tag:blogger.com,1999:blog-53258522835238464462024-03-13T05:35:01.369-07:00Music Piracy Research BlogYour one-stop resource for music piracy researchMusic Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.comBlogger158125tag:blogger.com,1999:blog-5325852283523846446.post-36137653424546111132016-01-31T13:30:00.000-08:002016-01-31T13:30:07.961-08:00Coda<div dir="ltr" style="text-align: left;" trbidi="on">
Been wanting to wrap this blog up for at least a year now, as I am engaged in a lot of other writing projects. When an article written for The Conversation got more hits in a week than this blog has in over three years, I knew it was time to move on. The blog is no longer fit-for-purpose.<br />
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Today, it ends. But it ends with a 'bang'...<br />
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The goal of this blog was to discuss research into music piracy, to shed some informed light on things. It was also about empowering readers with the tools and resources to do this themselves, without my input. With that in mind, I have frequently linked readers to publicly accessible resources to facilitate their own research, on their own time.<br />
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I have now found other, better resources in which to share my research with the general public - some are online, many are offline.<br />
<br />
And so, it is time for me to log out once and for all.<br />
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I will however leave this website live for the foreseeable future in the hope that it is useful.<br />
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Over and out. <br />
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<i>Twitter @musicpiracyguy </i></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-49413235684849130392015-12-23T13:00:00.000-08:002015-12-23T13:00:04.255-08:00Database of research articles into copyright<div dir="ltr" style="text-align: left;" trbidi="on">
Happy holidays.<br />
<br />
See <a href="http://www.copyrightevidence.org/evidence-wiki/index.php/Copyright_Evidence" target="_blank">here</a> for a comprehensive link to a database containing hundreds of research articles and reports into copyright.<br />
<br />
Many of them have featured on this blog in the past, but many more have not; the list is also constantly expanding.<br />
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<i>Tweets @musicpiracyguy </i></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-65350299424771689402015-12-08T10:00:00.000-08:002015-12-08T10:00:07.674-08:00Research methodology used in music piracy research: revisited<div dir="ltr" style="text-align: left;" trbidi="on">
Hop on over to the excellent 'Ragged University' <a href="http://www.ragged-online.com/2015/11/understanding-music-piracy-a-consideration-of-research-methodology-by-dr-steven-caldwell-brown-mbpss/" target="_blank">website</a> for a brief article of mine on research methodology used in music piracy research.<br />
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It covers many of the issues in the 2014 Convergence article '<a href="http://con.sagepub.com/content/20/2/129" target="_blank">Approaches to digital piracy research: A call for innovation</a>', which has been discussed elsewhere on this very blog.<br />
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How do researchers explore piracy? What are the limitations in research design? Are the findings generalisable? These are some of the questions I am keen to explore here.<br />
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The article is also littered with some great links, for those of you keen to dig a bit deeper. <br />
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<i>Tweets @musicpiracyguy</i></div>
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References</div>
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Brown, S.C. (2014). Approaches to digital piracy research: A call for innovation. Convergence, 20(2), 129-139. </div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-31411787585890784922015-11-30T21:30:00.000-08:002015-11-30T21:30:03.242-08:00Recommended book: How Music Got Free<div dir="ltr" style="text-align: left;" trbidi="on">
Took me a while in the end to get round to reading this, and here is my summary.<br />
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Witt's book provides an in-depth account of the origins of file-sharing (it goes back longer than you might expect) with vivid descriptions of the principals.<br />
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I learned a lot, including that the first pirated song was 'Until it Sleeps', by Metallica. I like details like that.<br />
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Defining the year 2000 as the 'banner year' in the timeline of digital music piracy (and I agree), the second half of the book picks up in more familiar territory, and it is here where the real arguments are made.<br />
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For instance, Witt ponders: "If something was available for free, and could be freely and infinitely reproduced for free, with no degradation in quality, why would anyone pay to own it for a second time, when they already had it, for free?" (p. 125).<br />
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He also critiques streaming, with up to date examples.<br />
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It's a non-academic book, so an easy one to swallow.<br />
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References<br />
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Witt, S. (2015). How Music Got Free. London, England: The Bodley Head.<br />
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com1tag:blogger.com,1999:blog-5325852283523846446.post-78533972390547022302015-11-24T08:30:00.000-08:002015-11-24T08:30:01.811-08:00Just how relevant is the album format in 2015?<div dir="ltr" style="text-align: left;" trbidi="on">
Published <a href="https://theconversation.com/adeles-new-album-is-not-available-to-stream-but-she-may-be-swimming-against-the-tide-46949" target="_blank">this article</a> on The Conversation which focuses on Adele's new release '25' and the recent 2015 Mercury Music Prize.<br />
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The article considers the notion that music listening is becoming more passive, that albums are getting shorter, and that the album format may very well be encouraging music piracy.<br />
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Check it out.<br />
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<div style="text-align: center;">
