Wednesday, September 19, 2007
Sunday, August 12, 2007
It Don't mean a Thing Fitzgerald Ella/Peterson 1958
It Don't mean a Thing Fitzgerald Ella/Peterson 1958 Jazz at the Philharmonic in Holland? Of course, jazz musicians were always welcomed and when the top musicians with Norman Granz's JATP wanted to come to the Netherlands the famous Amsterdam concert gebouw was offered for their concerts.
This clip is from a 1958 concert. We see and hear the Oscar Peterson trio with Ray Brown on bass and Herb Ellis on guitar. They perform together with Ella Fitzgerald, with solos of violinist Stuff Smith and trumpet player Roy Eldridge.
Quality filming and very good sound recording by the Dutch engineers.
This clip was found in Dutch film archives and recently broadcast on TV.
AEVIA
This clip is from a 1958 concert. We see and hear the Oscar Peterson trio with Ray Brown on bass and Herb Ellis on guitar. They perform together with Ella Fitzgerald, with solos of violinist Stuff Smith and trumpet player Roy Eldridge.
Quality filming and very good sound recording by the Dutch engineers.
This clip was found in Dutch film archives and recently broadcast on TV.
AEVIA
Friday, August 10, 2007
Universal Music to sell songs without copyright protection
The world's biggest music conglomerate, Universal Music Group, plans to sell a big chunk of its catalog without digital rights management protection through music retail services and some artists' web sites. The move, a departure from music companies' antipiracy strategy, is seen as part of an effort to erode the power of Apple's iTunes, by far the leading online music store.
The DRM-free music will not be offered on iTunes when the new service is launched in January. Universal Music Group, a unit of Paris-based Vivendi, operates Los Angeles' Universal Music Publishing Group, a publishing house with more than 1 million copyrights, and Santa Monica-based Universal Music Enterprises, the company's catalog management division.
AEVIA Reveals the Source
The DRM-free music will not be offered on iTunes when the new service is launched in January. Universal Music Group, a unit of Paris-based Vivendi, operates Los Angeles' Universal Music Publishing Group, a publishing house with more than 1 million copyrights, and Santa Monica-based Universal Music Enterprises, the company's catalog management division.
AEVIA Reveals the Source
Donovan - Atlantis
If you love the story of Atlantis be sure to check out the latest news of a possible discovery at the Discovery of Atlantis Website http://discoveryofatlantis.com/about.htm
AEVIA Reveals the Source
AEVIA Reveals the Source
Thursday, August 9, 2007
Monday, July 16, 2007
Internet Radio Rolls On
Sharply higher royalty rates for Web radio stations went into effect over the weekend, but negotiations are continuing between station owners and the recording industry to reach agreements that could greatly soften the impact of the new rates.
Thanks to these efforts and mounting pressure from congressional lawmakers, the Internet radio industry no longer appears likely to face the premature death that supporters had warned was imminent under the new rates.
WeRockYourWorld.Com Reveals the Source
Thanks to these efforts and mounting pressure from congressional lawmakers, the Internet radio industry no longer appears likely to face the premature death that supporters had warned was imminent under the new rates.
WeRockYourWorld.Com Reveals the Source
Tuesday, July 3, 2007
A Reprieve for Internet Radio?
SoundExchange, the organization that collects royalties for copyright owners in the music business, last week extended a compromise offer aimed at allaying the fears that sites like Pandora and Live 365, which offer multiple streams, would be forced out of business when the new fees go into effect later this month.
According to regulations set by the Copyright Board, these sites, and others like Rhapsody and Radio@AOL, would have to pay a fee of $500 per station or channel per year, regardless of the number of stations. Live365 has thousands of stations; Rhapsody claims to have offered 400,000 in the last year alone. The combined fees would have leveled prohibitive costs against the stations, forcing them out of business.
SoundExchange's proffered solution is to offer a price cap. According to the press release issued last Friday, June 29, the organization "proposed capping such advance payments at $2,500 per service."
WeRockYourWorld.Com Reveals the Source
According to regulations set by the Copyright Board, these sites, and others like Rhapsody and Radio@AOL, would have to pay a fee of $500 per station or channel per year, regardless of the number of stations. Live365 has thousands of stations; Rhapsody claims to have offered 400,000 in the last year alone. The combined fees would have leveled prohibitive costs against the stations, forcing them out of business.
SoundExchange's proffered solution is to offer a price cap. According to the press release issued last Friday, June 29, the organization "proposed capping such advance payments at $2,500 per service."
