Posts Tagged ‘Music licensing’

Music Dealers.com Call for Children’s Songs Original or Public Domain

Monday, October 11th, 2010

Music Dealers.com has a call for original or public domain children’s songs.  Songs2Share has 4 original songs you can cover.  Just e-mail & I’ll send you an MP3.  Throw your hat/song into the ring.  Hope you get a ringer!

~ Roberta

Various - Children’s Music

Music Call: 

Here at Music Dealers, we are about to launch a full-frontal assault on a few companies that purchase licenses for children’s music. We are looking for submissions for kid songs! Remember the days of Nick Jr, Blues Clues, and Reading Rainbow? Well – now is your chance to create music for that audience! Nostalgic, eh?

Looking for fun and educational music geared toward young children ages 3-5 years. Submissions can be anywhere from your original kid’s jingles, to your covers of songs and rhymes from the Public Domain (Listed Below).

Music that contains high-pitched vocals, group fundamentals, and a nursery-rhyme feel are just some of the examples we are looking for.

These songs are all fair game:
Baa Baa Black Sheep
Hickory Dickory Dock
The Farmer In the Dell
Here We Go Round The Mulberry Bush
Hot Cross Buns
Humpty Dumpty
Rock-a-bye Baby
London Bridge
Mary Had a Little Lamb
The Muffin Man
Old King Cole
Pop Goes the Weasel
Ring Around a Rosy
Three Blind Mice
Twinkle Twinkle Little Star
Yankee Doodle
On Top Of Old Smokey
Oh My Darling Clementine
Frère Jacques
She’ll Be Comin’ Round the Mountain
Old Macdonald Had a Farm
A-Tisket A-Tasket
My Bonnie Lies Over The Ocean
Oh! Susanna
Row, Row, Row Your Boat
Skip To My Lou
This Old Man
Itsy Bitsy Spider
I’ve Been Working On The Railroad

Genre: 

Childrens

Vocals/Instrumental: 

Vocal

Explicit Lyrics: 

No

Duration: 

Full Songs

 

Hello Music - Another Music Licensing Company Newsletter

Monday, October 4th, 2010

Songs2Share just submitted 3 songs to this new music licensing company last month & I’ve been wondering what they are doing with the music.  Here’s their newsletter with an explanation.  You can submit your own music DIRECTLY to this company.   It is all non-exclusive.  Not sure how long the contract is for the airplane music but the regular license is not long term. Cheers ~ Roberta

 

 

Hello Music Logo

 

Hello Music Artist Update - Week Ending October 3, 2010
Here’s what’s happening at Hello Music.
WAITING ON YOUR FEEDBACK REPORT?You’re not alone. We at Hello Music have been pleasantly surprised at the HUNDREDS of new artists that are joining our service every day! It means that we can help more musicians grow in their music careers and connect more artists to our awesome opportunities and partners. But it also means our music screeners have more new music to listen to than ever before, so unfortunately, we’ve fallen behind in sending out feedback.We aim to send feedback out as soon as possible after you send us your music. But right now due to our backlog and sudden influx of new artists, current wait time is about 4-6 weeks. Yes, seriously.So what are we doing about it? First off, we’re hiring more music screeners. Also, we’ve optimized our screening process to make sure we maximize our screening and feedback-sending potential. Remember - we have real people listening to every release that’s sent to us, and it’s important that we take the time to listen to what you send so we can give you a quality report at the end of the day. Check out a sample of the Feedback Report that Hello Music will send you on our Facebook page. Find us on Facebook  In the meantime, thank you for your patience and understanding. We’ve come a long way in the six months we’ve been around, and we are so glad to have so much artist support! We apologize for the delay, and if you have any questions, don’t hesitate to email us at help@hellomusic.com. OPPORTUNITY ALERT!Hello Music is hosting 45 minutes of in-air radio play on Delta Air Lines in January and February 2011. One of your songs could be heard by the millions of people who fly Delta, and selected musicians will also be featured in Delta’s Sky Magazine during those months.These stations are usually programmed with label-backed artists, but Hello Music is opening some of these promotional slots to our artists! Please note - as always, it’s free to prequalify for this opportunity, but this promotional opportunity does include a fee if you are selected. Don’t worry, we will contact you first to verify before the deal is done. It’s not for everyone, we know. But we still wanted to make it available for those artists who are ready to take the leap, and some of you are!If this opportunity sounds like it could be for you, prequalify today at www.hellomusic.com
EXPERT OF THE WEEKWant to get a gig? Howard Han, founder and CEO of GigMaven, helps bands book gigs every day in major cities across the US. This week, he shares his tips on how YOU can get in with the venue and book that gig you’ve been looking for. Read Howard’s full post on the Hello Music Blog: blog.hellomusic.com.
ARTIST SUCCESS STORIES
 
