Revue de Presse portent sur le cas Napster Juin 2002
Associated Press , “SDMI: Quintessential Vaporware”, www.wired.com, 29 avril 2002 Bright, J., “Right to replay”, Communications International, Londres, Janvier 2002 Chandiramani, R., “MP3.com nets Fox Kids marketer as Euro chief”, Marketing, London, 21 février 2002 Conhaim, W. W., “The music wars”, Link – up, Volume 19, Numéro 2, Medford, Mars/Avril 2002 Cope, J., “P2P over the Internet”, Framingham, 8 avril 2002 Computerworld, Volume 36, Numéro 15,
Ewing, J., Prasso, Sheridan, “Bertelsmann Says Play It Again, Napster” Business Week, Numéro 3756, New York, 5 novembre 2001 Grover, R., Lowry, T., Weintraub, A., “Can't Get No...”, Business Week,Numéro 3747, New York, 3 septembre 2001 Himelstein, Linda, Lowry, T., “The Sound at Napster: Tick, Tick, Tick...” Business Week, Numéro 3777, New York, 8 avril 2002 Keefe, C., “Download lowdown”, Dealerscope, Volume 43, Numéro 12, Philadelphia, Décembre 2001 King,B., “Napster's New Tune: Pay Labels” , www.wired.com, 7 septembre 2001 King,B., “Napster Settles, Eyes Relaunch” , www.wired.com, 24 septembre 2001 King,B., “EMI Has No Fears of Peers” , www.wired.com, 6 novembre 2001 King,B., “Vivendi Moves in for Killer App” , www.wired.com, 21 novembre 2001 King,B., “Real Music, With Restrictions” , www.wired.com, 4 décembre 2001 King,B., “MP3.com Downloads Into Europe” , www.wired.com , 22 décembre 2001 King,B., “Napster's Back, Almost”, www.wired.com , 10 janvier 2002 King,B., “Kazaa Halts Download Distribution” , www.wired.com , 18 janvier 2002 King,B., “Kazaa: A Copyright Conundrum” , www.wired.com , 4 mars 2002 King,B., “Gnutella: File-Sharing Haven”, www.wired.com , 6 mars 2002
King,B., “Kazaa to Offer Subscriptions” , www.wired.com, 24 avril 2002 King,B., “The Day the Napster Died”, www.wired.com, 15 mai 2002 King,B , “Napster Now Bertelsmann's Baby”, www.wired.com , 17 mai 2002 King,B, “Record Biz Has Burning Question”, www.wired.com, 14 juin 2002 King,B., “Why Audiogalaxy Case Matters Not”, www.wired.com, 20 juin 2002 Knotzer, T., “Revamped Napster set to launch early next year” Informationweek, Numéro 862, Manhasset, 5 novembre 2001 Langenderfer, J., Cook, D. L., “Copyright policies and issues raised by A&M Records v. Napster: "The shot heard 'round the world" or "not with a bang but a whimper?"”, Journal of Public Policy & Marketing, Volume 20, Numéro 2, Chicago, Automne 2001 Lewis, P., “Pay to play”, Fortune, Volume 145, Numéro 1, New York, 7 janvier 2002 McCluen, Emma, “Press play to rewind” ,Communications International, London, Septembre 2001 Reuters, « Suits Pile On MP3.com » , www.wired.com, 22 août 2001 Rock, Justin, “MusicNet and pressplay prepare to replace Napster”, Weekly Corporate Growth Report, Numéro 1157, Santa Barbara, 10 septembre 2001 Rojas, P., “Kazaa Lite: No Spyware Aftertaste”, www.wired.com, 18 avril 2002 Rorai, M., “The Netherlands: Exchanging MP3 files: The battle continues”, Managing Intellectual Property, Numéro 120, Londres, Juin 2002 Schumacher-Rasmussen, E., “Napster's last gasp?” Emedia Magazine, Volume 15, Numéro 4, Wilton, Avril 2002. Shachtman, N., “Where Music Trading Thrives”, www.wired.com, 21 novembre 2001 Shaughnessy, A., “The best things in life are free”, Printed Circuit Design, Volume 19, Numéro 1, San Francisco, Janvier 2002 Taylor, C., “The next Napsters”, Time, Volume 158, Numéro 14, New York, Automne 2001 “Napster Eclipsed by Newcomers”, Wired News Report, www.wired.com, 6 septembre 2001
“Subscriptions Coming to Napster”, Wired News Report, www.wired.com, 22 août 2001 “Bertelsmann Wants All of Napster”, Wired News Report, www.wired.com ,5 avril 2002
Fortune; New York; Jan 7, 2002; Peter Lewis; Volume: 145 Issue: 1 Start Page: 115-117 Abstract: Welcome to the post-Napster era of rent-a-tune when music is leased instead of bought, and when every recording, from electric guitars to chamber ensembles, comes with strings attached. The biggest of the new online music services, Pressplay and MusicNet, are an attempt by the major labels to test and control the online distribution of their music catalogs while protecting copyrights and generating profits. Full Text: Copyright Time Incorporated Jan 7, 2002 [Headnote] Peter Lewis on Technology Welcome to the post-Napster era of rent-a-tune, when music is leased instead of bought, and when every recording, from electric guitars to chamber ensembles, comes with strings attached. Just months after forcing Napster and other