<i>Tweets @musicpiracyguy</i></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-19884855268296172892015-11-18T10:30:00.000-08:002015-11-18T10:30:01.181-08:00The Business Of Music-Streaming Services: How Deals With Record Labels And Publishers Are Made<div dir="ltr" style="text-align: left;" trbidi="on">
Stumbled upon <a href="http://www.techtimes.com/articles/81895/20150910/business-music-streaming-services-deals-record-labels.htm" target="_blank">this piece</a> from Tech Times recently which explores music streaming services in some detail.<br /><br />Though it fails to come to any real conclusions, it offers a neat summary of various aspects of subscription services including how it works differently for established and emerging artists - something I have discussed many times on this blog.<br />
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Notably, it draws from academic research (albeit fixated on one study).<br />
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Have a peek. <br />
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<div style="text-align: center;">
<i>Tweets @musicpiracyguy</i></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-89850318338264372042015-10-28T05:37:00.001-07:002015-10-28T05:37:23.707-07:00Is Spotify good or bad?<div dir="ltr" style="text-align: left;" trbidi="on">
Well that depends on who you ask.<br />
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Certainly, if you look at this new <a href="http://www.nber.org/papers/w21653" target="_blank">working paper</a> from Economists Aguiar and Waldfogel, released today, Spotify both reduces legal and illegal music consumption.<br />
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The effect is a 'revenue neutral' outcome for the industry.<br />
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Specifically, the authors highlight that 137 streams on Spotify reduces sales by 1 unit.<br />
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Find a better rundown <a href="http://www.slate.com/blogs/moneybox/2015/10/26/economics_study_says_taylor_swift_is_wrong_about_spotify.html" target="_blank">here</a>. <br />
<br />
<div style="text-align: center;">
<i>Tweets @musicpiracyguy </i></div>
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References<br />
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Aguiar, L. and Waldfogel, J. (2015). Streaming Reaches Flood Stage: Does Spotify Stimulate or Depress Music Sales? (Working paper 21653). Retrieved from The National Bureau of Economic Research website: http://www.nber.org/papers/121653<br />
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-46133798972556406092015-10-22T11:01:00.000-07:002015-10-22T11:01:00.356-07:00Revisiting the carrot versus the stick, from a global perspective<div dir="ltr" style="text-align: left;" trbidi="on">
In this new <a href="https://copia.is/library/the-carrot-or-the-stick/" target="_blank">report</a> from the team at TechDirt, including Mike Masnick (who features frequently on this blog), the recurring question over whether the best way to curb digital piracy is with punitive measures or not takes centre stage.<br />
<br />
Uniquely, the authors adopt a case study approach, focusing on France, Sweden, UK, South Korea, Japan and New Zealand - countries which have brought new anti-piracy laws into effect in the recent past.<br />
<br />
Overwhelmingly, the conclusion is that anti-piracy laws lead to short-term success at best, and are costly to implement. Or, put another way, the carrot is the way to go in the shape of business innovation, including improved legal alternatives to digital piracy.<br />
<br />
The report is short and easy to grasp, presented in a sensible way which is simple to navigate.<br />
<br />
It is, however, lacking details of the research which has been reviewed - this is surprising.<br />
<br />
Nonetheless, it comes recommended.<br />
<br />
<div style="text-align: center;">
<i>Tweets @musicpiracyguy</i></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-29619553536250812122015-10-08T15:00:00.000-07:002015-10-10T06:51:45.152-07:00Movie Piracy vs. Music Piracy<div dir="ltr" style="text-align: left;" trbidi="on">
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</xml><![endif]-->Much has been said on this blog about the difference between music and movie piracy. Here's another entry, bringing us bang up to date.<br />
<br />
Cox and Collins (2014) find that prolific music pirates typically demonstrate a greater propensity to substitute legal content for illegal content, whereas heavy movie downloaders are more willing to pay for legal alternatives.<br />
<br />
Why might this be the case? Well for one thing, movie pirates are deterred more by an awareness of the negative effects of piracy on the film industry.<br />
<br />
This is interesting, and might stem from the greater transparency with the film industry in terms of box office stats and the increased engagement of movie insiders in the public domain. The music industry is not known for its transparency.<br />
<br />
<div style="text-align: center;">
<i>Tweeps @musicpiracyguy</i></div>
<br />
References<br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: inherit;">Cox, J. and Collins, A. (2014). Sailing in the same ship? Differences in factors motivating piracy of music and movie content. Journal of Behavioral and Experimental Economics, 50, 70-76.</span></span><br />
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-26874304912663602962015-09-25T09:35:00.000-07:002015-09-25T09:35:00.407-07:00Recommended book: The SAGE Handbook of Popular Music<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: inherit;">Love you, Sage.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Check out this new text, <a href="http://www.uk.sagepub.com/books/Book237574?subject=700&fs=1" target="_blank">The Sage Handbook of Popular Music</a>, which you ought to be able to obtain from your finest local library.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">It's a monster, with 35 chapters from 36 Popular Music scholars. And, it's <i>great</i>.</span><br />
<br />
<span style="font-family: inherit;">Specific to this blog, there's much discussion on digital music trends, with Sinnreich (2015) for example, debunking the myth that piracy hit the music industry by surprise. Other chapters address issues concerning copyright, copying, movie soundtracks, live music, etc.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Everything you might except, then some - including case studies of Jay-Z, Amanda Palmer, Radiohead, and all of the usual suspects.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">It comes highly recommend specifically because it is extremely wide-reaching, but self-contained, given the volume of chapters included. For that reason, you might dive in to read about one particular topic, but end up learning all about something else entirely.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Throw in a few beers and some great music, and you have yourselves as good a night-in as you can have in 2015.</span><br />