Yahoo! Music’s Unsigned & DIY channel - 5 new songs by Hello Music artists in rotation:

  • “Fight & Kiss” by We Are Wolves
  • “A to D” by Stirling Says
  • “On the Outside ” by Glo
  • “Time to Go” by James Land
  • “Láhppon ” by Alit Boazu

Want to see your name here? Make sure you’ve prequalified for the Yahoo! Music opportunity on your Hello Music dashboard at www.hellomusic.com. WHAT WE’RE DOING FOR ARTISTSThese 3 songs were submitted for potential placement in an upcoming film:

  • “Evil Soul” by The Young Werewolves
  • “Zombie Prom” by The Young Werewolves
  • “A Wanted Man” by East Coast Cowpokes


OPPORTUNITY REMINDER

If you haven’t prequalified for the BalconyTV opportunity, what are you waiting for? One of the most unique opportunities we’ve seen, BalconyTV hosts acoustic shows from different artists live from balconies. Every show is recorded and posted on their web channel for millions of potential fans to view. BalconyTV is looking for two Hello Music artists to perform on a balcony in NYC and Nashville - could it be you? Get your shot and prequalify today on your Hello Music dashboard.

Look for more exciting opportunities and success stories like this coming from Hello Music every week. Go to www.hellomusic.com now to prequalify for the opportunities that we offer, and YOU could be the next success story.

 

The Hello Music Team

Make Your Music Stand Out - Re-post

Monday, September 13th, 2010

5 Tips To Make Your Music Stand Out From The Noise

By Jay Frank

Jay FrankThe Internet probably looks like a big, sprawling competitive mess to a new musician.  Is it virtually impossible to break through when it’s barely physically possible to hear 5% of all music that’s released each week?  It actually is, but you better pay close attention.  If you think the genius of your music is the only guiding force, think again.  So many factors guide the listener to your song and your talents are likely the last.  Unless you want to be the proverbial tree falling in the forest, here are five quick, handy tips to follow:

  1. Make your song intros 7 seconds or less.

The attention span of the modern consumer is shorter than ever.  Distractions are everywhere and the competition has never been greater.  Engage someone quick or risk them moving on.  The data backs this up. Thankfully, most listeners discover songs at the same point: the beginning.  Play into that and make the first 10 seconds of your song the most important.  Your musical career truly depends on it.

2. Figure out how to get people to listen more than once.

So you made a very impactful song that engaged your listeners.  Congratulations.  That’s enough to make an impact on someone for cocktail party chatter.  But one tenet that has held true for years is that it takes 5 to 7 listens for someone to engage heavily enough to sing the song - let alone purchase it.  If you can’t come up with engaging ways to get multiple listens, that first listen was mostly for naught.

3. Proliferate your music everywhere you can.

The industry seems to have forgotten and/or ignored the fact that music sold the most when it was in more distribution outlets.  Now, so much attention is paid to the three biggest retailers and exposure platforms that everything else is forgotten.  You need to strike anywhere your potential listener resides.  Free vs. paid and stream vs. download is irrelevant.  If you’re invisible, you don’t exist.  Get your music up everywhere you can.

4. Make sure you can find your music in search results.

Did you try searching for your band’s name before you named your band?  What’s your competition there?  When you named the song, did you see what else is up in competition for those same words?  How about other songs?  With so much clutter out there, you have to be found easily.  If you can’t easily make it to the top 3 search results, then change your name or song title so that your music can be found.

5. Make more music more often.

So you impacted, they listened to the song more than once, saw you everywhere and found you easily.  They “liked” you on Facebook. Now you have a fan!  Want to keep them around?  Don’t milk your song to death.  Focus on your fans and keep giving them music.  Don’t give them an excuse to go to another artist as a fan.  You’re not as unique as you think you are.  Make sure the fan pays attention to you and not someone else, and you’ll be well on your way to a successful career as a musician.

Jay Frank is the author of FutureHitDNA and is the SVP of Music Strategy at CMT. Jay has held senior management positions at Yahoo! Music and The Box Music Network.

Women Musicians Seize On Social Media - Re-post

Thursday, September 2nd, 2010

Control Your Image: Women Musicians Seize On Social MediaListen: to the story:

http://www.npr.org/blogs/therecord/2010/08/19/129300878/women-musicians-use-social-media-to-craft-their-image





Pink Twitter bird; Mito Habe-Evans / NPR

Mito Habe-Evans / NPRGiven that more women than men use social media, shouldn’t the Twitter bird be pink?