file-swapping services into limbo, the world's largest recording companies have launched their own online digital-- music subscription services. Along with new copy-protection schemes for audio CDs (see box), the recording industry is attempting not just to stop the illegal sharing of tunes that Napster allowed, but also to change the rules for listening to legitimately purchased music. Napster was one of the most successful new consumer technologies of all time, attracting 60 million Internet users in its short life. But those users were not paying record labels or artists for the copyrighted music, so the music industry sued it shut. Still, as the universal jukebox, Napster defined consumer expectations for online music services. It also introduced millions of consumers to the advantages of computer-based digital music, including ripping and burning (copying tracks from commercial audio CDs into the MP3 file format and transferring the files to custom-made CDs), playlists, and portable MP3 players. The biggest of the new online music services, Pressplay and MusicNet (launched as RealOne Music), are an attempt by the major record labels to test and control the online distribution of their music catalogs while protecting copyrights and generating profits. We tried them out, along with Rhapsody and Emusic.com (a couple of rival
services backed by independent record labels), and Morpheus, a renegade musicswapping site that has become a haven for Napster refugees. There are some bright notes with the new commercial online music sites. They make it easy to organize tunes into playlists. Downloads are fast and reliable, as long as you have a high-speed Internet connection via cable or DSL modem. They offer biographical notes on artists and suggest artists you might like to hear, based on your past listening. But there are sour notes aplenty All have major content gaps that can be frustrating. Not all the major labels have put their full catalogs on line, and some major artists, like the Beatles, are absent for contractual reasons. Barring extensive crosslicensing, it's doubtful that any one of the sites will offer the breadth of songs, artists, and labels that Napster did at its peak. (Napster, by the way, says it hopes to be reborn in the spring as a pay-to-play subscription service.) For now, consumers may have to choose a site based on the limits of its content rather than on the quality of its service. (Macintosh users don't even get to choose; of the ones we tested, only Emusic.com was Applefriendly.) More troubling, however, are the restrictions placed on even the legitimate uses for the music you've bought, er, licensed. RealOne Music (www.real.com) does not allow downloaded songs to be burned onto homemade CDs or transferred to digital audio players. In other words, you're free to listen to all the tunes you download as long as you're sitting at your PC. RealOne Music is the first service backed by MusicNet, an alliance that includes the Arista, Capitol, Elektra, EMI, RCA, and Warner Music labels. It costs $9.95 per month for 100 "streams"-basically, like listening to the radio except that you get to choose when you hear a certain song-and 100 downloads. Streaming allows you to sample, say, a new single from 'N Sync before deciding whether to download it or buy the CD. If you download it to your playlist, the song is yours to play for just 30 days. After it times out, it's dormant in your hard drive until the next time you want to drop a dime and put it back in the rotation-but it counts against your 100-tune download limit. Pressplay (pressplay.com), the other major new site, is a bit more forgiving when it comes to burning CDs. The more you pay, the more forgiving it becomes. Available through the online sites Yahoo, MSN, and Roxio, and backed by labels including Sony, Universal, EMI, Motown, Tuff Gong, Virgin, and Rounder, Pressplay offers several levels of service, ranging from $9.95 for a basic plan to $24.95 a month for a "platinum" membership. A platinum subscription entitles the user to stream 1,000 songs, download 100, and burn no more than 20 tracks a month-- roughly the equivalent of two commercial audio CDs. The downloads are playable as long as you keep paying the monthly fees, but if you don't pay, you'll hear the sounds of silence. The ability to burn CDs allows the music to be played on home and car stereos and in portable CD players, but you can't transfer songs to a portable MP3 player.