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><i>Twankers @musicpiracyblog</i></span></div>
<br />
<span style="font-family: inherit;">References </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Bennett, A. and Waksman, S. (Eds.) (2015). The SAGE Handbook of Popular Music. London, England: Sage.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Sinnreich, A. (2015). Music Cartels and the Demateriailzation of Power. In A. Bennett and Waksman, S. (Eds.), The SAGE Handbook of Popular Music (pp. 613-628). London, England: Sage.</span><br />
<span style="font-family: inherit;"><br /></span>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-31355769569222839362015-09-03T15:00:00.000-07:002015-10-10T06:56:56.329-07:00Why young people engage in music piracy<div dir="ltr" style="text-align: left;" trbidi="on">
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</xml><![endif]-->Bonneville-Roussy et al. (2013), drawing from a huge dataset involving over 250,000 participants, find that the degree of importance attributed to music declines with age.<br />
<br />
That is not to say that older people do not care about music, but young people listen to music far more than do middle-age adults, and young people listen to music in a wider variety of contexts.<br />
<br />
Given music piracy research finds young people as principally involved in music piracy, perhaps it can be simply accounted for by the fact that they listen to more music?<br />
<br />
<div style="text-align: center;">
<i>Tweats @musicpiracyguy</i></div>
<br />
References<br />
<br />
Bonneville-Roussy, A., Rentfrow, P.J., Xu, M.K. and Potter, J. (2013). Music through the ages:<span style="font-size: small;"><span style="font-family: inherit;"> trends in musical engagement and preferenc<span style="font-family: inherit;">es from ad<span style="font-family: inherit;">ol<span style="font-family: inherit;">esce<span style="font-family: inherit;">nce through middle adulthood. Journal of Personality and Social Psychology, 105(4)<span style="font-family: inherit;">, 703-717.</span></span></span></span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-86171380535849015332015-08-23T12:10:00.003-07:002015-08-23T12:10:55.688-07:00Why Virgin Radio's celebrated new anti-piracy strategy will not work<div dir="ltr" style="text-align: left;" trbidi="on">
I recently stumbled upon an interesting new anti-piracy campaign from Virgin Radio which you can read more about <a href="http://www.leoburnett.com/articles/work/how-virgin-radio-took-a-stand-against-music-piracy/" target="_blank">here</a>.<br />
<br />
Essentially, it puts emphasis on the work which has gone into creating popular musical works and bears the tagline: 'If you knew what went into it, you wouldn't steal it'.<br />
<br />
I kinda like it, in as much as it is thought provoking and a softer touch than some more recent anti-piracy strategies.<br />
<br />
But it won't work.<br />
<br />
First of all, it makes the perennial mistake of using the word 'steal', likening piracy to theft when it is not theft but copyright infringement. Put another way, it's confusing.<br />
<br />
The main issue however, is that it focuses on musical works by musicians who are dead. Some insight from my recent Doctoral thesis strongly suggests that people are keen to buy music from emerging artists, but less so for successful ones. At the heart of this is where the money goes.<br />
<br />
You can't support a dead artist financially.<br />
<br />
Also, most of the artists in the spotlight will not strike a chord with the key demographic of interest: young people. <br />
<br />
The emphasis should have been on popular contemporary artists - ones who are alive.<br />
<br />
<div style="text-align: center;">
<i>Twitter @musicpiracyblog</i></div>
</div>
<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-311632065774900452015-08-21T18:30:00.000-07:002015-08-21T18:30:01.292-07:00Recommended book: How Music Works<div dir="ltr" style="text-align: left;" trbidi="on">
It has been discussed many times on this blog over the years, and now I can announce a formal book review of David Byrne's 'How Music Works' which you can access <a href="http://www.tandfonline.com/eprint/KVPrVBZAD8nq2qf3kq8j/full#.VdRLR_nKPa5" target="_blank">here</a> if you are quick, or <a href="http://www.journaltocs.ac.uk/index.php?action=tocs&journalISSN=0300-7766&institutionID=durham" target="_blank">here</a> if you are not.<br />
<br />
It's in its second edition now, and it wouldn't surprise me if it went into its third and beyond.<br />
<br />
Clink the links above to read more, and click <a href="http://www.amazon.co.uk/How-Music-Works-David-Byrne/dp/0857862529" target="_blank">here</a> to buy it on Amazon. Other booksellers are available. <br />
<br />
<div style="text-align: center;">
<i>Tweets @musicpiracyguy</i></div>
</div>
<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-88513381070176674522015-08-16T05:58:00.003-07:002015-08-16T05:58:49.923-07:00A Cool Idea<div dir="ltr" style="text-align: left;" trbidi="on">
Slightly off topic, but anyways.<br />
<br />
Was listening to the immersive, joyous indulgence of the new Four Tet album 'Morning/Evening' in a summerhouse in Finland last week and the sound carried across the water in a really strange way that completely changed the 'mix' of the album.<br />
<br />
This inspired some experimentation playing some albums I know more intimately from different devices and in different locations and inspired a cool idea: why not offer up alternative mixes of albums on streaming services?<br />
<br />
Let me explain.<br />
<br />
If albums sounded slightly (or radically) different each time you listened to them, you would have more reason to listen to them repeatedly. In effect, it would be a different experience every time.<br />
<br />
Audiophiles are already equipped to do so by varying different levels and customising the sound as they desire, but for your average Joe or Josephine, this might not be such a fun thing to do.<br />
<br />
If however, artists streamed multiple versions of albums on streaming services, right down to different vocal takes etc., then it would be a cool way to listen to the album over and over and get something different out of it every time.<br />
<br />
That is not to say that I do not think that a final 'album' should not exist, because it should - an artist should still of course release the end product of their labours. I just think, in this new world of exclusive content and all of that, this could be an easy and interactive way to encourage people to stream music from subscription services multiple times.<br />