This story is part of Hey Ladies, our ongoing series of radio and online reports about women musicians working today. Read stories, get advice and discover music here.More women than men use social media, according to several studies. And more women musicians seem to be finding it a good way to connect with fans and sell records without having to resort to some of the old marketing cliches.If there is a poster child for the independent woman artist of today it might be Zoe Keating


The 38-year-old cellist comfortably supports her young son and husband by performing and selling her music.Keating is classically trained — though she has played with a rock band or two. Now she usually plays solo with a Macbook at her feet. Using a software program she wrote Keating creates interwoven loops of her music on the computer as she performs.She says the music industry didn’t know what to do with her. “When I first started out doing this and I approached record labels and managers and agents they all said, ‘Well, what you do is interesting, but what’s the story?’” she says. “‘We can’t figure it out. It’s complicated. And it seems kind of niche, and it doesn’t really seem like it would go anywhere.’”If Keating’s music wasn’t easily classified, then her look wasn’t right for the record companies either. “I do think it’s kind of harder for women to be noticed if they’re not young and sexy and hot,” says Keating. “And I don’t think I’m young and sexy and hot.”



 Keating is striking in a very unconventional way. She has a pile of red dreadlocks on top of her head and pale, almost translucent, skin. She’s a former Information Architect and made a living in the tech world before she became a full time musician.Zoe Keating; courtesy of the artist

courtesy of the artistZoe Keating filled out our questionnaire about the tribulations and achievements of women working in music right now. You can read her full responseas well as 700 more, at the Hey Ladies: Being A Woman Musician Today interactive.

“I think that social media is really, like, the only way for somebody like me to craft my image,” she says.And Keating has done it masterfully. She has more than 1.3 million followers on Twitter, which she adopted early on. She tweets about everything from how best to get her cello on a plane, to where she’s playing next, and how much she loves the view from a cabin in Colorado.“That’s what fans want now,” says Keating. “The want to know you.”Keating’s fans pushed her most recent album Into the Trees to number seven on the Billboard Classical charts — and that’s without any formal publicity.Older musicians are tapping social media too.


In 1987 Suzanne Vega hit the top of the international charts with “Luka” off her second album Solitude Standing. Although many of Vega’s subsequent albums got good reviews, she never had that kind hit again. Vega was dropped by two record labels.“The idea of putting out a new album with nobody to release it was disturbing to me,” says Vega.


Vega began to use social media to gather up her fan base. She assembled more than thirty thousand friends on Facebook and has more than 800,000 views on her MySpace page. She is also rerecording and releasing — on her own label — all of her old material so that she can reap the performance royalties. Whereas the information on her old albums was devoted to her dark lyrics, with social media Vega’s fans can see more of her.


“Because what I do through Twitter, and what I do through the Facebook and even sometimes the blogs is I’m much more able to show off my sense of humor and my personality than just say the lyrics which tend to be very serious,” Vega says.Vega has a list of the people who follow her and respond to her postings. “


The idea that there could be someone in Turkey, for example, who was a fan that I didn’t know that could write to me directly and when I when to perform in Turkey she would actually be there at the shows — that was amazing to me.”


But it isn’t so surprising to Linda Abraham, an analyst at Comscore who did a study of how men and women use social media. Comscore tracks online behavior. The study found that 56 percent of women say they use the Internet to stay in touch with people compared with only 46 percent of men. In general women spend more time online too. And that was true not matter what country Comscore studied.“You often find one pattern of behavior in one part of the world and a different pattern of behavior in another part of the world,” she says. 


“But the study that we did with regard to social media specifically — regardless of the cultural differences — this tendency for women to be more social on the internet superseded those cultural differences.”But hearing a marketing person talk about social media is exactly what worries Rebecca Gates. In the old times Gates was one half of the Spinanes.


“Now you will have a Facebook page and you will have a Friendster page and a Posterious and on and on,” she says. “I’m kind of like, ‘Oh, dude.’ I thought this was the new — this was the new times.


When the Spinanes hit almost 20 years ago they were sold as unusual combination of chic singer and guitarist, and a drummer. Thanks to social media Gates can fill out the image. “I’m getting a chance to present a lot more well-rounded and sort of faceted persona.”


Or as Keating put it, for a lot of women the only way to move forward is to make your own path, get out your machete and cut your way through. Or click your way through.

UKULELE ~ Re-post

Thursday, September 2nd, 2010

  • guardian.co.uk, ..Tuesday 17 August 2010 15.19 BST..
  • Article history

    ..Tiny TimDuke of uke … Tiny Tim tries to work his magic on an unconvinced Dick Martin. Photograph: Corbis/Bettmann..

