This document provides a summary of the history of the music industry in relation to various technologies and laws over several decades. It discusses the emergence of key organizations like ASCAP and BMI to collect royalties for composers and publishers. It also covers the development of the recording industry with technologies like phonographs and how laws evolved to address copying and performances of music. The document outlines the challenges that internet radio and streaming faced with royalty rates and regulations into the 2000s. It is critical of the organization SoundExchange and its role in collecting royalties.
The document provides an overview of performance rights in sound recordings in the United States compared to international neighboring rights regimes. It discusses how most civil law countries have adopted neighboring rights regimes through treaties like the Rome Convention, which extend copyright protection to performers and record labels for public broadcasts of sound recordings. In contrast, the United States only provides limited digital performance rights and has yet to enact a broad neighboring rights regime, leaving many sound recordings without performance rights protections. The document argues that the US should follow the civil law approach and enact a neighboring rights regime to fully protect performance rights in sound recordings.
This document provides an overview of intellectual property law, focusing on copyright and trademark. It discusses:
- The constitutional basis and history of copyright in the US.
- How copyright automatically applies and is enforced through civil lawsuits.
- The types of intellectual property (copyright, trademark, patents) and their typical durations.
- Exceptions and limitations to copyright like fair use, public domain works, and Creative Commons licensing.
- Key copyright cases around music/file sharing (Sony, Napster, Grokster) and how laws like the DMCA responded.
- Trademark basics and issues like the Redskins name controversy and domain name disputes.
The document serves to outline the
Recorded music has evolved from early technologies that could automatically play music through punched cards and diagrams etched in sand, to modern digital formats and devices for portable listening. Key developments included the phonograph and record player in the late 19th century, magnetic tape and cassettes in the mid-20th century, the digital CD in the 1980s, and MP3 files and portable players like the iPod in the 1990s-2000s. The internet and file sharing sites like Napster in the late 1990s revolutionized music piracy and forced the industry to respond with legal digital download and streaming services, while compressed audio formats allowed for portable music consumption on the go.
Final Paper written on the history of the copyright code from the perspective of past, present, and future predictions for my MUS343 course that Dr. Anthony Merlino instructed.
The music recording industry has undergone significant changes since the 1850s with the development of recording technologies. By the early 20th century, the industry was dominated by a few major companies like Edison, Columbia, and Victor. Rock music in the 1950s brought more competition. Today, the global industry is worth $40 billion annually and is controlled by just a few major corporations like Universal Music Group, Sony/BMG, Warner Music, and EMI, which control the majority of charted albums and global market share. Top earning artists of all time include Elvis Presley, The Beatles, Michael Jackson, Abba, and Queen.
This document provides an overview of communication law and ethics regarding broadcasting, cable, satellite, and internet. It discusses the history of broadcasting regulation in the United States, including key court cases and laws. Broadcasting has faced more regulation than print media due to its use of public airwaves. The document outlines the development of radio and television networks and regulations addressing issues like political advertising and children's programming.
The document provides an overview of performance rights in sound recordings in the United States compared to international neighboring rights regimes. It discusses how most civil law countries have adopted neighboring rights regimes through treaties like the Rome Convention, which extend copyright protection to performers and record labels for public broadcasts of sound recordings. In contrast, the United States only provides limited digital performance rights and has yet to enact a broad neighboring rights regime, leaving many sound recordings without performance rights protections. The document argues that the US should follow the civil law approach and enact a neighboring rights regime to fully protect performance rights in sound recordings.
This document provides an overview of intellectual property law, focusing on copyright and trademark. It discusses:
- The constitutional basis and history of copyright in the US.
- How copyright automatically applies and is enforced through civil lawsuits.
- The types of intellectual property (copyright, trademark, patents) and their typical durations.
- Exceptions and limitations to copyright like fair use, public domain works, and Creative Commons licensing.
- Key copyright cases around music/file sharing (Sony, Napster, Grokster) and how laws like the DMCA responded.
- Trademark basics and issues like the Redskins name controversy and domain name disputes.
The document serves to outline the
Recorded music has evolved from early technologies that could automatically play music through punched cards and diagrams etched in sand, to modern digital formats and devices for portable listening. Key developments included the phonograph and record player in the late 19th century, magnetic tape and cassettes in the mid-20th century, the digital CD in the 1980s, and MP3 files and portable players like the iPod in the 1990s-2000s. The internet and file sharing sites like Napster in the late 1990s revolutionized music piracy and forced the industry to respond with legal digital download and streaming services, while compressed audio formats allowed for portable music consumption on the go.
Final Paper written on the history of the copyright code from the perspective of past, present, and future predictions for my MUS343 course that Dr. Anthony Merlino instructed.
The music recording industry has undergone significant changes since the 1850s with the development of recording technologies. By the early 20th century, the industry was dominated by a few major companies like Edison, Columbia, and Victor. Rock music in the 1950s brought more competition. Today, the global industry is worth $40 billion annually and is controlled by just a few major corporations like Universal Music Group, Sony/BMG, Warner Music, and EMI, which control the majority of charted albums and global market share. Top earning artists of all time include Elvis Presley, The Beatles, Michael Jackson, Abba, and Queen.
This document provides an overview of communication law and ethics regarding broadcasting, cable, satellite, and internet. It discusses the history of broadcasting regulation in the United States, including key court cases and laws. Broadcasting has faced more regulation than print media due to its use of public airwaves. The document outlines the development of radio and television networks and regulations addressing issues like political advertising and children's programming.
History Of Film Sound Excerpt OriginalJeff Francis
1. The introduction of sound in films in the late 1920s led to major changes in the film industry as companies rushed to convert to "talkies".
2. Early experiments with combining phonograph records and film in the 1890s had limited success due to the challenges of cost, amplification, and synchronization.
3. By the late 1920s, improvements in electronic recording and amplification of sound on film helped resolve the remaining challenges, making sound films commercially viable.
This document summarizes defamation and copyright laws in Pakistan. It discusses what constitutes defamation according to Pakistani law, including the Defamation Ordinance of 2002 and Defamation Act of 2004. It also outlines copyright law in Pakistan based on the Copyright Ordinance of 1962, including what types of works are covered, ownership and infringement issues. Finally, it mentions some famous defamation cases in Pakistan and legislative responses to copyright piracy.
History of Digital Media from from1920 1930Zeeshan Shah
The digital media and Multimedia has recent history and this slide contains the information regarding the History of Digital media in details from 1920 to 1930 era.
This document is the Copyright Act 1997 of Mauritius. It contains 9 parts that outline provisions related to copyright protection of works, economic and moral rights of authors, limitations on rights, rights of broadcasting organizations and performers, application of the act, establishment of a copyright society, judicial proceedings, miscellaneous provisions. Key aspects covered include definitions of author, work, copyright, economic rights, moral rights, ownership and duration of rights, limitations and exceptions to rights, roles of the copyright society.
This document discusses copyright basics, including that a copyright protects original works of authorship fixed in a tangible form and lasts for the life of the author plus 70 years. It outlines various copyrightable works like music, literature, movies and explains the copyright notice and registration process. The document also covers copyright rights, compulsory licenses, mechanical licenses, regaining copyrights, and works entering the public domain.
This document discusses the complex issues around music copyright and how the industry has struggled to adapt to digital technologies and distribution models. It provides a brief history of music copyright law and outlines how recording contracts traditionally benefited corporations at the expense of artists. The document also shows how digital sharing disrupted old business models and formats, leading to lawsuits against customers instead of innovative solutions. While change has been slow, newer models and copyright approaches are emerging, though challenges still remain in fully adapting the industry to the digital age.
