Trent Reznor favors an ISP 'tax on music'
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In an exclusive interview with Nine Inch Nails front man, Reznor said a bitter pill he's had to gulp down is "music should be looked at as free."
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A Washington copyright panel that more than doubled fees U.S. Internet radio stations must pay for music is being called the industry's possible executioner.
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CANNES, France  - Paul McGuinness,  longtime manager of rock band U2, has called on Internet  service providers to immediately introduce disconnection  policies to end illegal music downloads and urged governments  to make sure they do.
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It's bad for business Column The DRM walls are crumbling. Earlier this week, Steve Jobs called on the major record labels to allow online music sales unfettered by digital rights management restrictions.â¦
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A consumer's group said Wednesday it has complained to government regulators about the cost of downloading music from Apple's iTunes system.
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Chris Gorog is convinced people won&#39;t continue to pay $1 a song for online music. By Evan Agostini, Getty Images. That is despite Apple&#39;s (AAPL) record string
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National Public Radio is teaming up with online radio broadcasters to appeal new music royalties that they say would put smaller operators out of business and force others to sharply scale back their online music offerings.
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At the Consumer Electronics Show this year, it&#39;s clear that consumers are making choices that are driving industry changes, and nowhere is that more evident than in the digital music business.Music industry and technology executives convened for the Billboard Digital Music Live conference Wednesday to talk about what those in the business need to do to meet the needs of music fans who appear to be running the show.&quot;2008 has to be the year we get real or the business as we know it goes away,&quot; said Fred Goldring, an entertainment attorney with Goldring Hertz &amp; Lichtenstein. He said that consumers will access music regardless of whether artists, labels, publishers, and digital music distributors approve of the means or receive money from the exchange.Since Napster turned the music industry on its ear in 2000, the digital-music business has been rocked by dissent among artists, labels, publishers, and the breed of technology companies distributing and selling music online that emerged in Napster&#39;s wake. All of these parties want to derive revenue from their contribution to the business, but have been arguing for years about how everyone should get paid.As this drama unfolds behind the scenes, consumers continue to find ways to bypass DRM and emerging revenue models to download and share music, making it not just impossible for the music industry to make money from traditional means, but also difficult to make money at all. In the meantime, artists have embarked on their own revolution, using social-networking sites and other online means to get their music directly in the hands of fans and finding other ways to derive revenue from their work.An example of the latter is the controversial and much-publicized move by U.K. rock band Radiohead to sell its new album &quot;In Rainbows&quot; direct to consumers without going through its record label or Apple&#39;s iTunes Store. The album first went on sale in October on Radiohead&#39;s Web site, allowing users to choose their price for the record; a few weeks ago, Radiohead released the record to iTunes and other retail channels.Scenarios like this will continue to happen, both among major-label artists and independent or unsigned artists. Whether they work is not the point; it&#39;s what the industry will do to work within these models and support them rather than continue to resist that will decide how the industry will fare in the future, said Terry McBride, CEO of Nettwerk Music Group. Nettwerk is a Canadian privately owned record label and artist management company.&quot;The corporate side of it has to shift,&quot; he said. &quot;The corporate people have not allowed us to do what we know we have to do. This is about the consumer, about monetizing their behavior and giving them choice. For all of the people that believe in controlling the&#160;[intellectual property]&#160;and how [the music] gets to consumers, the game is over. It was over seven or eight years ago, and soon your business will be over.&quot;Goldring suggested the industry focus on business models built solely around the networks that allow users to download music and find ways for everyone involved to make money that way.&quot;We have to stop trying to keep our old business alive&#160;... and figure out how to monetize the pipes [music files] are going through,&quot; he said.Barney Wragg, head of digital, EMI Music Group, said that in a perfect world, scenarios like the ones McBride and Goldring propose would exist. However, the needs of different artists vary, and there are still concerns about the integrity of their work and how they will be compensated for it as new business models emerge.&quot;I have artists that don&#39;t want to be involved in certain business models,&quot; he said. &quot;I have to balance those conflicts. ... There are a whole bunch of artists who are worried about how they&#39;re going to get paid, and what this is going to do about their representation or their art.&quot;Allowing their music to be distributed through ad-supported online music services is a particularly hard sell for artists who worry that having their work be associated with advertising &quot;devalues&quot; it, Wragg added.Subscription-based models such as Rhapsody that don&#39;t give users ownership of their music have struggled to take off. Wragg compared music fans&#39; view of subscription models to the early days of e-mail, when people wanted files to be stored locally and were adverse to the concept of e-mail existing only on a remote server.That concept changed over time, as will the perception of subscriptions if they are marketed to consumers in the right way, he said.Another factor that should boost the popularity of subscriptions in the future is the increased spending of younger fans who are naturally more comfortable with the idea of not owning their music, said Matthew DeFilippis, vice president of new media and technology for the American Society of Composers, Authors and Publishers, a membership organization representing the rights of artists.&quot;Ownership is a generational thing,&quot; he said. &quot;Even though kids today are buying from iTunes, I don&#39;t think they care about owning a thing. As they become the new generation of homeowners and bill payers, [music subscription] will be moving toward a cable [TV] model.&quot;
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By CHRISTOPHER JOHN TREACY  Nine Inch Nails' Trent Reznor may be watching too many "X-Files" reruns.
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European Parliament is pushing for changes in how musicians collect online copyright fees.
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Researchers aim to make file-sharing fairer by treating bandwidth like a currency.
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Money meets mouth on file-sharing legislation threats ISPs are calling on the record industry to put its money where its mouth is on illegal file-sharing, by underwriting the cost of lawsuits brought by people who are wrongly accused of downloading or uploading music.â¦
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A price war in the online music market began yesterday when RealNetworks began an aggressive campaign to challenge industry leader Apple.
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The music business has been aggressive in fighting peer-to-peer file sharing over the Internet, but most musicians do not think illegal file sharing hurts them, according to a recent survey.
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Blog: Music industry group that collects royalty payments has offered a compromise, but it's unclear whether it will go far enough to please disgruntled Webcasters.
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With competition heating up in the online music business, RealNetworks, Inc. slashed prices Tuesday for downloading music.
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Let's see if digital pirates are willing to watch ads to get music.