    What is it? A tiny, four-stringed guitar that can look comical or cute when strummed, first popularised in early 21st-century Hawaiian music.

    Who uses it? Although there are still some leading Hawaiian ukulele players, such as Jake Shimabukuro and Ohta-san, by the 1920s the ukulele had become most associated with music hall and vaudeville. Uke-shredder Roy Smeck, master Disney tunesmith Cliff “Ukulele Ike” Edwards and George Formby all made the instrument a household name. It was perhaps his obsession with vaudeville and outsider uke legend Tiny Tim that attracted influential indie songwriter Stephin Merrittto the instrument, and recently the uke has found a firm home in a kind of camp, droll Magnetic Fields-indebted indie pop, courtesy of the Bobby McGee’sJens LekmanAllo Darlin’Patrick Wolfthe Half Sisters,Herman DuneUni & Her Ukulele, and Darren Hayman.

    The instrument’s inherent comic potential means that it’s still par for the course in musical comedy, too. Some of which, like the the Ukulele Orchestra of Great Britain, is mildly amusing, but most of it, frankly, isnot. Here’s a Spotify playlist.

    How does it work? Ukuleles come in four flavours: soprano, concert, tenor and baritone. The most common tuning is C – so the strings are tuned G, C, E, A – although the slack-key open tunings particular to Hawaiian music are sometimes also used. Here’s an online tutorial:

    ..


    Where does it come from? It’s actually from Portugal. Some Portugese instrument-makers had been working on a variant of the cavaquinhobefore they emigrated to Hawaii in the 1880s, where their ukuleles became a staple of immigrant street parties.

    Why is it classic? It’s a tricky one. Jens Lekman referred to the ukulele as “an emasculated guitar”, which makes a good case for it as a guitar stripped of the machismo and phallic connotations of the six-string. Hawaiian and ragtime-style ukulele has a dainty, nimble sound that’s softer than a mandolin and sweeter than a banjo. But, as with theglockenspiel and recorder, there is a bit of a cringey, twee faux-naivety now attached to the uke.

    What is the best ever ukulele song? Tip Toe Thru the Tulips With Me by Tiny Tim is still great – but supposedly disliked enormously in serious ukulele circles.

    ..


    Five facts and things
    Although arguably one of the figures who helped popularise the ukulele in modern indie pop, Jens Lekman later turned on the four-string, saying the ukulele had “become another beardo instrument” and insisting “if there’s two things I will never do, it would be grow a beard and pick up the uke again”.

    The Hawaiian locals were so impressed by the new Portugese guitars in the late 19th century that King David Kalakaua was moved to make the ukulele pretty much the official instrument of Hawaii. The name “ukulele” is a Hawaiian portmanteau that can translated as “jumping flea” or “the gift that came here”.

    George Harrison became a big aficionado of the uke while in the Beatles. His obsession must have rubbed off on bandmate Paul McCartney, who later played pseudonymously credited ukulele on the Bonzo Dog Doo-Dah Band’s I’m the Urban Spaceman.

    Although George Formby would refer to it as a ukulele, the instrument he mostly played was actually a banjolele – a kind of uke/banjo hybrid.

    In 1960s Canada, a teacher named J Chalmers Doane implemented a new school programme that used the ukulele as the primary teaching instrument in music classes. Ukuleles were inexpensive, child-sized, and fairly easy to get to grips with – making them an equivalent to how recorders and glockenspiels were introduced into school music rooms in the UK.

     

     

    Source: http://www.guardian.co.uk/music/2010/aug/17/ukulele

  • How Many Hours/Day Should I Practice My Guitar?

    Thursday, September 2nd, 2010

     s_ee0663cfe60418e453e98e6f1caa4e4d.jpg

    “How many hours/day should I practice my guitar?”

    This is a very important question if you want to learn not just guitar but anything really.
    If you ask around, people will advise you that exercising at the very least four hours/day is the best way to learn to play guitar fast. Well, a lot of comments could be made to this statement.

    First, playing the guitar involves many skills that need to be practiced separately. Here are a few:

        * Right hand exercises (finger/plectrum picking, rhythm)
        * Left hand (practicing chord changes, scales, arpeggios etc…)
        * Reading
        * Sight Singing
        * Ear Training
        * Improvisation

    These are just a few aspects of guitar playing of course but each of them demands conscious attention in order to be mastered.

    So, what do you do? Do you spend hours and hours practicing each specific skill, before
    moving to the next one?  Do that and you will soon get completely bored only by the idea of going to your practice room!

    What you can actually do is to choose to practice 3 times a week. In my experience, 3 hours/session are plenty.