<br />
I guess it would be a different way of listening to early demos and outtakes etc., but in a more subtle way.<br />
<br />
Anyhow, just a thought. I have them from time to time. Sometimes I write them down, often I do not.<br />
<br />
<div style="text-align: center;">
<i>Twweeeets @musicpiracyblog</i></div>
</div>
<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-30897929658117996342015-08-11T08:00:00.000-07:002015-08-12T06:35:17.071-07:00Reflections on a key article from 2010<div dir="ltr" style="text-align: left;" trbidi="on">
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</xml><![endif]--><span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 200%;">It's hard for me to believe that five years have passed since the publication of Williams et al.'s key paper 'The attitudes and behaviours of illegal downloaders', from a 2015 issue of Aslib Journal of Information Management (see below).</span></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 200%;">It is one of the first papers to incorporate meta-analysis methodology, effectively summarising the research into the topic up until that point. In doing so, it argues, convincingly, that the digital world is not the same as the physical world and that new business models are needed.</span></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;">Critically, it concedes that: "T<span style="line-height: 200%;">he
research, however, shows a maze of contradictions and complexities in this
sensitive and controversial subject. More research is clearly needed,
especially with a wider demographic population, and with other devices than PCs
that can capture and download digital content” (p. 298).</span></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 200%;">The need for more research persists today. </span></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 200%;">Little is <i>known </i>about digital piracy. </span></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i><span style="line-height: 200%;">Tweets @musicpiracyblog</span></i></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 200%;">References</span></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 200%;">Williams, P., Nicholas,
D. and Rowlands, I. (2010). The attitudes and behaviours of illegal downloaders. <i>Aslib Journal of Information Management</i>,
<i>62</i>(3), 283–301.</span></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"></span></span></div>
<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-54664035289721187822015-08-06T08:00:00.000-07:002015-08-06T08:00:06.451-07:00What about video game piracy?<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: inherit;"><span style="font-size: small;">Was searching for some information on video game piracy and stumbled upon this <a href="https://www.arxan.com/wp-content/uploads/2015/06/State-of-Application-Security-Report-Vol-4-2015.pdf" target="_blank">report</a> by Arxan, an app protection company.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">Turns out video games are pirated too. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">As a non-gamer, I was not up to date with the volume of online games which are consumed, with knock-on effects on piracy. I figured it was nigh on impossible to pirate video games, and that this was a big factor in their success. As an industry, the video games market is of course bigger than both the music and movie industries.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">Digging into the literature just now on video game piracy, and hope to find something more concrete. </span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">I'm interested in it as music is a big part of video games, with songs released through music-based video games, for example.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">For now, <span style="line-height: 115%;">Ruri
(2013) shines a light on the video games industry as having adapted by
diversifying revenue to subscription services for online communities for
example. </span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="line-height: 115%;">The music industry must similarly diversify revenues through not only
licensing but by bundling music with other products etc.</span></span></span><br />
<br />
<div style="text-align: center;">
<i>Tweets @musicpiracyblog</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
References</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Ruri, L. (2013). Business models and strategies in the video game industry: an analysis of Activision-Blizzard and Electronic Arts (Master's thesis). </div>
<div style="text-align: center;">
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-21288952150790907522015-07-30T13:30:00.000-07:002015-07-30T16:01:45.797-07:00Digital Piracy in Canada: Evidence from Real File-Sharing Data<div dir="ltr" style="text-align: left;" trbidi="on">
Found this <a href="http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCIQFjAA&url=http%3A%2F%2Fwww.researchgate.net%2Fprofile%2FMartin_Tetu%2Fpublication%2F266374343_The_Cultural_Virtues_of_Piracy_in_the_Digital_World_How_Peer-to-Peer_Can_Contribute_to_the_Propagation_of_Qubecois_Heritage_and_Cultural_Diversity%2Flinks%2F542d922d0cf277d58e8cd589&ei=9A8MVbaEJoOL7AbA3YDQDw&usg=AFQjCNFQOLropBI5H3yvRFM4JskZqfoU7w&sig2=V0TFfsS4Wy58ahKIJIxM7A" target="_blank">article</a> recently, which is free to download.<br />
<br />
Authored
by Martin Tetu, it goes into some detail on the sorts of content
exchanged on peer-to-peer services in Canada, and finds that much
content is unavailable elsewhere.<br />
<br />
Though other research
suggests that the most pirated music is in fact widely available
legally (i.e. what's popular is popular), this article exposes how different people look different places for different things.<br />
<br />
Specifically looking at Quebec, Canada, the article argues that file-sharing can promote diversity, advancing culture. <br />
<br />
<div style="text-align: center;">
<i>Tweefingers @musicpiracy</i></div>
<br />
References<br />
<br />
Tetu, M. (2012). The Cultural 'Virtues' of Piracy in the Digital World: How Peer-to-Peer Can Contribute to the Propagation of Quebecious Heritage and Cultural Diversity. Ethique publique [Public Ethic], 14,(2), 1-15. <br />
<br />
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-86418938987796002782015-07-21T05:08:00.000-07:002015-07-21T07:21:54.396-07:00Whatever happened to the carrot instead of the stick?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">For some time now, there has been a gradual shift away from aggressive anti-piracy measures to new, softer ones. Many scholars refer to this as the 'carrot' rather than 'stick' approach.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">And there are good reasons for this.</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;">Research suggests so-called music pirates spend more on music legally than individuals who do not purchase music at all (<span style="line-height: 115%;">Karaganis and Renkema, 2013; </span><span style="line-height: 115%;">Thun,
