Criminal Minded? : Mixtape DJs, The Piracy Paradox, and Lessons for the Recording Industry

For at least the past three years, leading American fashion designers have lobbied for passage of copyright-like protection for the design aspects of their apparel creations. For at least as long, the recorded music industry has been engaged in an aggressive campaign to enforce its copyrights in recorded music against a number of technology-enabled and/or culturally sympathetic alleged infringers, including twelve year-olds and grandmothers. Although the record labels already have protection under the copyright law while the fashion houses seek it, they have at least one thing in common: some portion of the piracy that they seek to eradicate is more valuable to them than they publicly let on. In their recent article The Piracy Paradox: Innovation and Intellectual Property in Fashion Design, Kal Raustiala and Chris Sprigman explore the low-IP equilibrium of the fashion design industry, as well as the unexpected value created by a low-protection regime. One might ask whether there is anything wrong with chilling an unlawful activity such as large-scale copyright infringement. The article argues that there is something wrong with such a result, but that the owners of the copyright in the recordings either fail to appreciate the problem or fail to account for the problem in executing their enforcement strategy. Hip-hop mixtape DJs are engaged in productive infringement – infringing activity or improper appropriation that adds value to the infringed asset, rather than leading to losses for the copyright owner. Dealing with such infringement requires an approach different from typical recording industry tactics. This article argues that, in order to preserve and enhance the value of their own assets, the record labels should practice strategic forbearance

“YouTube Killed the MTV Star” : did Hip-Hop music videos become the blueprint for other genres of music videos in the digital age?

This dissertation presents a deeper look in to Hip-Hop music videos. Starting with a chronological timeline, where we focus in the most relevant music videos that show an evolution in the genre’s aesthetics throughout the years, we build up to the present decade (from 2010 to the present year of 2015), where we intend to find out how much have Hip-Hop music videos evolved, and what elements from past decades have been incorporated in that same evolution. We will also present an in-depth look on the present decade as far as music videos are concerned, and what impact the digital age has in musical culture. Have audiences’ habits changed? What are the main goals of an artist when making a music video and do they match with the record label’s goals? Has the role of music video changed? By constructing both of these studies, we also intend to answer a question that becomes more and more frequent as we see today’s music videos: did Hip-Hop music videos become the blueprint for other genres of music videos? In a world where things can no longer be presented in “black or white” statements and the internet has brought cultures together in an unprecedented way, exchanging cultural influences and learning from each other, one can argue that Hip-Hop, and particularly Rap music, has had a significant influence in the way we produce music videos nowadays. This dissertation intends to be a reflexion on these questions and we have tried our best to obtain a cohesive conclusion, leaving the door open to a future study regarding the role of aesthetics in directing a music video, and whether or not it plays a role as (or even more) important as the narrative beneath the video

Digital Food Marketing to Children and Adolescents: Problematic Practices and Policy Interventions

Examines trends in digital marketing to youth that uses "immersive" techniques, social media, behavioral profiling, location targeting and mobile marketing, and neuroscience methods. Recommends principles for regulating inappropriate advertising to youth

DiSCmap : digitisation of special collections mapping, assessment, prioritisation. Final project report

Traditionally, digitisation has been led by supply rather than demand. While end users are seen as a priority they are not directly consulted about which collections they would like to have made available digitally or why. This can be seen in a wide range of policy documents throughout the cultural heritage sector, where users are positioned as central but where their preferences are assumed rather than solicited. Post-digitisation consultation with end users isequally rare. How are we to know that digitisation is serving the needs of the Higher Education community and is sustainable in the long-term? The 'Digitisation in Special Collections: mapping, assessment and prioritisation' (DiSCmap) project, funded by the Joint Information Systems Committee (JISC) and the Research Information Network (RIN), aimed to:- Identify priority collections for potential digitisation housed within UK Higher Education's libraries, archives and museums as well as faculties and departments.- Assess users' needs and demand for Special Collections to be digitised across all disciplines.- Produce a synthesis of available knowledge about users' needs with regard to usability and format of digitised resources.- Provide recommendations for a strategic approach to digitisation within the wider context and activity of leading players both in the public and commercial sector.The project was carried out jointly by the Centre for Digital Library Research (CDLR) and the Centre for Research in Library and Information Management (CERLIM) and has taken a collaborative approach to the creation of a user-driven digitisation prioritisation framework, encouraging participation and collective engagement between communities.Between September 2008 and March 2009 the DiSCmap project team asked over 1,000 users, including intermediaries (vocational users who take care of collections) and end users (university teachers, researchers and students) a variety of questions about which physical and digital Special Collections they make use of and what criteria they feel must be considered when selecting materials for digitisation. This was achieved through workshops, interviews and two online questionnaires. Although the data gathered from these activities has the limitation of reflecting only a partial view on priorities for digitisation - the view expressed by those institutions who volunteered to take part in the study - DiSCmap was able to develop:- a 'long list' of 945 collections nominated for digitisation both by intermediaries andend-users from 70 HE institutions (see p. 21);- a framework of user-driven prioritisation criteria which could be used to inform current and future digitisation priorities; (see p. 45)- a set of 'short lists' of collections which exemplify the application of user-driven criteria from the prioritisation framework to the long list (see Appendix X):o Collections nominated more than once by various groups of users.o Collections related to a specific policy framework, eg HEFCE's strategically important and vulnerable subjects for Mathematics, Chemistry and Physics.o Collections on specific thematic clusters.o Collections with highest number of reasons for digitisation

Spartan Daily, November 6, 1992

Volume 99, Issue 50https://scholarworks.sjsu.edu/spartandaily/8334/thumbnail.jp

The Semantic Web MIDI Tape: An Interface for Interlinking MIDI and Context Metadata

The Linked Data paradigm has been used to publish a large number of musical datasets and ontologies on the Semantic Web, such as MusicBrainz, AcousticBrainz, and the Music Ontology. Recently, the MIDI Linked Data Cloud has been added to these datasets, representing more than 300,000 pieces in MIDI format as Linked Data, opening up the possibility for linking fine-grained symbolic music representations to existing music metadata databases. Despite the dataset making MIDI resources available in Web data standard formats such as RDF and SPARQL, the important issue of finding meaningful links between these MIDI resources and relevant contextual metadata in other datasets remains. A fundamental barrier for the provision and generation of such links is the difficulty that users have at adding new MIDI performance data and metadata to the platform. In this paper, we propose the Semantic Web MIDI Tape, a set of tools and associated interface for interacting with the MIDI Linked Data Cloud by enabling users to record, enrich, and retrieve MIDI performance data and related metadata in native Web data standards. The goal of such interactions is to find meaningful links between published MIDI resources and their relevant contextual metadata. We evaluate the Semantic Web MIDI Tape in various use cases involving user-contributed content, MIDI similarity querying, and entity recognition methods, and discuss their potential for finding links between MIDI resources and metadata

Bostonia: v. 64, no. 1

Founded in 1900, Bostonia magazine is Boston University's main alumni publication, which covers alumni and student life, as well as university activities, events, and programs

The Cowl - v.29 - n.11 - Sep 15, 1976

The Cowl - student newspaper of Providence College. Volume 29, Number 11 - September 15, 1976. 8 pages. Note: The volume number printed on the banner page of this issue (XXIX) duplicates the volume number for the 1966-67 academic year