WeRockYourWorld.Com Reveals the Source
Reconsidering iTunes
As the world's largest record label, Universal has the future of the music industry to think about. It's a future that could very well be dominated by a business model other than the pay-per-download version that Apple popularized. Sources close to Universal say the company has moved to what's known as an "at will" arrangement that enables it to strike exclusive distribution deals with other digital music providers for individual artists or tracks, though it will continue to sell music through iTunes.
WeRockYourWorld.Com Reveals the Source
WeRockYourWorld.Com Reveals the Source
Thursday, May 31, 2007
ROCK BOTTOM REMAINDERS
The band's line-up is like a who's who of modern U.S. literature, including Stephen King, Dave Barry, Mitch Albom, Scott Turow, Amy Tan, and "Simpsons" creator Matt Groening. "We are just awful -- but we are awful for a good cause," said crime writer Ridley Pearson. "We have had the most bizarre Stephen King experiences," said Pearson. "He is a totally normal person but some of his fans are lunatics. In front of him at a concert in Nashville one time was a woman waving back and forward with all 10 finger nails on fire."
WeRockYourWorld.Com Reveals the Source
WeRockYourWorld.Com Reveals the Source
Sunday, May 13, 2007
LAST MINUTE REPRIEVE
Senators throw support behind internet radio
Legislation has been introduced in the Senate that would overturn a decision putting Internet radio on a death watch. The "Internet Radio Equality Act" would vacate the recent ruling by the U.S. Copyright Royalty Board (CRB) that hiked payment rates for performances 300 to 1200 percent, and would reinstate the current standard of paying 7.5 percent of the broadcaster's revenue. The Senate bill joins companion legislation in the House. The bill would also vacate the CRB decision and return to the previous payment standard. The CRB had originally scheduled the new rates to take effect on May 15, retroactive to the beginning of 2006, but agreed to extend the rate hike date to July 15, giving opposition efforts more time to lobby Congress and to raise awareness of the issue.
Legislation has been introduced in the Senate that would overturn a decision putting Internet radio on a death watch. The "Internet Radio Equality Act" would vacate the recent ruling by the U.S. Copyright Royalty Board (CRB) that hiked payment rates for performances 300 to 1200 percent, and would reinstate the current standard of paying 7.5 percent of the broadcaster's revenue. The Senate bill joins companion legislation in the House. The bill would also vacate the CRB decision and return to the previous payment standard. The CRB had originally scheduled the new rates to take effect on May 15, retroactive to the beginning of 2006, but agreed to extend the rate hike date to July 15, giving opposition efforts more time to lobby Congress and to raise awareness of the issue.
MORE SHEKELS LESS SHACKELS
Leaving the Pack!
EMI Music announced in April that it is making all of its digital repertoire available at a much higher sound quality than existing downloads and free of digital rights management (DRM) restrictions on a global basis.
EMI's retailers have been offered downloads of tracks and albums in the DRM-free audio format of their choice in a variety of bit rates up to CD quality. EMI is releasing the premium downloads in response to consumer demand for high fidelity digital music for use on home music systems, mobile phones and digital music players. EMI's new DRM-free products will enable full interoperability of digital music across all devices and platforms.
WeRockYourWorld.Com Reveals the Source
EMI Music announced in April that it is making all of its digital repertoire available at a much higher sound quality than existing downloads and free of digital rights management (DRM) restrictions on a global basis.
EMI's retailers have been offered downloads of tracks and albums in the DRM-free audio format of their choice in a variety of bit rates up to CD quality. EMI is releasing the premium downloads in response to consumer demand for high fidelity digital music for use on home music systems, mobile phones and digital music players. EMI's new DRM-free products will enable full interoperability of digital music across all devices and platforms.
WeRockYourWorld.Com Reveals the Source
PRELUDE TO LIBERATION
Thoughts on Music by Steve Jobs
Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it? The simplest answer is because DRMs haven’t worked, and may never work, to halt music piracy. Though the big four music companies require that all their music sold online be protected with DRMs, these same music companies continue to sell billions of CDs a year which contain completely unprotected music. That’s right! No DRM system was ever developed for the CD, so all the music distributed on CDs can be easily uploaded to the Internet, then (illegally) downloaded and played on any computer or player.
In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.
So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.
WeRockYourWorld.Com Reveals the Source
Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it? The simplest answer is because DRMs haven’t worked, and may never work, to halt music piracy. Though the big four music companies require that all their music sold online be protected with DRMs, these same music companies continue to sell billions of CDs a year which contain completely unprotected music. That’s right! No DRM system was ever developed for the CD, so all the music distributed on CDs can be easily uploaded to the Internet, then (illegally) downloaded and played on any computer or player.
In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.
So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.
