| Ma Els Trom and Nap Mp3, Ma Els Trom and Nap Music Lyrics
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Ma Els Trom and Nap biography, Ma Els Trom and Nap discography
Skim This Chapter Skim this chapter and use this chapter's key terms to search within this book.Reference Finder Paste in your own text to find books that relate to your topic.Of all the content industries affected by the digital environment, the music industry has, for a variety of reasons, been thrown first into the maelstrom.This chapter presents the developments in the music industry and reviews its early phases of coming to grips with digital information.But some of the problems will be widespread, because they are intrinsic to digital information, no matter what content it carries.The problems include distributing digital information without losing control of it, struggles over standards and formats, and evolving the shape of industries as the new technology changes the previous balance of power.Numerous MP3 sites offer free MP3 playback software, songs, and albums.Widely available software programs known as "rippers" (or "digital audio extractors," in more polite circles) can read the digital data from CD tracks and rewrite it in a variety of formats, notably as MP3
files.These files are easily shared among friends or posted around the Web.The third reason that the problem has surfaced first in the music world is that music is popular with a demographic group (students in particular, young people generally), many of whom have easy access to the required technology, the sophistication to use it, and an apparently less than rigorous respect for the protections of copyright
law.Rio from Diamond Multimedia) are available that hold 30 minutes to an hour of music.New technology and new business models for delivering content are almost always greeted with the belief that they will destroy the existing market.Yet in each case, the new development produced a new market far larger than the impact it had on the existing market.Lending libraries gave inexpensive access to books that were too expensive to purchase, thereby helping to make literacy widespread and vastly increasing the sale of books.Similarly, the ability to photocopy makes the printed material in a library more valuable to consumers, while videotapes have significantly increased viewing of movies (Shapiro and Varian, 1998).Some suggest that the ability to download music will increase sales by providing easy purchase and delivery 24 hours a day, opening up new marketing opportunities and new niches.For example, the low overhead of electronic distribution may allow artists themselves to distribute free promotional recordings of individual live performances, while record companies continue to focus on more polished works for mass release.Digital information may also help create a new form of product, as consumers' music collections become enormously more personalizable (e.Others see a radical reduction in aggregate royalties and, eventually, in new production, as pirated music files become widely distributed and music purchases plummet.The outcome for digital music is still uncertain; there is of course no guarantee that the digital music story will play out in the same way as it has in these other industries.There are two major lines of response to the challenges outlined above: find an appropriate business model, and develop and deploy technical protection mechanisms.This view nicely characterizes the business model response, suggesting that one way to cope with piracy is to provide a more attractive product and service.GoodNoise, a digital music provider): "We think the best way to stop piracy is to make music so cheap it isn't worth copying" (Abate,
1998).Web site (illegal though these actions may be).So how could there be a market in such things, when it appears that all the value in the item could be extinguished by the very first sale?One answer becomes evident to anyone who has actually tried to download MP3 music from any noncommercial site: The service is terrible and the experience can be extraordinarily
frustrating.Search engines can assist in finding songs by title, performer, and so on, but you have to know how to look: Can't find what you're looking for when you type in "Neil Young"?"Unable to find the directory or file; check the name and try again"?Even once connected, the speedy download times cited earlier are ideals that assume that both the computer on the other end and its connection to the Internet are up to the task.Creating a Web site with a few music files is easy; providing good service on a site with hundreds or thousands of songs is not: The hardware and software requirements are considerably more complex.Why experience 30 minutes or an hour of frustration, if for a dollar or so you can have what you want easily, reliably, and quickly?This is one example of how, in the digital age, content industries may mutate, at least in part, into service companies.There is also a more general point here about the relative power of law and business models.MP3 files for sale and hence have to be visible enough to advertise), they are unlikely to be either effective or necessary against individual infringers, where detection and enforcement are problematic.In October 1999 the rock group Creed made the most popular song from their CD release "Human Clay" available for free download at more than 100 