2009; Watson et al. 2014</span><span style="line-height: 115%;">;
and </span><span style="line-height: 115%;">Zentner, 2006). </span></span><br />
<span style="font-family: inherit;"><span style="line-height: 115%;"><br /></span></span><span style="font-family: inherit;">And, negative deterrents such as website-blocking can serve to antagonise individuals and increase the propensity to engage in piracy (<span style="line-height: 115%;">Sinha and Mandel, 2008). </span>Positive incentives, on the other hand, are more effective (<span style="line-height: 115%;">Moon
et al., 2015).</span></span><span style="font-family: inherit;"><span style="line-height: 115%;"> </span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">But, in the space of a week, two news items suggest that this trend has taken a turn.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Firstly, <a href="http://www.nme.com/news/various-artists/86953" target="_blank">it is now illegal in UK to make a copy of a CD you have purchased legally</a>. This was the case for a long time, but it was overturned in October 2014 to make it legal to transfer music onto your mp3-player, etc. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">It has since been revoked.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">It means that you purchase a new CD on Friday, you will shift immediately from a law-abiding music fan to a law-breaking music fan should you then burn a copy for the car, or add it to your i-Pod.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">The usual logic that a pirated song represents a lost sale does not apply. It's a duplication of a song you already bought. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">How this will be governed, remains to be seen. What is clearer for now is that this is likely to be extremely widespread, thus shooting holes in any contemporary estimates of the scale of music piracy. <i>It occurs offline too</i>.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Furthermore, the Conservative government in UK now hope to <a href="http://www.theguardian.com/technology/2015/jul/18/large-scale-online-pirates-face-10-years-jail-copyright-infringement" target="_blank">imprison pirates for as much as 10 years</a>.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">This is a big leap from the current two years, but it should be mentioned that the emphasis here is on those individuals engaging in piracy on a commercial scale.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">In any case, these two laws represent a fork in the road in this ongoing shift towards softer anti-piracy approaches, <a href="http://www.bbc.co.uk/news/technology-27330150" target="_blank">such as the non-judgemental letters sent out to pirates</a> (from ISP's) to nudge them towards legal alternatives to illegal downloading.</span><br />
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><i>Tweets @musicpiracyblog</i></span></div>
<span style="font-family: inherit;"><i><br /></i></span><span style="font-family: inherit;">References</span><br />
<br />
<span style="font-family: inherit; line-height: 200%;">Karaganis,
J. and Renkema, L. (2013). <i>Copy Culture
in the US and Germany</i>. USA: The American
Assembly.</span><br />
<span style="font-family: inherit; line-height: 200%;"><br /></span>
<span style="font-family: inherit;"><span style="line-height: 200%;">Moon,
S.-I., </span><span style="line-height: 200%;">K</span><span style="line-height: 200%;">im, K., Feeley, T.H. and Shin, D.-H. (2015). A normative approach to </span><span style="line-height: 200%;">reducing illegal music downloading: The
persuasive effects of normative </span><span style="line-height: 200%;">message
framing. </span><i style="line-height: 200%;">Telematics and Informatics</i><span style="line-height: 200%;">,</span><i style="line-height: 200%;">
32</i><span style="line-height: 200%;">(1), 169–179.</span></span><br />
<span style="font-family: inherit;"><span style="line-height: 200%;"><br /></span><span lang="SV-FI" style="line-height: 200%;">Sinha, R.K. and Mandel, N. (2008). </span><span style="line-height: 200%;">Preventing
digital music piracy: The carrot or the stick?
<i>Journal of Marketing</i>, <i>72</i>(1), 1–15.</span></span><br />
<span style="font-family: inherit;"><span style="line-height: 200%;"><br /></span><span style="line-height: 200%;">Thun,
C. (2009). <i>Introducing Hollywood’</i></span></span><i style="font-family: inherit; line-height: 200%;">s Best
Customers Vuze User vs. General Internet:
Comparative Data</i><span style="font-family: inherit; line-height: 200%;"> (Research Report). Retrieved from Frank N. Magid </span><span style="font-family: inherit; line-height: 200%;"> </span><span style="font-family: inherit; line-height: 200%;">Associates website: http://www.magid.com/sites/default/files/pdf/vuze.pdf</span><br />
<span style="font-family: inherit; line-height: 200%;"><br /></span>
<span style="font-family: inherit;"><span style="line-height: 200%;">Watson,
S.J., Zizzo, D.J. and Fleming, P. (2014). <i>Determinants
and Wel</i></span><i style="line-height: 200%;">fare Implications of Unlawful
File Sharing: A Scoping Review</i><span style="line-height: 200%;"> (Working Paper No. </span><span style="line-height: 200%;">2014/5). Retrieved from Centre for Copyright and New Business
Models in the </span><span style="line-height: 200%;">Creative Economy website:
http://www.create.ac.uk/publications/determinants-</span><span style="line-height: 200%;">and-welfare-implications-of-unlawful-file-sharing-a-scoping-review</span></span><br />
<span style="font-family: inherit;"><span style="line-height: 200%;"><br /></span><span style="line-height: 200%;">Zentner,
A. (2006). Measuring the effect of file sharing on music purchases. <i>Journal of Law
and Economics</i>, <i>49</i>(1), 63–90. </span></span><br />
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-11374549711908419632015-07-13T13:30:00.000-07:002015-07-14T05:01:26.765-07:00'Are you listening?': Why communicating research is a nightmare<div dir="ltr" style="text-align: left;" trbidi="on">
I was testing the water on a great new writing platform (which might or might not rise to prominence in the long-term) and put together a case for why being an expert is at times a bit of a nightmare. You can find it <a href="https://medium.com/@musicpiracyblog/the-unexpected-downside-of-expertise-68be2e922d0f" target="_blank">here</a>.<br />
<br />