WeRockYourWorld.Com Reveals the Source
INDUSTRY ACTION - LETTERS
Earlier this month, the Recording Industry Association of America (RIAA) sent a fourth wave of 402 pre-litigation settlement letters to 13 universities. Each pre-litigation settlement letter informs the school of a forthcoming copyright infringement suit against one of its students or personnel and requests that university administrators forward that letter to the appropriate network user.
RIAA sent letters in the following quantities to 13 schools, including: Brandeis University (15), Duke University (35), Iowa State University (15), Massachusetts Institute of Technology – MIT (23), Northern Illinois University (50), Syracuse University (20), Tufts University (15), University of Georgia (19), University of Iowa (25), University of Southern California (50), University of South Florida (50), University of Tennessee (50), and the University of Texas - Austin (35).
WeRockYourWorld.Com Reveals the Source
RIAA sent letters in the following quantities to 13 schools, including: Brandeis University (15), Duke University (35), Iowa State University (15), Massachusetts Institute of Technology – MIT (23), Northern Illinois University (50), Syracuse University (20), Tufts University (15), University of Georgia (19), University of Iowa (25), University of Southern California (50), University of South Florida (50), University of Tennessee (50), and the University of Texas - Austin (35).
WeRockYourWorld.Com Reveals the Source
BOOTLEGS - CASE LAW
N.Y. judge strikes down anti-bootleg law
A federal judge struck down a 1994 law banning the sale of bootleg recordings of live music, ruling the law unfairly grants "seemingly perpetual protection" to the original performances.
U.S. District Judge Harold Baer Jr. found the bootleg law was written by Congress in the spirit of federal copyright law, which protects writing for a fixed period of time — typically for the life of the author and 70 years after the author's death. The judge said the bootleg law, which was passed "primarily to cloak artists with copyright protection," could not stand because it places no time limit on the ban. Baer also noted that copyright law protects "fixed" works — such as books or recorded music releases — while bootlegs, by definition, are of live performances.
The Recording Industry Association of America, a trade group that fights piracy and bootlegging, also disagreed with the ruling.
The law did not apply to piracy, which is the unauthorized copying or sale of recorded music, such as albums.
WeRockYourWorld.Com Reveals the Source
A federal judge struck down a 1994 law banning the sale of bootleg recordings of live music, ruling the law unfairly grants "seemingly perpetual protection" to the original performances.
U.S. District Judge Harold Baer Jr. found the bootleg law was written by Congress in the spirit of federal copyright law, which protects writing for a fixed period of time — typically for the life of the author and 70 years after the author's death. The judge said the bootleg law, which was passed "primarily to cloak artists with copyright protection," could not stand because it places no time limit on the ban. Baer also noted that copyright law protects "fixed" works — such as books or recorded music releases — while bootlegs, by definition, are of live performances.
The Recording Industry Association of America, a trade group that fights piracy and bootlegging, also disagreed with the ruling.
The law did not apply to piracy, which is the unauthorized copying or sale of recorded music, such as albums.
WeRockYourWorld.Com Reveals the Source
BOOTLEGS - DEFINED
Bootleg Recording
A bootleg recording (or simply bootleg or boot) is an audio and/or video recording of a performance that was not officially released by the artist, or under other legal authority.
Bootlegs can consist of recordings of live performances, or material created in private or professional recording sessions. Changing technologies have had a great impact on the recording, distribution, and varying profitability of the underground industry.
Although distinct from unauthorized copying ("piracy") and counterfeiting, as it involves material which has never been offered for commercial release, bootlegging is considered infringement in many jurisdictions. The copyrights for the song and the right to authorize recordings often reside with the artist, according to several international copyright treaties. The recording, trading and sale of bootlegs continues to thrive, however, even as artists and record companies attempt to provide "authorized" alternatives to satisfy the demand.
WeWockYourWorld.Com Reveals the Source
A bootleg recording (or simply bootleg or boot) is an audio and/or video recording of a performance that was not officially released by the artist, or under other legal authority.
Bootlegs can consist of recordings of live performances, or material created in private or professional recording sessions. Changing technologies have had a great impact on the recording, distribution, and varying profitability of the underground industry.
Although distinct from unauthorized copying ("piracy") and counterfeiting, as it involves material which has never been offered for commercial release, bootlegging is considered infringement in many jurisdictions. The copyrights for the song and the right to authorize recordings often reside with the artist, according to several international copyright treaties. The recording, trading and sale of bootlegs continues to thrive, however, even as artists and record companies attempt to provide "authorized" alternatives to satisfy the demand.
WeWockYourWorld.Com Reveals the Source
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