The document provides a history of film sound, beginning with Thomas Edison's 1895 Kinetophone, the first attempt to synchronize sound and moving images. Before 1928, silent films were typically accompanied by live sound effects, music, and recordings. Early experiments in the 1920s recorded sound on discs played in tandem with films. In 1926, Vitaphone and Movietone introduced sound-on-film systems, with Vitaphone recording sound separately on phonograph records. The 1927 film The Jazz Singer was the first feature-length movie with spoken dialogue. Throughout the 1930s and 1940s, surround sound and Foley techniques were developed to improve audio quality and realism, as movie attendance declined with the rise of television.
Royalty Claim - [Preview] The State of Unclaimed Royalties and Music Licenses...Dae Bogan
This presentation was given by Royalty Claim's Founder and Chief Researcher, Dae Bogan, at the Music Industry Research Associations first inaugural MIRA Conference at the UCLA Luskin Conference Center on August 11th, 2017.
Over three decades, sound was gradually incorporated into films through technological innovations that solved issues with synchronization, amplification, and cost. By the late 1920s, declining profits led studios to widely adopt sound recording methods like Vitaphone and Movietone. The Jazz Singer's success in 1927 demonstrated that audiences preferred talking pictures, making silent films obsolete by 1931 as sound film production became standardized and profitable.
The music industry is made up of four major record labels that dominate the recorded music business: Sony Music Entertainment, Universal Music Group, Warner Music Group, and EMI. Each label has smaller subsidiary labels that serve different regions and markets. The live music industry is dominated by Live Nation, the largest promoter and owner of music venues. Throughout the 20th century, the music industry transitioned from being dominated by sheet music publishers to recorded music with phonograph companies and major labels. By the late 20th century, the industry had consolidated into the "Big Six" major labels, which became the "Big Five" and then the "Big Four" through a series of mergers in the late 1990s.
The first owner of copyright in general is author (exceptions: works for hire,[3] Government works; s. 17).
The owner of copyright may assign the copyright (s. 18) or grant any interest in the copyright by license (s. 48). Licenses may also be granted by the Copyright Board (ss. 50–54).
Registration of copyright with the Copyright Office is not obligatory, but if registration has taken place the Register of Copyrights gives prima facie evidence of the particulars entered therein (s. 60).
This document discusses the artist resale right, which entitles artists to receive a royalty each time their work is resold by an art market professional. The artist resale right was adopted in the UK but not in the US despite two attempts at legislation. The document outlines criticisms of the resale right, such as potential economic and legal issues, and argues they are unwarranted. It concludes the resale right could be implemented in the US without problems and would help afford artists continued benefits from their works.
This chapter discusses the history and current state of the sound recording industry. It covers the development of recording technology from Thomas Edison's phonograph to modern digital formats. The chapter also examines how economic downturns, wars, and new media like radio, television, and the internet have impacted the industry. Finally, it describes the organizational structure of the recording industry and career prospects, which are challenging due to declining revenues from CD and digital music sales.
COMPARATIVE INTERNATIONAL LAW SEMINAR PAPERMichael Nabors
This document provides an overview and analysis of artist resale rights in the United Kingdom and United States. It begins with introductions to copyright law and the concept of droit de suite/artist resale right. It then examines the implementation of artist resale rights in the UK according to the EU Resale Rights Directive and its effect on the UK art market. It also discusses attempts to establish artist resale rights in the US, including the California Resale Royalties Act. The author argues that given the rationales for artist resale rights and its minimal impact on the UK art market, the US should adopt a similar federal law to protect artists.
Metallica filed a lawsuit against Napster in 2000 after discovering that an unreleased demo track of theirs was available for download on the platform. With help from other artists, over 300,000 Napster users were banned for sharing Metallica's music without authorization. The court later ruled that Napster must filter copyrighted content or shut down, fining the company $26 million.
In 2009, Pink Floyd sued EMI for allowing their concept albums to be broken up and sold individually online without permission. Pink Floyd won the case in 2010, with the court ruling EMI did not have rights to exploit the albums digitally without consent.
The document traces the development of television from its early experiments in the 1920s to modern technologies. Some key developments include:
- Philo Farnsworth's early experiments with electronic television in the 1920s. Regular broadcasts began in the 1930s by the BBC.
- Introduction of coaxial cable in 1936 which improved signal transmission. Color television was also developed in the 1940s-1950s.
- The 1950s saw the development of remote controls and the first satellite TV broadcasts. By the 1960s, most TVs were in color.
- Home video recording was introduced in the 1970s with Betamax, and HDTV was approved in the 1980s along with surround sound and closed
This is my powerpoint charting the historical development of the remix in four parts:
1) Historical introduction
2) Music: Birth of sampling and the remix
3) Remixing the Web - The Mashup
4) The Future of the Creative Remix
Applebee's is a popular American restaurant chain known for its casual dining experience and affordability. It offers a variety of American fare like burgers, pasta, and steak at reasonable prices in a family friendly atmosphere. Customers can choose to dine-in or carry out their order for a quick meal on a budget.
History Of Film Sound Excerpt OriginalJeff Francis
1. The introduction of sound in films in the late 1920s led to major changes in the film industry as companies rushed to convert to "talkies".
2. Early experiments with combining phonograph records and film in the 1890s had limited success due to the challenges of cost, amplification, and synchronization.
3. By the late 1920s, improvements in electronic recording and amplification of sound on film helped resolve the remaining challenges, making sound films commercially viable.
This document summarizes defamation and copyright laws in Pakistan. It discusses what constitutes defamation according to Pakistani law, including the Defamation Ordinance of 2002 and Defamation Act of 2004. It also outlines copyright law in Pakistan based on the Copyright Ordinance of 1962, including what types of works are covered, ownership and infringement issues. Finally, it mentions some famous defamation cases in Pakistan and legislative responses to copyright piracy.
History of Digital Media from from1920 1930Zeeshan Shah
The digital media and Multimedia has recent history and this slide contains the information regarding the History of Digital media in details from 1920 to 1930 era.
This document is the Copyright Act 1997 of Mauritius. It contains 9 parts that outline provisions related to copyright protection of works, economic and moral rights of authors, limitations on rights, rights of broadcasting organizations and performers, application of the act, establishment of a copyright society, judicial proceedings, miscellaneous provisions. Key aspects covered include definitions of author, work, copyright, economic rights, moral rights, ownership and duration of rights, limitations and exceptions to rights, roles of the copyright society.
This document discusses copyright basics, including that a copyright protects original works of authorship fixed in a tangible form and lasts for the life of the author plus 70 years. It outlines various copyrightable works like music, literature, movies and explains the copyright notice and registration process. The document also covers copyright rights, compulsory licenses, mechanical licenses, regaining copyrights, and works entering the public domain.
This document discusses the complex issues around music copyright and how the industry has struggled to adapt to digital technologies and distribution models. It provides a brief history of music copyright law and outlines how recording contracts traditionally benefited corporations at the expense of artists. The document also shows how digital sharing disrupted old business models and formats, leading to lawsuits against customers instead of innovative solutions. While change has been slow, newer models and copyright approaches are emerging, though challenges still remain in fully adapting the industry to the digital age.
The document provides a history of film sound, beginning with Thomas Edison's 1895 Kinetophone, the first attempt to synchronize sound and moving images. Before 1928, silent films were typically accompanied by live sound effects, music, and recordings. Early experiments in the 1920s recorded sound on discs played in tandem with films. In 1926, Vitaphone and Movietone introduced sound-on-film systems, with Vitaphone recording sound separately on phonograph records. The 1927 film The Jazz Singer was the first feature-length movie with spoken dialogue. Throughout the 1930s and 1940s, surround sound and Foley techniques were developed to improve audio quality and realism, as movie attendance declined with the rise of television.