Specifically, I was considering the way in which people are perfectly capable of flat-out rejecting what you have to say, even though it is correct. It happens <a href="http://www.musicpiracyresearchblog.blogspot.co.uk/2014/12/10-faqs-on-twitter.html" target="_blank">all of the time</a>. <br />
<br />
For me, what it does is slow things down. I try hard to communicate science, sometimes on this blog and more often than not in public speaking events which allow for genuine discourse. It's evident that some people have made their minds up and simply don't want to hear what I have to say. It's deflating to say the least. <br />
<br />
Much of it all stems from the fact that people have particular beliefs about music piracy. It's not like I am talking about something new, it's something you already know about, and something you already have beliefs about.<br />
<br />
Shermer (2011) puts it well, when he explains that:<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
"We form our beliefs for a variety of subjective, personal, and psychological reasons in the context of environments created by family, friends, colleagues, culture, and society at large; after forming our beliefs we then defend, justify, and rationalize them with a host of intellectual reasons, cogent arguments, and rational explanations. Beliefs come first, explanations for beliefs follow" (p. 5) </div>
<br />
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<![endif]-->In other words, it's hard to convince someone of something they don't want to hear.<br />
<br />
Consider also how, as Levitin explains, the internet has led to a vast sea of opinions to be neatly hosted on the internet, and that none of the correct ones are more likely to be encountered than the incorrect ones.<br />
<br />
In fact, it is routinely said that with the best will, the efforts of well-wishing public intellectuals, there are so many people out there who are perfectly capable of wiping the slate clean on the likes of Wikipedia that communicating science on the leading mediums of the day is virtually impossible. <br />
<br />
Most of these apparent villains I do not believe are acting out of malice of any sort, but rather just plain old misunderstood.<br />
<br />
Pinker (who features prominently in the article this blog entry refers to), explains:<br />
<br />
<div style="text-align: center;">
"Just because something happened to you, or you read about it in the paper or on the Internet this morning, it doesn't mean it is a trend. In a world of seven billion people, just about anything will happen to someone somewhere, and it's the highly unusual events that will be selected for the news or passed along to friends. An event is a significant phenomenon only if it happens some appreciable number of times relative to the opportunities for it to occur" (2014, p. 303)</div>
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No-one ever makes the concession that I have never been paid a penny to put a single word on paper in any format whatsoever; I do it because I feel like it's an obligation to communicate the research that I have conducted. Often, when people rudely dismiss what I have to say (and by that I mean <i>facts</i>), I question whether or not is worth the hassle. <br />
<br />
All of this is made all the more surprising given I am absolutely committed to being impartial in my research and critiques of others' work, dedicating an entire article on the fact that we don't really know all that much. I rarely have anything controversial to say at all. I routinely cover all aspects. If you are shortsighted enough to think digital piracy can be neatly described as 'good' or 'bad', you will remember all the entries which oppose your point of view, forgetting the ones which support it.<br />
<br />
And here is a funny one: people often think I don't know what I am talking about because I do not engage in music piracy myself. Now this doesn't make sense, not least of all as being an outsider is of course advantageous for a whole host of reasons. But my suspicion is that it's a bit like eating a McDonalds in a hospital: I draw attention to 'bad behaviours'.<br />
<br />
What it all adds up to, for me, is I am finding myself having to play a game with unclear rules. I am now longer merely communicating science, but actively having to work on my techniques of persuasion. This something I am slowly adjusting to, with varying levels of success. It's an exciting challenge, and one I am more enthusiastic about when I take the time to reflect on the stimulating, long-term elements, not the annoying short-term ones.<br />
<br />
For the time being, I find myself having to challenge the words of the late (and great) Terry Pratchett to stay enthused. He writes:<br />
<br />
<div style="text-align: center;">
"Be careful. People like to be told what they already know. Remember that. They get uncomfortable when you tell them new things... In short, what people think they want is news, but what they really crave is olds... Not news but olds, telling people that what they think they already know is true" (2000).</div>
<br />
<div style="text-align: center;">
<i>Twats @musicpiracyblog</i></div>
<br />
References<br />
<br />
Levitin, D.J. (2014). The Organized Mind. New York City, NY: Dutton.<br />
<br />
Pinker, S. (2014). The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century. London, England: Allen Lane.<br />
<br />
Pratchett, T. (2000). The Truth. New York City, NY: Doubleday.<br />
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com2tag:blogger.com,1999:blog-5325852283523846446.post-48631880445526347852015-07-10T04:23:00.001-07:002015-07-10T04:28:24.376-07:00Why Global Release Day is a good thing<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: inherit;"><span style="font-size: small;">Sure, there are pros and cons (what <span style="font-family: inherit;">if I r<span style="font-family: inherit;">eleased <span style="font-family: inherit;">a concept album<span style="font-family: inherit;">, 'Monday'?<span style="font-family: inherit;">)</span></span></span></span></span>, but I think this is genuinely a good move.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Coming into effect today, music will now be released on the same day - Friday.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">Championed by <a href="http://www.ifpi.org/news/Global-release-day-announced" target="_blank">IFPI</a>, the move helps promote music and, perhaps most importantly, minimise music piracy by ensuring there are no international lags.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">Though there has been little research on this that I know <span style="font-family: inherit;">o</span>f, movie piracy has certainly been considered in academic literature. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Research into movie piracy (Danaher and Waldfogel, 2012) shows that longer release windows or lags between countries results in decreased box office returns.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Australia is often a focal point in this discussion, with Svensson et al. (2014) finding that Australians download more film and TV illegally than the rest of the world, with a delay in the release of film and TV titles (think: Game of Thrones).</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Additionally, and more recently, Beirne (2015), in her thoughtful discussion on access in Australia, finds that media downloaded or streamed is more costly than in other countries; physical goods are also considerably more expensive, with shipping being a key issue here.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">But what about music?</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Well, we shall see.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">The logic <span style="font-family: inherit;">follows from the above that the same lag effect applies to music, but the evidence is not there; the economic<span style="font-family: inherit;"> impact of digital piracy overall<span style="font-family: inherit;">, as discussed <span style="font-family: inherit;">routinely on this blog, are difficult to m<span style="font-family: inherit;">easure.</span></span></span></span></span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">However, I don<span style="font-family: inherit;">'t see how this <span style="font-family: inherit;">affec<span style="font-family: inherit;">ts anyone negatively. And <span style="font-family: inherit;">that is<span style="font-family: inherit;"> a good thing.</span></span></span></span></span></span> </span></span></span></span></span> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Tweets @ musicpiracyblog</i></span></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">References</span></span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Beirne, R. (2015). Piracy, Geoblocking, and Australian Access to Niche Independent Cinema. Popular Communication: The International Journal of Media and Culture, 13(1), 18-31. </span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Danaher, B. and Waldfogel, J. (2012). Reel Piracy: The Effect of Online Film Piracy on International Box Office Sales (Working Paper No. 1986299). Retrieved from Social Science Research Network: http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1986299</span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Svensson, M., Larsson, S. and de Kaminski, M. (2013). Professionalization, Gender and Anonymity in the Global File Sharing Community. Piracy Effect, 1-8.</span></span></div>
<div style="text-align: left;">
<br /></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-17663315730288715242015-07-06T06:13:00.003-07:002015-07-06T06:15:38.262-07:00Music Streaming: A Global Perspective<div dir="ltr" style="text-align: left;" trbidi="on">
In his lengthy <a href="https://musicbusinessresearch.wordpress.com/2015/06/30/music-streaming-revisited-the-international-music-streaming-market-2014/" target="_blank">blog post</a> unpacking the global streaming market in 2014, Peter Tschmuck analyses music streaming trends across different nations.<br />
<br />
He argues that 'Scandinavia is the music streaming mecca of the world'.<br />
<br />
Though this might not come as a surprise, the article highlights how there are multiple ways to look at the same data, with different countries coming out 'on top' in different scenarios. <br />
<br />
This notion of perspective underscores much of the discussion on this blog.<br />
<br />
<div style="text-align: center;">
<i>Tweats @musicpiracyblog</i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div style="text-align: center;">
<br /></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-19745438799374135492015-06-26T10:00:00.000-07:002015-06-26T10:00:01.670-07:00Recommended books: a summary<div dir="ltr" style="text-align: left;" trbidi="on">
It has been a while since I recommended some books, so get your reading list in early for your summer holidays.<br />
<br />
Some suggested works include: Hinduja's 2006 title 'Music Piracy and Crime Theory'; Tapscott and Williams' account of crowdsourcing 'Macrowikinomics' (2010); David's systematic 'Peer to Peer and the Music Industry' (2010); Bently et al.'s critical 'Copyright and Piracy: An Interdisciplinary Critique' (2010); Higgins and Marcum's criminological text 'Digital Piracy: An Integrated theoretical approach' (2011); Kernfeld's historical account of music piracy 'Pop Song Piracy: Disobedient Music Distribution Since 1929' (2011); Byrne's music industry insider opus 'How Music Works' (2012); Elkin-Koren and Salzberger's review of the digital economy 'The Law and Economics of Intellectual Property in the Digital Age' (2013); and Wikstrom's comprehensive overview of the multifaceted music industry in 'The Music Industry: Music in the Cloud' (2013).<br />
<br />
Should keep you busy.<br />
<br />
<div style="text-align: center;">
<i>Tweet n' greet @musicpiracyblog</i></div>
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</xml><![endif]-->References<br />
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Bently, L., Davis, J. and Ginsburg, J.C. (Eds.). (2010). Copyright and Piracy: An Interdisciplinary Critique. Cambridge, England: Cambridge University Press.<br />
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Byrne, D. (2012). How Music Works. Edinburgh, Scotland: Canongate.<br />
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David, M. (2010). Peer to Peer and the Music Industry. London, England: Sage.<br />
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Elkin-Koren, N. and Salzberger, E.M. (2013). The Law and Economics of Intellectual Property in the Digital Age. New York, NY: Routledge.<br />
<br />
Higgins, G.E. and Marcum, C.D. (2011). Digital Piracy: An Integrated Theoretical Approach. Durham, NC: Carolina Academic Press.<br />
<br />
Hinduja, S. (2006). Music Piracy and Crime Theory. El Paso, TX: LFB Scholarly Publishing LLC. <br />
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Kernfeld, B. (2011). Pop Song Piracy: Disobedient Music Distribution Since 1929. Chigago, IL: The University of Chicago Press.<br />
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Tapscott, D. and Williams, A.D. (2010). Macrowikinomics. London, England: Atlantic Books.<br />
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Wikstrom, P. (2013). The Music Industry: Music in the Cloud (2nd edition). Cambridge, England: Polity Press.</div>