    Here’s what I like doing. I work on 2 or 3 skills that I want to develop. For example:
        * Chord changes
        * Rhythmic patterns
        * Improvisation on a particular song that I decided to add to my repertoire

    That’s lots, believe me! Once I have decided the topics, I divide my practicing time into 3 (e.g., 45 minutes on each topic/skill). I also take breaks, drink some tea, stretch etc…every 20-30 minutes.  In doing so, you give your brain the opportunity to work on as many as skills as possible, skills that are necessary to work together during performance.

    The last, and perhaps, most important step, is to spend the last 20-30 minutes practicing just for the fun of it. With no attachment whatsoever to the outcome. In doing so, you’ll relax, feel free of making mistakes and guess what…you’ll practice playing out of your intuition, with no rules to observe…

    This, altogether, will leave in your brain a feeling of pleasure that will motivate you to start your next practicing session. Practicing even complicated tasks will become fun-
    and not a chore…

    So, to summarize…

    Go to your practice room, spend only a few minutes practicing one single skill and then stop. After a few minutes, a good cup of coffee and some stretching, start working on something else…you will soon build up a standard practicing schedule that will take your guitar playing to the next level in no time.
    This is what I personally do. As with any advice you decide to take on board in life, you might want to adapt my approach to your particular situation. Bear in mind that practicing your guitar should always be fun and something to look forward to each and every day. So let go of your frustrations if you relize you need more practicing sessions in order to master a specific skill. It will happen, I promise.

    Francesco

    Also visit: www.topguitarlessonsreviewed.blogspot.com

    http://www.topguitarlessonsreviewed.com

    BlogCatalog.com Has Asked Us To Place Their Link

    Monday, August 16th, 2010

    Country Blogs - BlogCatalog Blog Directory

    Song Requests - From Fans

    Friday, August 13th, 2010


    image.jpg

    At any given concert you may notice a few folks in the first couple rows screaming song requests at the band at the top of their lungs.   Maybe this has worked for you in the past but chances are you are probably better off saving your breath.  On-the-spot song requests are about the last thing most bands want to hear from their audience.  The same often holds true at private events.

    In the heat of the moment - at your wedding reception or private party - inspiration may strike.  You might come up with what you think is THE perfect song request for your performer.  So you wait until a song ends and you yell out your request.  It’s your event and you are the one cutting the check – so why not?

    Well, for starters – your band might not even know that song.  If the performer didn’t tell explicitly tell you that they were ready to play that tune - or for that matter, that they were willing to take requests at all - you probably shouldn’t interfere with their set.  Either way this is a discussion you should have had long before the band took the stage.
    As a paying client you are absolutely within your rights to request that your hired performer plays your favorite song.  You improve your chances of hearing that song tenfold by making this request in advance.  

    George Lareto of Costa Mesa, CA’s Undercover explains that his band always does their best to play every request, but that they need time to learn them.  “Requests to the band are always welcome and we try to accommodate every client.  We offer to learn (wedding) client’s first dance request as a complimentary service. Typically (the band) will learn three to five tunes for a wedding or corporate event.”  It takes time for a band to truly master a new song, let alone three to five.  That is a very generous offer.
    The best thing that you can do if you want to ensure that your favorite songs get played at your event is submit the requests to the band well ahead of time - weeks or months before the event.

    George also believes that it is equally important that you tell your performer what you don’t want to hear.  “We always ask the client for a Do Not Play List so we know what styles or specific song they don’t want to hear.  Nine times out of ten this is way more helpful then asking the client for a set list which can add stress to your client.”  One bride told us that putting “The Macarena” at the top of her Do Not Play List, and the fact that her band stuck to their promise not to play it, saved her wedding when one overly eager relative began pleading to hear it.   

    Getting back on topic – there are some performers who tolerate and even encourage requests during the event.  They are called DJs (important note: not all DJs feel this way – it is very important that you discuss this ahead of time).

    Dave’s Mobile Disco of Tampa, FL welcomes on the spot requests from the client and their guests during his performance.  “Accepting requests during the event keeps me on track on the needs and expectations of the client.”  

    A good point – what better way to ensure that you are keeping your crowd happy than by playing exactly what they ask for?  Dave continues “The only time that I don’t take requests is when specified by the client not to.”  Again, this is an important discussion to have with your DJ ahead of time.

    So the moral of the story for you party people: plan ahead.  Don’t be afraid to request your favorite song.  But if you want to hear a good version of it – be sure to give your performer some time to learn it first.