Royalty Claim - [Preview] The State of Unclaimed Royalties and Music Licenses...Dae Bogan
This presentation was given by Royalty Claim's Founder and Chief Researcher, Dae Bogan, at the Music Industry Research Associations first inaugural MIRA Conference at the UCLA Luskin Conference Center on August 11th, 2017.
Over three decades, sound was gradually incorporated into films through technological innovations that solved issues with synchronization, amplification, and cost. By the late 1920s, declining profits led studios to widely adopt sound recording methods like Vitaphone and Movietone. The Jazz Singer's success in 1927 demonstrated that audiences preferred talking pictures, making silent films obsolete by 1931 as sound film production became standardized and profitable.
The music industry is made up of four major record labels that dominate the recorded music business: Sony Music Entertainment, Universal Music Group, Warner Music Group, and EMI. Each label has smaller subsidiary labels that serve different regions and markets. The live music industry is dominated by Live Nation, the largest promoter and owner of music venues. Throughout the 20th century, the music industry transitioned from being dominated by sheet music publishers to recorded music with phonograph companies and major labels. By the late 20th century, the industry had consolidated into the "Big Six" major labels, which became the "Big Five" and then the "Big Four" through a series of mergers in the late 1990s.
The first owner of copyright in general is author (exceptions: works for hire,[3] Government works; s. 17).
The owner of copyright may assign the copyright (s. 18) or grant any interest in the copyright by license (s. 48). Licenses may also be granted by the Copyright Board (ss. 50–54).
Registration of copyright with the Copyright Office is not obligatory, but if registration has taken place the Register of Copyrights gives prima facie evidence of the particulars entered therein (s. 60).
This document discusses the artist resale right, which entitles artists to receive a royalty each time their work is resold by an art market professional. The artist resale right was adopted in the UK but not in the US despite two attempts at legislation. The document outlines criticisms of the resale right, such as potential economic and legal issues, and argues they are unwarranted. It concludes the resale right could be implemented in the US without problems and would help afford artists continued benefits from their works.
This chapter discusses the history and current state of the sound recording industry. It covers the development of recording technology from Thomas Edison's phonograph to modern digital formats. The chapter also examines how economic downturns, wars, and new media like radio, television, and the internet have impacted the industry. Finally, it describes the organizational structure of the recording industry and career prospects, which are challenging due to declining revenues from CD and digital music sales.
COMPARATIVE INTERNATIONAL LAW SEMINAR PAPERMichael Nabors
This document provides an overview and analysis of artist resale rights in the United Kingdom and United States. It begins with introductions to copyright law and the concept of droit de suite/artist resale right. It then examines the implementation of artist resale rights in the UK according to the EU Resale Rights Directive and its effect on the UK art market. It also discusses attempts to establish artist resale rights in the US, including the California Resale Royalties Act. The author argues that given the rationales for artist resale rights and its minimal impact on the UK art market, the US should adopt a similar federal law to protect artists.
Metallica filed a lawsuit against Napster in 2000 after discovering that an unreleased demo track of theirs was available for download on the platform. With help from other artists, over 300,000 Napster users were banned for sharing Metallica's music without authorization. The court later ruled that Napster must filter copyrighted content or shut down, fining the company $26 million.
In 2009, Pink Floyd sued EMI for allowing their concept albums to be broken up and sold individually online without permission. Pink Floyd won the case in 2010, with the court ruling EMI did not have rights to exploit the albums digitally without consent.
The document traces the development of television from its early experiments in the 1920s to modern technologies. Some key developments include:
- Philo Farnsworth's early experiments with electronic television in the 1920s. Regular broadcasts began in the 1930s by the BBC.
- Introduction of coaxial cable in 1936 which improved signal transmission. Color television was also developed in the 1940s-1950s.
- The 1950s saw the development of remote controls and the first satellite TV broadcasts. By the 1960s, most TVs were in color.
- Home video recording was introduced in the 1970s with Betamax, and HDTV was approved in the 1980s along with surround sound and closed
This is my powerpoint charting the historical development of the remix in four parts:
1) Historical introduction
2) Music: Birth of sampling and the remix
3) Remixing the Web - The Mashup
4) The Future of the Creative Remix
Applebee's is a popular American restaurant chain known for its casual dining experience and affordability. It offers a variety of American fare like burgers, pasta, and steak at reasonable prices in a family friendly atmosphere. Customers can choose to dine-in or carry out their order for a quick meal on a budget.
One in Four is an all-male sexual assault peer education group. We present a one-hour program, "How to Help a Sexual Assault Survivor: What Men Can Do," to any group of men who will listen -- sports teams, residence hall students, student organizations, fraternities, off campus groups -- anyone. We also perform for coed audiences from time to time under special circumstances.
The document discusses Philadelphia's efforts to address littering issues in the late 1980s and early 1990s. In 1989, Philadelphia began enforcing anti-littering laws more strictly but continued to be called "Filthydelphia" in 1990. A new newsletter called "Clean Slate" launched with the goal of eliminating this nickname by getting residents more involved in cleaning the city. Various initiatives like annual clean up competitions and expanding recycling programs were discussed as ways to engage the community and make Philadelphia cleaner.
Organization of CC Jurisdiction Projects: Overview, Comparisons & Challenges ...Haggen So
The document provides an overview of the organization of Creative Commons jurisdiction projects in Hong Kong, which was launched in October 2008. It is led by professors and legal experts from the University of Hong Kong with support from staff, bloggers, radio stations, Wikipedians and other free and open source communities. It received pre-launch funding from individuals and organizations, and plans to continue developing relationships with educational institutions to promote Creative Commons use and curriculum. The challenges include gaining wider acceptance and securing steady resources with the goal of further establishing Creative Commons in Hong Kong in the next three years.
Spamato is an open source and extendable spam filtering system that aims to simplify the development and deployment of spam filters and tools. It can be used as an email client add-on or standalone system. Spamato processes emails through five phases - initialization, pre-check, check, decision, and post-check - to determine spam probability. It includes several filters like Bayesianato, Ruleminator, and filters that analyze URLs and domains. The system architecture is platform independent and supports integration of additional filters and analysis tools.
The document discusses the history and development of open source software and the free software movement. It describes how early programmers freely shared source code until the commercialization of the software industry in the 1980s. This led Richard Stallman to launch the GNU project and Free Software Foundation to ensure source code remained open. Linus Torvalds later developed the Linux kernel, combining it with GNU software to create a free open source operating system. The open source model gained popularity during the dot-com boom but predictions of Linux dominating desktops were delayed due to inertia and Microsoft's market dominance. Both enabling and disabling factors for open source are discussed.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
CC Licensed Projects in Asia and the Pacific - The Hong Kong SamplesHaggen So
The document lists several past, current, and potential future Creative Commons licensed projects in Asia and the Pacific focusing on Hong Kong. It notes the launch dates and statuses of projects like The Hong Kong Samples, OpenRadio, InMediaHK, MySinaBlog, as well as current projects with Radio Television Hong Kong and Punch Party Hong Kong. It also outlines a future project called Kwun Tong Culture and Histories and potential future projects like Hong Kong Memory and Hong Kong Film 100 Year.
This document discusses reframing language and metaphors used for the internet. It argues that describing content as a commodity to be delivered frames the internet incorrectly and risks regulating speech. Instead, the internet is best understood as a place where people inform and author each other through sharing ideas. Laws and regulations have treated broadcasting differently than other speech, focusing on regulating content rather than protecting free expression. To protect online speech and innovation, the internet should be framed as a place for both free speech and free enterprise, not just a delivery system for content.