<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-82041719801122867562015-06-22T05:57:00.003-07:002015-06-22T05:57:56.159-07:00New special issue of the journal 'Popular Communication' on Piracy<div dir="ltr" style="text-align: left;" trbidi="on">
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This one slipped past me.</div>
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From February 2015, the journal Popular Communication: The International Journal of Media and Culture published a special issue titled 'Piracy and Social Change'. You can access it <a href="http://www.tandfonline.com/toc/hppc20/13/1" target="_blank">here</a>.</div>
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Haven't had time to read it yet, but it looks exciting; the reach is considerable, exploring a variety of research areas. There are also some familiar names from past entries on this blog.</div>
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<br /></div>
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<i>Tweets @musicpiracyblog</i></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-73716180761694306882015-06-12T14:30:00.000-07:002015-06-12T14:30:00.591-07:00New book on technology and youth culture<div dir="ltr" style="text-align: left;" trbidi="on">
I recently reviewed a book titled 'Mediated Youth Cultures: The Internet, Belonging and New Cultural Configurations', edited by Andy Bennett and Brady Robards. It's great.<br />
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You can access my review <a href="http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=9682483&fulltextType=BR&fileId=S0261143015000173" target="_blank">here</a> and purchase the book <a href="http://www.amazon.co.uk/Mediated-Youth-Cultures-Andy-Bennett/dp/1137287012" target="_blank">here</a>.<br />
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To paraphrase the review, the book finds that the internet plays a positive role in youth culture, and the eclectic variety of contributions from different authors sheds light on some very specific aspects of mediated youth culture. These chapters are categorised under the following headings: Online and offline identities; Engagement and creativity; and Bodies, spaces and places.<br />
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Three of the five chapters on 'Engagement and creativity' concern music. Of interest, Raphael Nowak highlights how different types of technology can complement each other, with different technologies meeting different preferences. He explains: The reception of music is currently characterised by a multiplication and coexistence of various music artefacts that all possess their own features and characteristic forms of appeal for listeners’ (p. 150).<br />
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The book, overall, comes highly recommended (in case that was not already obvious).<br />
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<i>Twauts @musicpiracyblog</i></div>
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References</div>
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<span style="font-family: inherit;">Brown, S.C. (2015). Mediated Youth Cultures: The Internet, Belonging and New Cultural Configurations [Review of the book Mediated Youth Cultures: The Internet, Belonging and New Cultural Configurations, by A. Bennett and B. Robards (eds.)]. Popular Music, 34(2), 349-351.</span></div>
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<span style="font-family: inherit;">Bennett, A. and Robards, B. (Eds.). (2014). Mediated Youth Cultures: The Internet, Belonging and New Cultural Configurations. Hampshire, England: Palgrave Macmillan.</span></div>
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<span style="font-family: inherit;">Nowak, R. (2014). Understanding Everyday Uses of Musical Technologies in the Digital Age. In A. Bennett and B. Robards (Eds.), Mediated Youth Cultures: The Internet, Belonging and New Cultural Configurations (pp. 146-164). Hampshire, England: Palgrave Macmillan.</span></div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0tag:blogger.com,1999:blog-5325852283523846446.post-26668167891730159592015-06-04T12:00:00.000-07:002015-06-04T12:00:00.904-07:00Recommended reading on: legal and philosophical underpinnings of digital piracy<div dir="ltr" style="text-align: left;" trbidi="on">
Given the ultimate aim of this web resource is to encourage
independent reading on various aspects of digital piracy, this entry
marks the first in a new occasional series on recommended reading. First
up, legal and philosophical underpinnings of digital piracy.<br />
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Edwards
et al. (2013) provide an excellent overview of legal aspects of digital
piracy, including arguments for copyright reform. Awarded the 'Best of
the Web thought leader awards' by both Business Week and Forbes, <a href="https://www.techdirt.com/" target="_blank">Techdirt</a>,
founded by Michael Masnick (who features prominently on music piracy
research blog) provides an influential and critical commentary on
'government policy, technology, and legal issues. Established in 2002,
the website <a href="http://www.musiclawupdates.com/" target="_blank">musiclawupdates</a> is also a recommended resource on legal issues.<br />
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Also,
check out Pykalainena et al. (2009) provide a good overview of the open
source movement philosophy in practical terms. Hardy's 2012 book
'Download! How the internet transformed the record business' covers
recent laws such as HADOPI in some detail. Bainbridge (2009) provides an
excellent overview of intellectual property, encompassing digital
piracy.<br />
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<i>Tweat @musicpiracyblog</i></div>
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References</div>
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Bainbridge, D.I. (2009). Intellectual Property (7th edition). Harlow, England: Pearson Education Limited.</div>
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Edwards,
L., Klein, B., Lee, D., Moss, G., Philip, F, (2013). Framing the
consumer: Copyright regulation and the public. Convergence, 19(1), 9-24.</div>
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Hardy, P. (2012). Download! How the internet transformed the record business. London, England: Omnibus Press.</div>
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Pykalainena, T., Yang, D. and Fang, T. (2009). Alleviating piracy through open source strategy: An exploratory study of business software firms in China. Journal of Strategic Information Systems, 18(4), 165-177.</div>
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<div class="blogger-post-footer">contact @ musicpiracyresearch@gmail.com</div>Music Piracy Research Bloghttp://www.blogger.com/profile/10298720401638576004noreply@blogger.com0