sites.Internet does not replace brick and mortar sales, but can be used as an adjunct to traditional brick and mortar retailing methodologies.Chief among the new rules is that "content is free."While not all content will be free, the new economic dynamic will operate as if it were.Intellectual property that can be copied easily likely will be copied.The value instead is in the auxiliary markets.The classic example is the Grateful Dead, who have long permitted taping of their live shows (and have taken the additional step of permitting fans to trade digitized versions of those recordings on the Web) (Buel, 1999).This variety of approaches illustrates the challenge and the opportunity of finding an appropriate business model in the world of digital IP.In such cases some form of adaptation and creative rethinking can be particularly effective; the business model responses noted above offer a few examples of that type of thinking.Many technical protection mechanisms are motivated by the key issue noted earlier, lying at the heart of the difficulties with digital IP: the liberation of content from medium.When content is bound to some physical object, the difficulty of duplicating the physical object provides an impediment to reproduction.What options does technology offer for controlling reproduction?One response is to "mark" the bits, that is, add to the content the digital equivalent of a watermark that identifies the rights holder.While it does not prevent the content from being copied and redistributed, this technique can at least make evident who owns the material and possibly aid in tracking the source of the redistribution.Music can be watermarked by very small changes to some of the digital samples.This change to the music will be imperceptible to a person but will be easily read by a computer
program.One proposed plan is to embed both a robust and a fragile watermark in newly released CDs and then require that licensed portable players refuse to play digital music that has a robust watermark but lacks the fragile
watermark.The presence of the robust watermark indicates that the music is newly released, while the absence of the fragile watermark suggests that the music file is no longer in its original form (and hence may have been copied).One relatively straightforward technique for reattaching the bits is to employ special hardware that enforces copy protection.Digital audio tape players, for example, have a serial copy management system (SCMS) in which the hardware itself enforces the prohibition against making digital copies of copies.This mechanism provides, at a minimum, that the consumer will have to pay to get a decryption key; without it, a copy of the encrypted content is useless.Buy a song, and you get both an encrypted file and a password for decrypting (and playing) the song.Anchor the content to a single machine or user.To do this the information must be decrypted just in time (i.Persistent encryption is complex to implement in its most ambitious and effective form, because it requires the IP protection software to take control of some of the routine input and output capabilities of the computer.If this is not done, there are a large number of places (e.Differences among consumers make it useful to offer content on a variety of different terms.When a music file is downloaded, then, in addition to the music it will contain information indicating the license conditions under which the music may be used.As part of the transaction, the vending site is provided with information specific to the computer requesting the file (e.The same basic model applies to portable players like the Rio: To anchor the bits (i.Any time content is valuable, some people will be motivated to find ways to break the protection mechanism, and some of them will be more than willing to share their techniques.On August 17, 1999, Microsoft released Windows Media 4.On August 18, 1999, various Web sites offered a program that reportedly defeated the security features of Windows Media, stripping out the license information and making the files shareable.The new program had apparently been in development for only a month, based on the beta releases of Windows Media (Livingston, 1999).One plausible countermeasure is to design protection to be renewable (i.This solution protects content from that point forward, limits the profits from piracy, and keeps the protection a moving target for those trying to break it.Cumbersome content protection schemes may discourage use, particularly as consumers are likely to be impatient with mechanisms that they perceive are intended to protect someone else's interests.This requirement puts stringent performance demands on a system (e.Does the consumer have to repurchase every piece of music that he or she owns if the portable player fails, is lost, or is replaced?Getting significant content protection machinery in place and widely distributed would require a concerted and coordinated effort, yet each of the players has its own goals and aims that may not necessarily align (see, for example, Hellweg, 1999).PCs have been successful to a significant degree because they have open architectures; that is, components of the machine can be replaced by the user (e.One could modify the software used by the sound card, for example, so that it not only generates the signal for the speakers but also stores away the decrypted music samples.With more than 