This document discusses two choices between two people named Dong 1 and Dong 2. For each choice, it states whether Dong 1 and Dong 2 chose correctly or incorrectly. The document does not provide any other context around the choices or people.
The document summarizes guidelines from the Seventh Report of the Joint National Committee on Prevention, Detection, Evaluation, and Treatment of High Blood Pressure (JNC 7). It outlines classifications for blood pressure levels, risk factors, treatment goals, lifestyle modifications, and drug therapy recommendations. The guidelines emphasize individualizing treatment based on a patient's specific cardiovascular risks and medical conditions.
Buntzen Lake is a popular family destination located about an hour outside of Vancouver that offers over 50 kilometers of hiking trails around the lake, picnic areas, a dog park, fishing, and swimming. Maintained by BC Hydro, the lake is used for power generation but provides various outdoor recreational activities for visitors in a beautiful natural setting.
This document provides an introduction to Creative Commons copyright licenses for creative professionals. It discusses the concept of intellectual property, copyright law, and how Creative Commons aims to simplify sharing and stimulate creativity by offering standardized copyright licenses between all rights reserved and no rights reserved. The document outlines the history and development of Creative Commons, describes the different license elements and types, and discusses some limitations and applications of Creative Commons licenses.
The document discusses the history of copyright law as it relates to technological advances in the music industry. As technology has evolved from piano rolls to MP3 files to online streaming, it has enabled easier copying and sharing of music, which recording labels have tried to prevent through establishing and updating copyright laws. However, copyright infringement has still flourished with new technologies. The recording industry has sued file sharing sites like Napster and taken legal action against individual downloaders, but has struggled to fully stop illegal music sharing online. The future of the music industry remains uncertain as copyright infringement remains widespread.
Sound recording: Week 3 LectureNotes COM130Olivia Miller
This document discusses the history and evolution of sound recording from its origins to modern digital formats. It covers several milestones in sound recording technology from Thomas Edison's phonograph in 1877 to the invention of the compact disc in 1983. The document also examines the social and economic impact of sound recording technology, including its relationship with the music industry and the emergence of new formats like streaming services.
Timeline of the technology and music industryBethandVicMedia
The document outlines the major developments in the technology and music industries from 1877 to 2003, including key inventions like the phonograph, gramophone, radio, vinyl records, cassette tapes, compact discs, and mp3 files. It describes how each new format was adopted and led to changes in how music was produced and consumed, from Edison's first recording of sound in 1877 to the digital revolution enabled by the internet in the 1990s and 2000s.
Question_1/Essay_2_Question.jpeg
Question_1/Proper Summary Procedure -.docx
Proper Summary Procedure
Once you’ve identified the passage (thesis, argument) to be summarized, do the following:
1. Know the Passage
Read it, re-read it and re-read it again; Take notes; Do a Who / What analysis: Briefly answer the questions “Who” “What” “Where” “When” “Why” and “How” as part of your notetaking process; Before you begin drafting your summary you should know the passage so well, you could tell someone in your own words what it says without having to look at the passage.
2. Set the original aside
Looking at the original while you draft will greatly increase the chances of unintentional plagiarism.
3. Get something down
Using your notes, your Who/What analysis and your memory, make an attempt to summarize the passage. Understand that it won’t be perfect.
4. Go back to the original and check your summary for the following (in order):
A. Precision of the Language: Make sure you haven’t butchered the language! Revise for clarity and precision. You might have to revise several times to get the language right.
B. Accuracy: Make sure your summary accurately captures the intent of the original passage.
C. Violations of the Four Word Rule: Get in there and count! Make sure you have not unintentionally plagiarized the original passage.
Question_1/Sample Summary Paper -.docx
Sample Summary Paper:
Thesis
Lessig claims that we need to find a means of protecting artist’s financial interests while also continuing to encourage technological innovation through certain forms of piracy or theft.
First argument
He tells us all of our major media had its origins in theft. For example, filmmakers travelled to Hollywood, California in an attempt to avoid the patent protections Thomas Edison held on filmmaking technology. They thought California was far enough away that federal law enforcement couldn’t reach. By the time federal law enforcement caught up to these filmmakers, the patents had already expired.
Rest of Summary
[include one more example – i.e. cable tv].
Lessig argues that some forms of piracy are clearly beneficial because they promote innovation in technology. For this reason, he’d like to see person to person file sharing encouraged, so long as we can find a way to protect the artists from those who would make a profit from selling their work.
**** When writing your actual summary paper, DO NOT INCLUDE THE RED HEADERS ABOVE. I have inserted these to help clarify the process. Your actual summary paper (on “The Closing of the American Book”) should be in traditional paragraph form.
Question_1/Some Like It Hot --.docx
Some Like It Hot
OK, P2P is "piracy." But so was the birth of Hollywood, radio, cable TV, and (yes) the music industry.
If piracy means using the creative property of others without their permission, then the history of the content industry is a history of piracy. Every important sector of big media today - film, music, ...
This document provides a history of music recordings, beginning with early scientific recording devices in the 1800s and leading up to modern devices. It describes some of the key inventions and innovations in music recording technology over time, including Thomas Edison's phonograph in 1877, the graphophone in 1886, Emile Berliner's gramophone in 1887, the introduction of electrical recordings in 1925, the development of audio cassettes in 1962 and compact discs in the 1980s, and the release of the iPod in 2001. The timeline shows how recording technology evolved from early scientific instruments to mass-produced recordings to portable digital music players.
Bjmc i, dcm,unit-ii, radio jornalism- how did it startRai University
This document provides a history of the development of radio journalism. It describes some of the early pioneers and inventions that laid the groundwork, including Edison's phonograph, Marconi's improvements to wireless communication in the late 1800s, and early radio broadcasts by Fessenden and others in the early 1900s. It then discusses how radio started to become more commercial and widespread in the 1920s, as big companies like RCA and Westinghouse got involved, more stations were established, and improved radio receivers became widely available and affordable to the mass public.
Bjmc i, dcm,unit-ii, radio jornalism- how did it startRai University
Radio broadcasting began in the early 1900s with experiments transmitting voice and music over radio waves. Reginald Fessenden is considered the first to broadcast, transmitting music and readings on Christmas Eve in 1906. Lee De Forest later helped make radio reception easier with his invention of the vacuum tube. In the 1920s, radio started to become more widespread as a home technology as people built basic crystal radio receivers as a hobby. This led to its evolution as a mass medium.
This is a presentation I made (in French) at the Siestes Electroniques Music Festival in Toulouse, in June 2013.
It starts with a brief history of music distribution and then gets into to the details of digital music and streaming
This document provides an overview of the history and development of sound recording and popular music in the United States. It discusses key innovations in sound recording technology from the phonograph to digital formats like CDs and streaming. It also covers the emergence of rock music from blending various genres like blues, country, and R&B. The document analyzes how rock music blurred social and cultural boundaries around issues like race, gender, and sexuality. It discusses the music industry's adaptation to new digital technologies and formats in the internet age.
The document discusses how the digital music industry has changed control of the music industry from record labels to consumers. It describes how the introduction of digital music files in 1994 started this change, allowing consumers to share music online through platforms like Napster and iTunes. Now musicians have embraced social media and digital platforms to market directly to fans, gaining independence from radio, TV, and major record labels who previously controlled the industry. The document uses examples like U2 and Amanda Palmer to show how musicians now rely on engaging with fans through social media rather than traditional industry forces.
- International copyright law developed in response to advances in printing technology during the Industrial Revolution that allowed for mass production of printed works like musical scores and profit from their commercial sale.
- The first copyright law was passed in the UK in 1709 and has since expanded to cover additional media like records, tapes, videos, and digital downloads.
