing respectively
| over Twitter and Facebook. The problem is
| that the movement to gut existing copyright
| laws, being led by the US entertainment
| industry, is only a shadow of the real
| effort that will supersede any local country
| laws.
|
| This is all being done behind closed doors
| where even government officials are being
| required to sign NDA (Non-Disclosure
| Agreements). Yes, NDAs on the creation of a
| new global treaty â something that has never
| been done before because laws and treaties
| are suppose to be open to public examination
| and input. This isnât the case with the
| Anti-Counterfeiting Trade Agreement (ACTA)
| however.
`----
http://www.inquisitr.com/54746/my-only-prediction-for-2010-and-it-aint-pretty/
What Could Have Been Entering the Public Domain on January 1, 2010?
,----[ Quote ]
| Current US law extends copyright protections
| for 70 years from the date of the authorâs
| death. (Corporate âworks-for-hireâ are
| copyrighted for 95 years.) But prior to the
| 1976 Copyright Act (which became effective
| in 1978), the maximum copyright term was 56
| years (an initial term of 28 years,
| renewable for another 28 years). Under those
| laws, works published in 1953 would be
| passing into the public domain on January 1,
| 2010.
`----
http://www.law.duke.edu/cspd/publicdomainday/pre1976
Sookman found liable for worldwide article inaccuracies
,----[ Quote ]
| OK. Iâm being mean. I know it. You know it.
| Barry knows it. But hey, itâs me. This is
| how I am. Still I feel kind of guilty. Itâs
| like shooting fish in a barrel. Quite
| frankly I should just forget about Barry,
| and finish the article I started before
| Christmas on Canadian attitudes towards
| Climate Change.
|
| But hell - I declare this âBeat up on Barry
| week.â In my earlier articles about Barryâs
| writing (one) (two) I mentioned that I had
| spotted other inaccuracies, and hereâs one:
|
| Fung and Isohunt found liable for inducing
| worldwide copyright infringement
|
| Like wow, man. Guilty of Worldwide Copyright
| Infringement! Thatâs bad. Really bad.
`----
http://crankyoldnutcase.blogspot.com/2009/12/sookman-found-liable-for-worldwide.html
Why Indie Directors Give Movies Away Free Online
,----[ Quote ]
| When Finnish filmmaker Timo Vuorensola came
| up with the idea for his movie Star Wreck, a
| parody of Star Trek, he knew that looking
| for conventional distribution would be
| futile. An amateur, science-fiction comedy
| with a miniscule budget â and in Finnish, to
| boot â would hardly be attractive to
| mainstream studios. So Vuorensola took
| matters into his own hands: he used a
| Finnish social networking site to build up
| an online fan base who contributed to the
| storyline, made props and even offered their
| acting skills. In return for the help,
| Vuorensola released Star Wreck in 2005
| online for free. Seven hundred thousand
| copies were downloaded in the first week
| alone; to date, the total has now reached 9
| million.
`----
http://www.time.com/time/arts/article/0,8599,1950005,00.html?xid=rss-fullworld-yahoo
The Problem Isn't Middlemen, It's Monopolies
,----[ Quote ]
| So many middlemen insist on monopolies,
| we've forgotten we don't need to grant them.
| They say that without a monopoly (aka
| "exclusive rights") they have no incentive
| to promote and distribute. Actually a
| monopoly gives a middleman no incentive,
| because no one is competing with them. Take
| away the monopoly, and the middleman has to
| compete with other potential middlemen
| (including the artist). Then they have an
| incentive to work. Rather than monopoly,
| they succeed on the basis of expertise
| (theatrical distributors already know how to
| track, ship, and manage prints), innovation
| (finding better ways to meet customers'
| existing desires and identifying new ones),
| and quality.
`----
http://techdirt.com/articles/20091208/0259297245.shtml
Recent:
Anti-Counterfeit Act Violates Right to Health, Say Patients
,----[ Quote ]
| Kenya's new Anti-Counterfeit Act will be
| challenged on March 8 in the country's
| Constitutional Court on the basis that it
| violates the right to health.
|
| The petitioners, three people living with
| HIV, argue that the law confuses generics
| with fake medicine.
|
| This could cause a health crisis as generics
| constitute 90 per cent of medicines used in
| Kenya.
`----
http://allafrica.com/stories/200912221173.html
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