100 million computers in use, any scheme that requires new hardware faces a significant barrier to acceptance.If this succeeds, PCs may routinely come with technology that makes possible secure electronic commerce, and that may also be usable for enforcing intellectual property rights.The installed base problem here is more likely to arise from the need to be compatible with the existing MP3 format, widely and legally used by consumers to make personal copies of CDs they own and who are likely to want players capable of playing those files.There is also a traditional chicken and egg problem involving technology development and content owners.For example, in June 1999, Digital Video Express, the company that invented and was marketing Divx technology, ceased operations.Its announcement mentioned as one of the contributing factors its inability to obtain adequate support from
studios.Finally, there is the problem of the digital infrastructure, one element of which is transaction support: Buying content online requires systems for secure transactions, in high volume, possibly involving rather small amounts of money (e.Although some progress has been made on creating the infrastructure to support electronic commerce, these and other elements of this digital infrastructure are not yet in place for routine use and will require both a sizable investment for their creation and a major effort at agreeing on standards.As noted earlier, one of the fundamental changes brought about by the Web is the availability of an inexpensive publishing and distribution medium with worldwide reach.In the view of some, traditional publishers are becoming unnecessary, because authors, composers, and performers will be able to publish and distribute their product online themselves.Some performers have already done so, though generally offering their products as free samples.This difficulty has long been recognized: Nearly 30 years ago Herbert Simon suggested that "a wealth of information creates a poverty of attention" (Simon, 1971).But these intermediaries would not be publishers in the traditional sense; hence the phenomenon may not be so much disintermediation in general, as the diminishing need for one variety of intermediary and an increasing role for another.Little wonder, then, that battles are emerging over the future character of the
industry.In October 1998, the Recording Industry Association of America (RIAA) sued Diamond Multimedia, maker of the Rio.The attempt to ban the sale of the Rio illustrates several interesting aspects of the struggle over digital music.First, attacking the Rio on serial copying grounds is curious, because the device can't copy.Virtually all of the copying of MP3 files is done on computers, but (as noted) computers are not covered by the Audio Home Recording Act (because their ability to do digital recording is not "designed or marketed for the primary purpose of .The AHRA goes to some effort to define the particular class of device it attempts to regulate.The difficulty is further highlighted by the announcement in October 1998 of a company called Empeg, in Somerset, England, that claimed to be bringing out a portable device that not only played MP3 files but also ran the Linux operating system.In other words, it was a portable MP3 player that was also a computer and hence outside the purview of the AHRA (Patrizio and Maclachlan, 1998).The final and perhaps most important point in the struggle over the Rio is that the real battle is over standards, because the future character and structure of the industry will be determined to a significant degree by what becomes the popularly accepted format for digital music.If MP3 wins out, putting the genie back in the bottle will be difficult, and we will all be engaged in an experiment to see what effect unrestricted digital distribution has on the music
industry.SDMI effort is to produce a secure music format and corresponding devices that would refuse to play files containing unlicensed MP3 tracks.Yet signs of a convergence of interests have also appeared: In June 1999 MP3.The interesting element here is the careful dance of rapprochement engaged in by these two representatives of seemingly opposed interests, an apparent attempt to bridge the gap between the traditional world of music copyrights and royalties, and the proliferation of free music.It is common experience that not every song on a CD is equally appealing, but without a way to pick and choose, consumers had no choice but to buy the package offered.First, what has happened there may happen in other content industries as well, as other products become digitized.Books and movies have begun to feel the effects.This development is made possible in part by the creation of more secure forms for the content, of the sort provided, for example, by Adobe's use of ContentGuard technology from Xerox, resulting in a more secure version of its popular PDF document format.With electronic publishing of books come many of the same issues concerning the role of the publisher: Various sites on the Web offer electronic publication of works, presenting an alternative to traditional publishers, while also promising 40 to 50 percent royalty rates and author retention of copyright, practices far from common in the print publishing