- The Berne Convention, established in 1886, was an important step in standardizing international copyright protections by requiring member countries to respect each other's copyrighted works.
Here are some key entertainment and sports law journals that may contain articles relevant to music law:
- Cardozo Arts & Entertainment Law Journal (Benjamin N. Cardozo School of Law)
- Columbia Journal of Law and the Arts
- Communications and Entertainment Law Journal (UC Hastings)
- Entertainment and Sports Law Review (University of Miami School of Law)
- Fordham Intellectual Property, Media & Entertainment Law Journal
- Loyola of Los Angeles Entertainment Law Review
- Marquette Sports Law Journal
- South Texas College of Law Review
These journals would be searchable on legal databases like Westlaw or LexisNexis and may contain articles on topics like music copyrights, licensing, sampling, recording
Patrons curators inventors and thieves chapter 2 (innovation or bust a short ...Dr Jonathan Wheeldon
The recording industry went through many changes in its first 100 years as it transitioned from cylinders to discs and dealt with new technologies like radio and tape. Early competitors like Edison, Columbia and Victor established the industry before it faced crises from the Great Depression and World War 2. Innovation in electrical recording and new formats like the long-playing record and compact disc helped the industry recover. It also had to adapt to new mediums like radio and challenges from unions that argued recorded music hurt musicians' livelihoods. Through it all, the major companies competed through new technologies, artists, and formats to drive the industry forward.
1877 - Thomas Edison recorded the first human voice on a tinfoil cylinder phonograph, improving sound quality.
1887 - Emile Berliner created the Gramophone, an improved version of the phonograph that could better record the human voice.
1890 - The first "juke box" was introduced, encouraging more artists and producers to record songs for coin-operated playback.
This document discusses the history and transformation of music and radio across different media over time. It covers the development of technologies for storing sound from the phonograph to records to tapes and digital formats. It also addresses the rise of radio broadcasting and its role in bringing entertainment and news into homes. The document outlines how music genres like rock and roll developed and became more integrated. It analyzes how new digital technologies have impacted the music experience and industry.
This document provides a timeline of key events in the music industry from 1940-1999. It traces the evolution of music recording and distribution formats from vinyl records to cassette tapes to CDs and the rise of digital music distribution through iTunes and the internet. The introduction of new technologies like multitrack recording, synthesizers, and home stereo systems are chronicled. Pivotal events in the growth of the music video industry, from its origins in film promotions to the launch of MTV and VH1, are also summarized. The timeline shows the music industry adapting to new formats and distribution methods over decades as technologies advanced.
The document provides a history of radio, beginning with early pioneers in wireless communication like Marconi, Hertz, and Popov. It discusses the development of AM radio in the US in the 1920s and the establishment of the first radio networks by AT&T and RCA. By the 1940s, NBC, CBS and ABC had emerged as the dominant broadcast radio networks in the US. The document also outlines the growth of radio formats and ownership consolidation in the industry over time.
This document provides a detailed timeline of key events in the music industry from the 1940s to the 1990s. It covers the transition from vinyl records to cassette tapes and CDs, the rise of digital music distribution through iTunes and the internet, and the history of music videos from their early promotional films in the 1960s to directors launching careers in the 1990s. Major innovations and companies that shaped the industry are mentioned such as the introduction of the LP record, cassette tapes, CDs, MIDI technology, and music streaming platforms like MP3.com. The music industry underwent major changes in distribution methods and faced challenges from new technologies like digital piracy and streaming.
Print recording began around 3000 BC with clay tablet impressions in Mesopotamia. Major developments included carved stone tablets of Confucian classics in China in 175 AD and the world's earliest printed book in East Asia in AD 868. Movable type was developed in the 11th century, making printing more efficient.
Audio recording started with Edison recovering "Mary Had a Little Lamb" on tinfoil in 1877. Major milestones included Marconi's wireless radio transmission in 1895 and the first commercial AM radio broadcast in 1921.
Web-based recording began with Babbage's analytical engine in 1842 and the first computer in 1943. The CD was developed in the late 1970s through collaboration between
This document provides an overview of the history and growth of the electronic dance music industry and Insomniac Events, a major electronic music festival promoter. It discusses how electronic music evolved from early experiments to becoming mainstream. It outlines key developments like the rise of raves and underground parties in the 1980s-90s that led to the growth of commercial festivals. The document then focuses on Insomniac Events, founded in 1993, and its role in popularizing festivals like Electric Daisy Carnival and Nocturnal Wonderland, which now attract tens of thousands of attendees annually. It also examines Insomniac's marketing strategies and partnerships that have contributed to its success in growing the electronic music festival business.
The document proposes an alternative online marketplace called "The Byway" that aims to give users more control and privacy over their data and identities online. On the Byway, users would have their own private compute nodes to run apps and algorithms on their own data. Buyers and sellers could connect directly in a platform-free way, with buyers stating what they are looking for and sellers only receiving interested buyers' messages. The Byway is presented as a new opportunity for online commerce, services, and governance outside of large tech platforms' control. It would start locally in Bloomington, Indiana and help is sought from developers, communities, and entrepreneurs to build use cases and spread the idea.
Slides for a talk I gave for Zuora at Subscribed 2012 in London. Topics are the subscription economy, VRM, customer commons, and business problems that can only be solved from the customer's side—subsription hell especially.
The document discusses a new approach to e-commerce called Self-Sovereign E-Commerce (SSEC). It proposes that SSEC can be scaled up by starting with messaging rather than identity. A key part of the approach is to separate the content of messages from the envelopes that contain them. This allows for a new type of computer called an Intentron, which is owned and controlled by individuals. Intentrons run applications from various sources and algorithms based on a user's personal data. They communicate asynchronously through a messaging layer called the Intention Byway. This new architecture could enable new businesses around messaging, addressing, applications and Intentrons.
The document discusses the potential for an "Intention Economy" enabled by Intentrons and the Intention Byway. An Intentron would be a personal device that runs independent apps and algorithms based on a user's data to act as an agent of their demand. Signals between Intentrons would travel through an open, asynchronous publishing-subscription system called the Intention Byway. This could enable more efficient, transparent markets like real estate and food by allowing buyers and sellers to directly connect via apps instead of relying on existing closed/opaque systems. Examples show how farmers, chefs, buyers, and truckers may find each other and complete food market transactions via Intentcasting apps. Similarly, real estate sellers and buyers could connect without intermedi
The document discusses giving users new tools and "superpowers" to protect their independence and privacy online in the age of widespread digital surveillance and data collection. It introduces the concepts of VRM, which provides customers tools for independence and engagement, and "intentcasting" which allows users to broadcast wants and needs to the market in a way they control. It also notes that blocking ads and tracking online can give individuals significant leverage over companies by allowing for the potential of the largest boycotts in history.
A slide deck to guide discussion of McLuhan and identity at the XXIVth Internet Identity Workshop. It led into a follow-on session for the Digital Life Collective, which was focused on "the Web we want."
A talk given at SugarCRM's SugarCon conference in 2011. It was way ahead of oits t (this won't let me go back and correct what's alredy typed, so I'll stop here).
The document discusses giving users new tools and "superpowers" to protect their independence and privacy online in the age of widespread digital surveillance and data collection. It introduces the concepts of VRM, which provides customers tools for independence and engagement, and "intentcasting" which allows users to broadcast wants and needs to the market in a way they control. It also notes that blocking ads and tracking online can give individuals significant leverage over companies by allowing for the potential of the largest boycotts in history.