    Apple Loses Big in DRM Ruling: Jailbreaks are “Fair Use” Re-post

    Thursday, August 12th, 2010

    Apple loses big in DRM ruling: jailbreaks are “fair use”

     

    Every three years, the Library of Congress has the thankless task of listening to people complain about the Digital Millennium Copyright Act. The DMCA forbade most attempts to bypass the digital locks on things like DVDs, music, and computer software, but it also gave the Library the ability to wave its magical copyright wand and make certain DRM cracks legal for three years at a time.

    This time, the Library went (comparatively) nuts, allowing widespread bypassing of the CSS encryption on DVDs, declaring iPhone jailbreaking to be “fair use,” and letting consumers crack their legally purchased e-books in order to have them read aloud by computers.

    The exemptions

    The DMCA was passed in 1998, so this is the fourth go-round for the Library. In the past, people have usually complained that DRM prevented them from making legitimate use of items like DVDs—format-shifting a copy to one’s iPod, for instance, was forbidden. The Register of Copyrights (who is part of the Library of Congress) dutifully listened to these complaints and then did… very little. Previous exemptions could charitably be described as “parsimonious.” After all, if you need a two-minute clip of a film, you could always get it from a VHS tape or by taping a TV screen. Right?

    The Librarian and the Register, cautious folks that they are, have moved slowly, but after more than a decade of the DMCA, they are increasingly willing to acknowledge its harms. That lead to this morning’s ruling, which provides DRM circumvention exemptions for the following six classes of works:

    (1) Motion pictures on DVDs that are lawfully made and acquired and that are protected by the Content Scrambling System when circumvention is accomplished solely in order to accomplish the incorporation of short portions of motion pictures into new works for the purpose of criticism or comment, and where the person engaging in circumvention believes and has reasonable grounds for believing that circumvention is necessary to fulfill the purpose of the use in the following instances:

    (i) Educational uses by college and university professors and by college and university film and media studies students; (ii) Documentary filmmaking; (iii) Noncommercial videos.

    (2) Computer programs that enable wireless telephone handsets to execute software applications, where circumvention is accomplished for the sole purpose of enabling interoperability of such applications, when they have been lawfully obtained, with computer programs on the telephone handset.

    (3) Computer programs, in the form of firmware or software, that enable used wireless telephone handsets to connect to a wireless telecommunications network, when circumvention is initiated by the owner of the copy of the computer program solely in order to connect to a wireless telecommunications network and access to the network is authorized by the operator of the network.

    (4) Video games accessible on personal computers and protected by technological protection measures that control access to lawfully obtained works, when circumvention is accomplished solely for the purpose of good faith testing for, investigating, or correcting security flaws or vulnerabilities, if:

    (i) The information derived from the security testing is used primarily to promote the security of the owner or operator of a computer, computer system, or computer network; and (ii) The information derived from the security testing is used or maintained in a manner that does not facilitate copyright infringement or a violation of applicable law.

    (5) Computer programs protected by dongles that prevent access due to malfunction or damage and which are obsolete. A dongle shall be considered obsolete if it is no longer manufactured or if a replacement or repair is no longer reasonably available in the commercial marketplace; and

    (6) Literary works distributed in ebook format when all existing ebook editions of the work (including digital text editions made available by authorized entities) contain access controls that prevent the enabling either of the book’s read-aloud function or of screen readers that render the text into a specialized format.

    The language here can be opaque, so let’s parse these a bit.

    DVDs

    First up: DVDs! Previous exemptions have been carved out for college professors who might use film clips in class. But note the broad nature of the new rule—it applies to everyone. As long as you are making a documentary or noncommercial video, you’re in.

    The exemption only covers “short portions of motion pictures,” since the Register was not convinced that longer portions would necessarily be fair use. And if there’s some other way of getting the clips short of bypassing DRM, you should take it.

    According to the official explanatory text (PDF), “Where alternatives to circumvention can be used to achieve the noninfringing purpose, such noncircumventing alternatives should be used.” Thus, if you have screen capture software and need only a low-quality copy for some purpose, you should use that.

    But the exemption is a key one, despite its limiting language. As the Librarian of Congress finally admitted, “I agree with the Register that the record demonstrates that it is sometimes necessary to circumvent access controls on DVDs in order to make these kinds of fair uses of short portions of motion pictures.”

    Jailbreaking

    The most surprising ruling was on “jailbreaking” one’s phone (exemption number two), replacing the company-provided operating system with a hacked version that has fewer limitations. Make no mistake: this was all about Apple. And Apple lost.

    The Electronic Frontier Foundation argued that jailbreaking one’s iPhone should be allowed, even though it required one to bypass some DRM and then to reuse a small bit of Apple’s copyright firmware code. Apple showed up at the hearings to say, in numerous ways, that the idea was terrible, ridiculous, and illegal. In large part, that was because the limit on jailbreaking was needed to preserve Apple’s controlled ecosystem, which the company said was of great value to consumers.