business.Keeping this in mind often makes it easier to decode the disparate agendas and strategies of the many players engaged in the struggle.For example, according to net measurement firm Media Metrix, an estimated 4 million people in the United States listened to digital music in the month of June 1999, up from a few hundred thousand less than a year ago (Wired News, 1999).MP3 is shorthand for Moving Picture Experts Group (MPEG) 1 Layer 3.Other compression techniques are available that offer even higher compression ratios, making the files smaller still.Steve Grady, vice president of marketing for EMusic, who concluded that "the best way to combat piracy is to make it easier to buy rather than to steal" (Patrizio, 1999a).On many servers only a very limited number of users can be logged in at a time.Many servers are up for only a limited time.In both these cases we will have dead links until these changes have been updated in our database .MP3 files only in exchange for the uploading by the user of at least one "ripped" MP3 file.This is an increasingly common observation.Barnes and Noble, and others are attributable in part to the speed, reliability, and convenience of the service they offer, as well as the product available for sale.Trading among fans was fine; selling the material was not.This is also an example of the suggestion above that distribution of live performance recordings might be handled by the artists rather than the record companies, although of course in this case the artists let the fans do it themselves.Hard drives are of course sometimes changed (e.One example of a new kind of publisher is Garageband.Garageband's focus is on the thousands of small and struggling musicians and groups that have not been able to sign with a major recording studio and have discovered that they cannot make a profit by giving their music away over the Internet.Musicians will be able to upload recordings that will be rated by music enthusiasts on the Web.The company plans to attract listeners who are willing to sample unknown recording artists by offering prizes such as backstage passes to concerts and visits to recording studios (Markoff, 1999).MP3 file resided momentarily on the hard drive."While this may be true, the Act seems to have been expressly designed to create this loophole.Diamond Multimedia later formed an alliance with Liquid Audio, a vendor of audio files in a protected format that makes songs easily playable only on the PC to which they were downloaded.It does not protect IP but does provide a place and a language for specifying the rights holder's desires concerning protection.See Chapter 5 for additional discussion of MP4.At one time, of course, singles were a viable part of the music market (as 45 rpm records); perhaps that time has come again.For background on the struggle over electronic rights to textual works, see Zeitchik (1999).For example, Metafilmics, an established filmmaker that won an Academy Award for best visual effects in 1998, announced it is making "The Quantum Project" specifically for initial Internet distribution (Pollack, 1999).More funk than you can shake your thro at!!!People that bought this title also bought...Hem_R_Oid) What're we having for dinner, Jeep?Two_L33t) hey Sam's Club 36 pack of Ramen noodles for 3.I'd take some of that...Hem_R_Oid) I try to avoid drinking water...Fish fuck in it so drinking water is like sucking off a fish...Huey, Dewey, and Louie want to explore the ship, and learn a bit about Vikings from yours truly.Zazu: There goes my theory about scholarly pursuits.What can those three ducklings possibly want with you?But why would they want to meet us at the Norway Pavilion?But should we go without knowing for sure who sent the message?The only time they dance on anyone's lap is when Santa drops by and spends a bundle on new reindeer.And, just for the record, no, there are no Lapp dancers performing there today.We shall undoubtedly hear some traditional Norwegian folk music, though.LATER, AT THE NORWAY PAVILION ...Iago: Ooooh, I just thought of something!Why would the Three Stooges send me an email?Those two old birds are fighting over something.And stop blowing those smoke rings around my beak!Iago's Mother: Why don't you go peddle your Fruit Loops someplace else?Zazu's Mother: Shouldn't you be looking for a pirate to poop on?Zazu's Mother: There you are, Zazzy!Said I was supposed to meet you here for Mother's Day.Iago's Mother: Why, I received the very same message.Iago's Mother: I just hate to see you looking untidy, son.I'm so grateful that Flora, Fauna, and Merryweather sent me that plane ticket.Iago: What makes you think the three fairies sent you the ticket?Hey, Zazzy, I hear they serve a good Norwegian Ringnes beer in that restaurant over there.Whaddya say we have lunch?Zazu: Er, yes, Mother, of course.Zazu's Mother: No problem, hon.The original Akershus castle still stands, and the chapel is still used for royal events.The castle was used by the Nazis as a prison during the Second World War, and is now the home of Norway's Resistance Museum.Iago's Mother: Why, Zazu, that's so interesting.My name is Odd, and I'll be your server.You know, this is a delightful time to visit the Norway Pavilion.And the Midnight Sun days, during which the sun never drops below the horizon, begin on 13 May and last until 29 July.And to top it off, this Pavilion just celebrated its 11th birthday on 6 May of this year.Zazu's Mother: Speaking of celebrating, if the tall blonde guy with the funny name comes back, tell him I want a