The document discusses the history and evolution of online advertising, from early non-tracking based ads to the current tracking-based adtech system. It notes key events like the rise of interest in Do Not Track policies and browsers adding tracking protection. The document argues that ad blocking has increased in response to widespread internet surveillance and tracking by advertisers. It suggests a framework for distinguishing between respectful/disrespectful and acceptable/unacceptable kinds of ads.
VRM + CRM and why individuals need their own X-wing vehiclesDoc Searls
This document discusses the potential for customer relationship management (CRM) to focus on truly serving customers through love and empowerment, rather than just control and retention. It argues that CRM currently keeps customers locked in a client-server model where their data and control is held by companies. The document proposes that customer relationship management (CRM) needs a counterpart called vendor relationship management (VRM) to empower customers through tools and services that give them control over their own data and how they engage with companies. VRM aims to shift the balance of power to customers by moving relationships to a more peer-to-peer model where individuals are integrated into their own data and can assert their own demands. The document outlines several VRM projects and companies
The Liberated Customer is Good for BusinessDoc Searls
The document discusses how captive customers are bad for business and advocates empowering customers through tools that allow them to manage their own data and relationships with vendors. It proposes giving customers tools to send personal requests for proposals to markets, set their own prices, and assert their own legal terms. This concept of "Vendor Relationship Management" or VRM would create "free customers" who are more valuable to business than captive ones. VRM tools could include personal data stores, personal RFP systems, and fourth parties to assist customers. The goal is for sellers to have to genuinely deal with empowered customers, as free markets work best with free customers.
This document discusses the differences between the current commercial web model, which is top-down and focused on targeting and controlling users, and an emerging model of personal democracy and user-driven relationships online. It advocates for a shift to a more equal, user-driven model where individuals can control how their data is used and shared through tools like VRM that put the user in the driver's seat regarding their online interactions and data disclosure.
1. The document discusses how buyer reach now exceeds seller grasp due to technological changes. This shifts power to customers who can act as platforms and manage vendor relationships through tools like VRM.
2. It argues that CRM focuses too much on acquisition and management of customers rather than mutual relationships. VRM allows customers to set terms and help vendors relate to them.
3. One goal is to build tools that empower independent customers to better engage with vendors on their own terms through sharing intentions, preferences and managing data and agreements. This could lead to new business models centered around customer demand.
This document discusses the potential for customer relationship management (CRM) to focus on truly serving customers through love and empowerment, rather than just control and retention. It argues that CRM currently keeps customers locked in a client-server model where their data and control is held by companies. The document proposes that customer relationship management (CRM) needs a counterpart called vendor relationship management (VRM) to empower customers through tools and services that give them control over their own data and how they engage with companies. VRM aims to shift the balance of power towards customers and get CRM out of the controlling model to a more open, customer-centric frontier.
This document discusses the open and evolving nature of the internet and opportunities for businesses to support it. It argues that the internet is based on open protocols and cooperation rather than centralized control. Open source software and communities have allowed the internet to grow in unexpected ways. The biggest opportunities lie in empowering users and supporting new markets that emerge online, rather than trying to control infrastructure or sell old services over new networks.
The document discusses the need for Vendor Relationship Management (VRM) systems to give customers more control over their relationships with companies. It argues that current Customer Relationship Management (CRM) systems are one-sided in favoring vendors' ability to "manage, control, and own" customers. VRM aims to enable customers to manage their own data and set terms for how vendors can interact with them. This could help shift the balance of power towards mutual relationships rather than vendors treating customers as "captives" or "eyeballs." The document outlines several potential capabilities of VRM systems, such as expressing preferences to vendors and paying for priority customer service. It also proposes an "r-button" symbol to help VRM and CR
The document discusses the challenges of empowering individuals in the current client-server model of the web and proposes an alternative called Vendor Relationship Management (VRM). VRM would allow individuals to manage their own data and relationships with companies through open-source personal data stores and new signaling tools. Examples of new VRM tools are discussed like personal RFPs and fourth parties to assist individuals in negotiating with companies on more equal terms. The document calls for helping to develop these new VRM life forms and businesses to reform retail and shift power more toward empowering individuals online.
The document discusses the early stages of the online economy and customer empowerment. It notes that currently [1] online businesses try to make customers captive through loyalty programs and data silos, [2] Vendor Relationship Management (VRM) aims to put customers in control of their own data and relationships with companies, and [3] as this happens, the "Intention Economy" will emerge where businesses cater to what customers actually want rather than try to drive customer desires.
Slides that accompanied the opening keynote at the Kynetx Impact conference in Provo, Utah. Note: uses American Typewriter Condensed, not on all machines. If you have formatting problems, use the .pdf version
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
_7 OTT App Builders to Support the Development of Your Video Applications_.pdfMega P
Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
Paul Haggis is undoubtedly a visionary filmmaker whose work has not only shaped cinema but has also pushed boundaries when it comes to diversity and representation within the industry. From his thought-provoking scripts to his engaging directorial style, Haggis has become a prominent figure in the world of film.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Matt Rife Cancels Shows Due to Health Concerns, Reschedules Tour Dates.pdfAzura Everhart
Matt Rife's comedy tour took an unexpected turn. He had to cancel his Bloomington show due to a last-minute medical emergency. Fans in Chicago will also have to wait a bit longer for their laughs, as his shows there are postponed. Rife apologized and assured fans he'd be back on stage soon.
https://www.theurbancrews.com/celeb/matt-rife-cancels-bloomington-show/
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Modern Radio Frequency Access Control Systems: The Key to Efficiency and SafetyAITIX LLC
Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
2. A couple of quotes:
Wendy Seltzer: Chilling effects
are "the shadow of the
law…"
Adam Gopnik: "Law is the
practice of rules in a
context of deals, and
Lincoln believed in both."
So does the music industry.
So does Congress.
We (VRM folks) would like to
thaw this thing.
But first some history.
2
3. The music industry
deals with four things:
1. Compositions
2. Mechanisms
3. Recordings
4. Performances
These are the threads.
Their history is not pretty.
They make an ugly braid.
The Net ties that braid in knots.
3
4. Composers felt screwed from the start.
1790: The first copyright law only
covered maps, charts and books.
1831: Congress makes music eligible for
copyright. Composers' rights covered
just sheet music. Not performance.
1864: Stephen Foster, hugely popular,
dies, martyred, with 37¢ in his
pocket.
4
5. The music business in the U.S.
began as the composing business.
1885: The Music Publishers Association of the
United States formed.
1886: The Treolar Copyright Bill inaugurated
some now-familiar ambitions:
• Create a register of copyrights
• Expand protections for public performance
of copyrighted works, including music.
• Extend the copyright term by 22 years—
• from 24 years and a 14 year extension (38 years) to
40 years and a 20 year extension (60 years).
• Extend the manufacturing clause of the 1891
International Copyright Act to include most
items excluded in 1891, including music.
• Treolar was shot down, but set directions
the industry still follows.
5
6. The recording business began
with Edisons wax cylinders.
1877: Thomas Edison invents the
phonograph, and patents it.
It's mechanical. No electricity required.
Yet "mechanical rights" wasn't Edison's
issue. In fact, wax cylinders lost out
to flat disks in the marketplace.
He still made plenty off the invention.
6
7. The player piano's popularity
caused copyright law changes.
1720s: Bartolomeo Cristofori invents the
pianoforte, later called the piano.
By the end of the 1800s, pianos were
enormously popular instruments.
By 1902, there were seventy-five
thousand player pianos in the U.S.
and over a million piano rolls sold.
1897: Adam Geibel sold White-Smith the
copyright to two songs for sheet
music reproduction. Apollo Co. made
piano rolls of the song, without
permission. White-Smith sues.