    That might be true, the Register agreed, but what did it have to do with copyright?

    “Apple is not concerned that the practice of jailbreaking will displace sales of its firmware or of iPhones,” wrote the Register, explaining her thinking by running through the “four factors” of the fair use test. “Indeed, since one cannot engage in that practice unless one has acquired an iPhone, it would be difficult to make that argument. Rather, the harm that Apple fears is harm to its reputation. Apple is concerned that jailbreaking will breach the integrity of the iPhone’s ecosystem. The Register concludes that such alleged adverse effects are not in the nature of the harm that the fourth fair use factor is intended to address.”

    And the Register concluded that a jailbroken phone used “fewer than 50 bytes of code out of more than 8 million bytes, or approximately 1/160,000 of the copyrighted work as a whole. Where the alleged infringement consists of the making of an unauthorized derivative work, and the only modifications are so de minimis, the fact that iPhone users are using almost the entire iPhone firmware for the purpose for which it was provided to them by Apple undermines the significance” of Apple’s argument.

    The conclusion is sure to irritate Steve Jobs: “On balance, the Register concludes that when one jailbreaks a smartphone in order to make the operating system on that phone interoperable with an independently created application that has not been approved by the maker of the smartphone or the maker of its operating system, the modifications that are made purely for the purpose of such interoperability are fair uses.”

    SecuROM and SafeDisc

    Exemption four is quite clear—security research on DRM-limited video games is allowed—but why is it there? What research needs to be done?

    It turns out that the real target here is the DRM itself, specifically two controversial systems called SecuROM and SafeDisc. Professor Alex Halderman, a longtime security researcher in this area, begged the Library to let him investigate these kinds of invasive DRM without legal worries.

    “The evidence relating to SecuROM tends to be highly speculative,” said the Register, explaining her approval of the exemption, “but Professor Halderman asserted that this situation has been crying out for an investigation by reputable security researchers in order to rigorously determine the nature of the problem that this system cause[s], and dispel this uncertainty about exactly what’s going on. He believed that the prohibition on circumvention is at least in part to blame for the lack of rigorous, independent analysis.”

    But the SafeDisc situation is clearer. “In contrast to SecuROM, SafeDisc has created a verifiable security vulnerability on a large number of computers. Opponents of the proposed class did not dispute that SafeDisc created a security vulnerability, but they argued that the security flaw was patched by Microsoft in 2007, without the need of an exemption. However, SafeDisc was preloaded on nearly every copy of Microsoft’s Windows XP and Windows 2003 operating systems and was on the market for over six years before a security researcher discovered malware exploiting the security. The vulnerability had the capacity to affect nearly one billion PCs.”

    Given what’s at stake, the Library decided to allow such security research.

    E-books

    Remember how Amazon got into trouble with publishers for allowing its Kindle to do automated text-to-speech? Publishers objected that this could cut into their audiobook money and that it might violate their rights.

    Amazon may have clamped down on the feature in response, but the Library of Congress has now given users the right to crack e-book DRM in order to hear the words. Exemption number six only applies in cases where there is no alternative; if e-book vendors offer any sort of version that allows screen-reading or text-to-speech, even if the price is significantly higher, people must use that version rather than bypass DRM.

    But if there are no commercial alternatives, e-book buyers are at last legally allowed to bypass DRM.

    The clock is ticking

    Other, broader exemptions were not allowed. Bypassing the DRM on purchased music when the authentication servers have gone dark? Still illegal. Bypassing the DRM on streaming video in order to watch it on non-supported platforms? Nope.

    But the exemptions that did make it were carefully thought out and actually helpful this time around. That’s the good news. The bad news is that they must be re-argued every three years, and the Library has taken so long getting its most recent ruling out that that the next review happens just two years from now.

    So enjoy your exemptions while you can.

     

    Source: Arstechnica

    State Of Music - Re-post

    Monday, June 7th, 2010

    From a Bob Lefsetz letter:

    People just don't care. 
    
    Every day I get e-mail castigating me that I've pissed on someone's favorite act, or haven't given enough coverage to another. I don't doubt that you like these acts, but what fascinates me is most people don't. Music is now niche. Kind of like knitting or needlepoint, but a bit bigger.  
    
    Maybe we'll spread the analogy to sports. Music is tennis. Gargantuan decades ago, most people just don't care today. Billie Jean King, Jimmy Connors, even McEnroe... Today we've got Federer and Nadal and I can't tell them apart and might turn on a match once a year, whereas I used to watch religiously. But now there are few stars. Few personalities. And on the men's side, the game has become so damn fast as to be something completely different, the same way music veered off into hip-hop and divadom and most people stopped caring. Sure, some people cared, but relatively few, otherwise Mariah Carey would be selling out arenas every night, and she's not, and a rapper other than Jay-Z could do 20,000 a night too. 
    