beer.I'm gonna hit the buffet.Iago's Mother: Perhaps we should get our food too, and you can tell me a little about these unique Norwegian dishes, Zazu.The lutefisk is not to be missed.Iago: What are those two laughing about?Zazu's Mother: Fine, fine, whatever, just let me light up first.Iago's Mother: There, there, dear.Currently, they use metric measurements; previously, distance was recorded in leagues.You're just like your father.He was an African Grey, Zazu.Zazu: Ah, I might have known.African Greys are renowned for being big talkers.Ours was a mixed marriage, as I'm an Eclectus Parrot.It seemed to run in the family.Granddad was swimming in an icy fjord, wearing a 19th century version of a fishnet Speedo, and when he came out of the water, that Munch guy was so inspired that he painted a picture.Please wipe your beak, dear.Iago's Mother: Er, no, dear, Henrik Ibsen was a Norwegian playwright.Here comes our Viking longboat now.While these boats are similar to those used in It's a Small World and El Rio del Tiempo, the dragon heads give them a distinctive appearance, and they have some additional attachments to accommodate reverse operation.Zazu: We are now travelling through a tenth century Viking village.By the way, Zazu, what exactly is the Maelstrom?Zazu: Mother, all hornbill males follow that procedure to protect their mate and their young.Now, please, let's get back to the attraction.And such a courageous people.Their seafaring ancestors were even willing to brave the dreaded Kraken.Sea World's future roller coaster is named.Iago: Hey, here comes my favorite Norwegian legend.Zazu: Known in some circles as the Megatroll.Iago: I wonder if each of the heads has a name.Zazu's Mother: Ugly, Uglier, and Ugliest?Zazu and both Mothers: WHO????Iago: Hey Zazu, the Troll is holding up a sign.He's only doing his job.What a shame that Iago couldn't have spared us from those tired automobile puns.Zazu's Mother: Look at the size of that oil rig!Iago's Mother: Zazu, this seems very odd, but I could have sworn I saw a shining castle back there, just as we started going backwards.Now if only we could determine how Snow White ended up in Norway.Zazu: Yes, a charming Norwegian fishing village.Film Voiceover: To know this land's heart and soul...Iago's Mother: Oh my, that was just so lovely.Why don't we leave these two to enjoy their nap, while we stroll through the pavilions in peace.Let's get started on that Drinking Around the World Showcase Tour thingy.Metcalf and Ronnie O'Rourke (JIROMI).The characters, attractions, and photographs here belong to the Walt Disney Company, and anyone who disagrees will be sent backwards over the falls!Said a tearfully repentant Don Imus, "I'm so sorry, Loraine.Don Imus created a maelstrom Is Imus a racist?Therefore, the Imus comments have offended sleepy women and prostitutes alike.Margaret Dozer, President of the Naptime Association for Promoting and Prolonging Youthfulness, appeared on Larry King Live to denounce Imus and call for the termination of his show.Red Bull and crystal meth?"Sandra Hooker, spokesperson for the Working Ho's Organization for Respect and Education, also blasted Imus at a press conference on Tuesday."Most men prefer their ho's to be awake and alert, even when the John is just lying there like a lazy bump, or when he's talking about his boring day at the office.The members of WHORE are modern women who exhibit talent, creativity, and the ability to go all night at our chosen profession.Imus believes about the Rutgers women?That they deserve to be slapped around?Imus treats his prostitutes, then he doesn't deserve a place on America's airwaves."Morgan Johnson at this week's national conference the Sports Enhancement for Xcellence group in New York City.Both were vilified for their words.Athletes are habitually insulted and degraded after a loss, often by their own devoted fans.It's part of playing sports.Likewise, if you use hateful, racist, or sexist language on your radio program, there will be consequences.We think not, although we've never had a situation like that come up in our office.Should the understanding be that Imus was only referring to the women with tattoos?Only to those women who looked rough?The research to find out is way beyond us.Then what about that slang word, ho?American culture, does not refer to any particular ethnicity.Or if we're going to slam Imus for using it, why are we giving Ludacris a free pass?Any of these could be insulting on an individual level: the first two in a "who appointed you to the fashion police" kind of way, and the last two as more general insults.Sanjaya's hair on American Idol!We encourage anyone who was offended by Mr.Imus to stop listening to his show, stop patronizing his sponsors, write an angry letter to his affiliates, and demand a personal apology from the man himself.Or better yet, write a funny news satire piece about the guy!We need to open a dialog between any community of people who are offended by a particular word, phrase, or action and members of the larger society who need to understand and deal with the underlying issues.Opinions expressed do not necessarily represent those of LWN Productions.Post your comments and feedback to the Official LWN Forum!AdsNum, 0)See MAE, NAP and IXP.West, the Ameritech NAP and the Sprint NAP.All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only.
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