1908: The Supreme Court finds for
Apollo, pissing off everybody else,
especially composers, and then
Congress.
1909: New copyright act passes. 7
8. The recording business took off
with Emile Berliner's platters.
1887: Issued Grammophone patent
1888: Invents recording on discs
1895: Founds Berliner Gramaphone Co. +
1897: Gramophone Company, London
1898: Deutche Grammophon, Hanover +
1899: Berliner Gram-o-phone Co. of
Canada, Montreal
1899-1903: Frank Seaman of "Zon-O-
Phone" and Columbia sue Berliner
and Eldridge R. Johnson's
Consolidated Talking Machine
Company, who counter-sue, win,
merge and name their new company
Victor Talking Machines Co., taking
the assets of the loser, and use
"Zonophone" as their cheap label
until dumping it in 1910.
8
9. In 1914, Herbert, Berlin, Sousa,
found ASCAP, which still rocks on.
1897: Congress grants composers the
exclusive right to perform their songs
— but only "public" and "for profit."
1909: Victor Herbert's testimony to
Congress helped pass the 1909
Copyright Act, which inaugurated the
"compulsory license," giving
composers 2¢ per recording.
1914: Joined by Irving Berlin, John Phillips
Sousa and others, Herbert founds the
American Society of Composers,
Authors and Publishers — ASCAP
1917: Herbert v Shanley goes to the
Supreme Court. Herbert wins.
Composers advance.
9
10. Herbert v Shanley
got ASCAP's snowball rolling.
1916: Herbert walks past Shanley's, hears his
"Sweethearts" inside. He makes no money
from that. So, to test the 1909 law and
ASCAP, he brings suit.
Shanley's says the performance was not "for
profit," since the music was provided for
free.
1917: After losing the first round, Herbert
wins in the Supreme Court.
Oliver Wendell Holmes: "The defendants'
performances are not eleemosynary…If
music did not pay it would be given up."
ASCAP begins to collect fees from cabarets,
theaters — everything they can.
Next target: Radio.
10
11. ASCAP pwnd radio at its birth.
1917: 1XE (later WGI) fires up at Tufts. A handful
of "first" radio stations follow.
1921: Dept. of Commerce makes "broadcast
service" a category of license. The first K and
W stations come on the air.
ASCAP gives free licenses to early stations to
seed growth for harvesting later.
1922: Feds rule that amateur radio stations can
no longer air music or sports.
1922: ASCAP hits up WEAF in New York for
$1k/yr, accepts $500. WJZ offers $0 and
stops playing ASCAP music. Bambergers'
WOR plays but doesn't pay.
1923: ASCAP wins Witmark v Bambergers. After
that, some stations paid, other banned
recordings, playing live bands instead.
1923: The National Association of Broadcasters
(NAB) was formed, mostly as a way to fight
ASCAP. 11
12. ASCAP begets BMI — and the
royalty system in force since.
1931: ASCAP forces stations to start logging ASCAP songs, and
to take out "blanket" licenses. Non-ASCAP composers
excluded.
1932: ASCAP negotiates fees based on a percentage of ad sales.
Soon most radio programming is music.
1935: Dept. of Justice begins investigating ASCAP, radio.
1936: ASCAP's fee re-set at slightly more than 2% of ad sales.
1939: ASCAP fees reach $4.3 million. Broadcasters form BMI.
Composers take sides . Mainstream stays with ASCAP. BMI
signs country, blues, jazz artists ignored by ASCAP.
1940: Network contracts with ASCAP expire.
1941: 660 of 796 stations now with BMI. They boycott ASCAP,
play BMI or public domain music. "Jeannie with the light
brown hair," a Stephen Foster song in the public domain, is
a big #1.
1941: ASCAP signs a consent decree for lower rates, non-
exclusive licenses, other limitations.
This established the music royalty regime for radio which has
persisted ever since.
12
13. Performers' power
peaked during WWII.
1920s – WWII: Musicians displaced by
recordings on radio and juke boxes in
bars and restaurants — and come to
oppose "canned" music.
1942: Led by James Petrillo, American
Federation of Musicians (AFM), founded
in 1896, votes to stop making recorded
music.
1944: Labels cave to demands for an AFM
welfare fund.
Compared to composers, record companies,
radio stations and equipment makers,
performers had power as a group just this
once, but failed to leverage a piece of the
recording action.
13
15. The Net wasn't just a new medium.
It was a whole new world.
It was a new worldwide environment
ideal for demonstrating Jefferson's
"the combustive power of an idea."
On the net anybody can copy,
reproduce, broadcast, perform, sell
and much more. Including "steal."
Hollywood — now combining the
recording and movie industries —
was not blind to the power of the
Net. They attacked this new "hole"
from the start.
15
16. The commercial Web was born
in 1995. So was the DPRSA.
1995: The Digital Performance Right in Sound
Recordings Act (DPRSA) provided the first
protection of public performance rights in
sound recordings: "to perform the
copyrighted work publicly by means of a
digital audio transmission."
In other words, digital transmission —
"playing" — became a form of
"performance."
This allowed the record companies —rights-
holders for sound recordings — to collect a
royalty on digital "performances" of those
recordings.
Any claim that the record business was not hip
to the Net's threat from the start is put to
rest by the DPRSA. 16
17. In 1997, "electronic theft"
— aka "piracy," becomes illegal
The 1997 No Electronic Theft Act puts
criminal penalties on "piracy" for
copyright infringement by
electronic means.
The law also amends the Copyright
Act's definition of "financial gain"
to include "receipt, or expectation
of receipt, of anything of value,
including the receipt of other
copyrighted works."
17
18. Third blow: the DMCA
18
28 October 1998: The DMCA passes. It—
• Extends the reach of copyright.
• Heightens penalties.
• Limits liability of on-line services for
user infringements.
• Implements two 1996 WIPO treaties
• Criminalizes circumvention of DRM
and access control.
• Leaves open settlement of royalties
for online radio, aka "webcasting,"
and "streaming."
19. The DMCA created a mess
for Internet radio / streaming.
In respect to "ephemeral recordings" …
"…any copyright owners of sound recordings and any transmitting
organizations ... may negotiate and agree upon royalty rates and license
terms and conditions for making phonorecords of sound recordings ... and
may designate common agents to negotiate, agree to, pay, or receive such
royalty payments.
…initiation of voluntary negotiation proceedings for the purpose of determining
reasonable terms and rates of royalty payments.
In the absence of license agreements …. the Librarian of Congress …[will]
convene a copyright arbitration royalty panel (CARP) to determine and
publish in the Federal Register a schedule of reasonable rates and terms…
that most clearly represent the fees that would have been negotiated in the
marketplace between a willing buyer and a willing seller. 19
20. Here's what the CARP produced in 2002:
"The Librarian established
September 1, 2002, as
the effective date of the
rates…. Webcasters and
others using the
statutory licenses will
have to pay royalties for
all of their activities
under the licenses since
October 28, 1998.
However, the
September 1 effective
date determines when
the royalty payments
will have to be made."
Lots of gut-splitting
followed.
20
21. Next: The Small Webcaster Settlement Act.
Pushed through by Jesse Helms, in one of his
last acts as a senator, in 2002.
BTW: Helms' first career was broadcasting.
Set a fee schedule based on percentage of
revenue, not a per performance rate.
Royalty payments for non-commercial
webcasters were suspended through
June 2003, and receiving agents for small
webcasters were allowed to delay
payment obligations through December
2002.
Congress delegated the ability to set an
industry-wide rate to the collecting agent
(SoundExchange) for copyright holders
and recording artists.
Many commercial webcasters went away.
21
22. Next: Copyright Royalty Board (CRB).
2004: Congress replaces CARP with 3full-time
Copyright Royalty Judges.