    Or maybe we should look at golf. There's one superstar, Tiger Woods, getting the whole nation golf-crazy, but if he's not playing, viewership drops dramatically. Sure, Phil Mickelson is a great golfer, but only golf devotees care about him, the average citizen might know his name and nothing more. 
    
    We're under the illusion that music is king, that it drives the culture, but it's not. Music has become the sideshow. Even on "American Idol"...does anybody expect Lee DeWyze to make it? We're interested in the comings and goings of Simon Cowell, not the contestants. Sure, music is featured on the show, OLD MUSIC! 
    
    And many people will go to hear old music live. But fewer each year at higher prices. 
    
    After you've heard that famous act do its hits live, do you really need to go back? And the old acts are truly in it for the money, they've got no dignity, otherwise, why would they be shilling on TV, appearing on "American Idol"...I'm stunned they didn't lobby for a crawl with a link to tickets. Then again, everybody knows you go to ticketmaster.com for an experience you endure, but hate. 
    
    This business will not be vital again until there’s a stable of stars, hopefully a plethora that people follow and want to see. And it would be great if they had something to say, if they were three-dimensional. GaGa is a start. Sure, she’s got train-wreck value, but people believe there’s substance underneath, and it’s not what you think, it’s what they think. Then, who else? 
    
    Everybody else lives and dies on the hit single. If Christina Aguilera had fans, she’d be able to sell tickets without airplay. But she needs hits to get bodies into seats. In the old days, bands could tour without hits whatsoever. But that was back when music drove the culture, when you knew the players like sports team members, when you had to go to the show, when you were addicted to the radio. 
    
    The radio. And then MTV. They centralized focus. They delivered a platform for star-building. Someone left of center could get exposure and make it. Like Culture Club. MTV broke Boy George big, radio followed. But FM radio built Hendrix and Cream, the music was so exciting you listened every night. Because everyone was different, everyone was testing limits, everybody wasn’t the same. And if you don’t think everybody’s the same today, try listening to Top Forty radio. 
    
    So where do we go from here? 
    
    Attention without substance is worthless. In other words, if you shoot someone, we’ll all know your name, but soon we’ll be on to the next headline. 
    
    The audience demands universality, something mainstream. And mainstream does not mean compromised, it means quality! Something so good that it cannot be denied! Do you really think people care about a black/Asian golfer? Of course not, what drew people to Tiger was his ability, his greatness! So you’ve got a band that you like, are they so good that you can drag almost anybody to see them and they’ll like them too? If not, they’re niche. 
    
    But, like I said, the whole business is niche. Labels believe if file-trading is stopped, an impossibility, sales will go up dramatically. I doubt it. People don’t care about music that much, they’re satisfied with free YouTube play. And certainly most people don’t care about the individual acts purveyed…how do we get them to care? 
    
    It would be great if there were a Website, like Yahoo or Amazon or Google, actually more like the Huffington Post, to focus attention and build acts. But the site builders are only interested in money, not music, and therefore they focus on advertising, everything but the consumer experience. MySpace had a music focus, but its user interface sucked, still, how come every year there’s a new Net phenomenon, Facebook, Twitter, Foursquare, and there’s never one solely music based? Ever think about that? 
    
    The new Spotify is great, the social-networking elements trump iTunes, playlist sharing with instant listening ability is so cool…but it still doesn’t solve the problem that we’re lacking hit acts. 
    
    I don’t want a world of endless niches. It’s incomprehensible. 
    
    And the public doesn’t want one either. Which is why sales are so damn bad. It’s not like they just invented a new file-trading technique. No, most people can live without the music that’s being sold. 
    
    You solve the problem the way you always have, with hit music. And the public doesn’t believe today’s music is full of hits. Their opinion, not yours. If you’re happy in your private little backwater, salivating in front of the stage before your favorite niche act, fine. But you’re not, because you keep telling everybody they should like your act too. 
    
    But most people are never going to like the Hold Steady, the National or the Black Keys. Never gonna happen. And the fact that you’re a big fan and react to my point by going ballistic and e-mailing me does not solve the problem. I like “The Deadliest Catch”, shouldn’t you? No, that’s too mainstream… I like A&E’s “Intervention”…shouldn’t you? No, that’s pretty successful too. You can watch either of them even if you’ve never fished or never been addicted, because they’ve got underlying human elements that appeal to all. That’s the way music used to be. And it’s not that way now.