NBC's Alec French, at Berkman's IS2K7, tells Doc
that he basically authored the legislation.
These decide "reasonable terms and rates of
royalty payments" for compulsory licenses.
Literally, "the marketplace rate between a
willing buyer and seller."
The CRB's bjectives:
• "maximize the availability of creative works to
the public."
• Balance fair income for the copyright owner
with a fair return for the copyright user .
• Reflect the contributions of the copyright
owner and user in the product available to the
public
• Minimize disruptions on the industry practices
and structure. 22
23. 2007: CRB's ass proves harder than CARPs.
The CRB set the per performance rates per year for commercial webcasters at:
0.08 cents (2006), 0.11 cents (2007), 0.14 cents (2008), 0.18 cents (2009), and
0.19 cents (2010). That's much higher than the old CARP rates.
The CRB rates also applied to all webcasters, including CPB-funded ones who had
negotiated their own carve-out deal with the RIAA after the DMCA passed.
The CRB's minimum fee of $500 per channel per year is based on
SoundExchange's expected costs for administering the sound recording rights.
The CRB found that ephemeral copies had no value separate from the
performance of the sound recording itself.
The CRB denied all requests for a rehearing, holding that the determination was
not erroneous, without evidentiary support, or contrary to law.
23
24. 2007-2009: It never ends.
2007: Internet Radio Equality Act. (Didn't happen.)
2007: The Digital Media Association, representing the largest webcasters, came to
a settlement agreement with SoundExchange to cap the $500 minimum per
channel at $50,000 per webcaster. This let Pandora survive.
2008: The Webcaster Settlement Act amends the Small Webcasters Settlement
Act of 2002, and seeks to adopt a simplified process for settlements between
commercial and noncommercial webcasters with SoundExchange.
2008: Amy Duvall: "The current system for calculating royalties is a mess. The CRB
decision is likely to put all but the strongest webcasters out of business unless
judicial, legislative, or voluntary measures are successful."
2009: SoundExchange and CPB agree a new deal covering 2005-2010.
"SoundExchange is to receive a single up-front royalty payment of $1.85
million together with consolidated usage and playlist reporting from CPB on
behalf of the entire public radio system."
This is less Rule of Law than Rule of Deals. 24
26. SoundExchange lives
to lobby and pay big stars.
Worse::::
Its site has no directory, and
— is entirely link-proof
— links out to nothing
— is nearly all Flash
— has broken search
It pays lip service to diversity.
— while, in Joanie Mitchell's
words, "stoking the star-
making machinery behind the
popular song."
That machinery includes lobbying
Congress and cross-promoting
with other front organizations
for the recording industry.
27. Struggling artists
hate SoundExchange.
How is SoundExchange
recruiting the
slowwavesleeps of the
world?
By strangling the only media
left to them, starting with
Internet radio.
27
28. Fred Wilhelms is taking the lead
in fighting SoundExchange.
In an open letter to SoundExchange, Fred said the organization
was…
"Reserving" tens of millions of dollars a year, then absorbing it
after "not finding" the intended recipients.
Not making any effort to publicize planned payment forfeitures.
Not explaining how and why it relies on sampling to allocate
royalties — and not admitting it.
Claiming that spending outside the chartered function is
"proprietary" information.
Attacking those who point out the simple fact of its poor
performance.
Deducting the cost of violating the law from monies collected to
carry out the law.
29. More from Fred:
"It's as if some SoundExchange employee takes bags
of money out to some National Park and sets
them free. It's not SoundExchange's fault if all
those bags follow the employee home, is it?"
"On the first forfeiture, they only absorbed 70% of
the available funds. They placed 30% in a reserve
to cover late claims by artists who would have lost
money if they took it all. 31 months later, they
still have half that reserve money, which just goes
to show how poorly they have served artists."
"They're very proud of setting up that reserve. I told
a SoundExchange representative their pride was
as justified as the self-satisfaction someone gets if
they roll a drunk for his wallet and watch, but
promise to give him back his watch if he finds
them."
30. Meanwhile SoundExchange has…
No accountability. By law: 37 CFR,
380.4(g)(1), 380.6 [holding licensees'
accountable…], 380.7(g).
No liability.
No transparency, thanks to 37 CFR,
380.5.
No incentives, except not to pay out,
thanks to 37 CFR, 260.7, 261.8. 262.8,
380.4(g)(2).
31. Compare ASCAP, BMI
and SoundExchange payouts:
ASCAP payout ratio: 88% [long term]
BMI payout ratio: 87% [5 year avg — 86%+]
SoundExchange's calculated payout: 83%
• Numerator: Total annual expenses minus
interest earned
• Denominator: Total annual royalties received
[hmmm]
Our calculated payout: 38% - 58% [avg]
[Link to Excel file]
• Calculating Payout Ratio
• Absence of Retention Rate
• Missing figures from 2003-2004
• Leftovers growing at 70%+ growth rate
33. SoundExchange has splintered
its Internet radio opposition
Before the DMCA there was just radio.
Now its fractions include:
• Small, medium and large webcasters
• Podcasters and on-demand 'casters
• CPB-funded and non-CBP funded 'casters
• Subscription and non-subscription 'casters
• Small, medium and large "pureplay" 'casters
And this is in addition to:
• Terrestrial radio stations
• Satellite radio
• Cable music 'casters
• … all of which they are fighting as well
Oh, and radio from the rest of the WW Web.
34. History teaches a lesson.
• Composers had ASCAP and BMI.
• Broadcasters had the NAB.
• Equipment makers had commercial clout.
• Producers had the RIAA and the MPAA.
• Actors had SAG.
• Music performers had the MPA, which is now
nowhere.
• Representing performers now is the RIAA,
which mostly works for record companies.
• Winners: composers, big broadcasters,
equipment makers, producers (movie and
record companies), big stars.
• Losers: non-large performers, large
webcasters, podcasters. (Listeners? Not sure.)
• Lesson: Privileges are won, not just earned.
34
35. Foreign Collectives
teach a lesson too.
3 types of Supervision
Differing Types of Collectives
US Experience and the CCC
36. Toward a new deal
between listeners and performers:
We need connect listeners and
performers directly.
The way to do that is through online
radio: streamers.
We'll start with public radio stations,
Radio Paradise and whoever else
wants to come along.
36
37. 37
EmanciPay: Making it easy
for anybody to pay anybody.
EmanciPay is a choosing system. With it you easily can choose
to…
— pay as much as you want
— for whatever you want
— whenever you want—
wherever you want
on your terms and not just those of sellers.
Here's where we plan to see it first:
38. 38
EmanciPay will use the r-button:
The r-button is 2 magnets: symbols of relating. Not just selling and
buying.
The left side is the customer.
The right side is the seller.
In it the customer gets to express his or her desires and terms…
Including the desire to relate directly to first sources…
And to express specific intentions.
39. 39
The r-button
can represent different states:
For example…
Intention to buy (and/or to relate).
Intention to sell, but also to relate on
your (the buyer's) terms, as well as
your own.
Existing relationship — which can be
viewed and unpacked on either
side.
40. 40
Here's how it might look
on Radio Paradise's Playlist:
Bob Dylan is interested
in relating on
listeners' terms as
well as his own.
The listener already has a
relationship with
Bat for Lashes.
The listener would like to
relate to Bruce
Cockburn.
41. The r-button might also appear
in the browser chrome.
We're still working this stuff out.
What matters is that we're building not just a new deal for
Internet radio,
but a new way of dealing —
One in which the customer takes the initiative,
expresses intentions,
and controls his or her end of relationships
that are worthy of the noun.
41