Another alternative is Rhapsody, available at www.listen.com. It offers unlimited streaming but no downloads for $7.99 a month. Unlimited streaming seems like a good deal, even with the lack of burning and transfers. Unfortunately, the lack of musical choices is a total downer. Emusic.com offers unlimited downloading for $9.99 a month. It has an amazing selection, all of which can be burned onto CDs. The jazz and blues selections are the strongest categories, but it also has a nice collection of surf tunes. The downside is that Emusic.com doesn't have any of the top-selling albums of 2001. But it is available for Macs. Morpheus (musiccity.com) is free and has content from all the major labels, whether they know it or not. Like Napster, the selection depends on who's online. You can do anything you want with the tunes you grab, as long as you're comfortable on the dark side of copyright laws. Of the two newest services, Pressplay (which expects to add MP3.com to its affiliates soon) is a better choice than MusicNet (expected to be offered through America Online). But that's like saying Pia Zadora is a better singer than William Shatner. A few years ago Circuit City and a bunch of Hollywood lawyers hatched a misbegotten scheme called DiVX that attempted to track and restrict the playing of DVD movies bought by consumers. Happily, consumers consigned DiVX to its rightful place in technology hell. One can only hope that the recording industry's new attempts to control and restrict the legitimate enjoyment of music meet a similar fate.
Time; New York; Fall 2001; Chris Taylor; Volume: 158 Issue: 14 Supplement: Special Issue Start Page: 32 Abstract: That's because [Morpheus] links users to other users in a big game of telephone, much as Gnutella-based software like BearShare does. The difference is that anyone can grab the Gnutella code and produce their own conflicting versions of it (think too many cooks). But Morpheus has been honed to perfection by MusicCity's tech wizard, Darrell Smith. "We've been nurturing our network," he says. Full Text: Copyright Time Incorporated Fall 2001 IN THE BEGINNING WAS THE WORD, AND the word was Napster. Sixty million Internet users around the world downloaded this software gratis, used it to swap their MP3 collections and saw that it was good. But the forces of the recording industry feared for their bottom line, and they did smite Napster with every legal means at their disposal. This was easy, since all Napster users had to pass through a central server and could be blocked on the way. Thus were 60 million sinners cast out of the garden of free music. After that came a list of "begats." Napster begat Gnutella, which begat LimeWire and so on, until the world had (at last count) 176 brands of filesharing software. But none quite caught the imagination as did their progenitor. They were too slow, or too hard to understand, or couldn't reach more than 40,000 users at the same time without using the same kind of centralized server that got Napster into so much fire and brimstone. One that came very close was BearShare, built in a couple of months by Florida programmer Vincent Falco. "It offers a little more stability, a little more speed, and it is very popular," he says. Still, his 5 million followers couldn't quite fill the Napster gap. Enter Morpheus, named for both the Greek god of change and Laurence Fishburne's rebellious guru in the blockbuster sci-fi film The Matrix. Launched in April by MusicCity.com, Morpheus had attracted 10 million devout followers by the end of August. New believers were arriving at the rate of 1 million a week. According to CNet's Download.com, it was by far the hottest piece of free software on the Net. For the first time since Napster, a program had enough users that it could enable them to find just about any piece of popular music they sought, and enough power to
locate and download it from their peers in a matter of heartbeats. Yet Morpheus is more than just the second coming of Napster-it is as indestructible as the Internet itself. "It can't be turned off, ever," says MusicCity CEO Michael Weiss. "Someone could walk into our data center in downtown L.A., shut down every server we have, and the network would continue." That's because Morpheus links users to other users in a big game of telephone, much as Gnutella-based software like BearShare does. The difference is that anyone can grab the Gnutella code and produce their own conflicting versions of it (think too many cooks). But Morpheus has been honed to perfection by MusicCity's tech wizard, Darrell Smith. "We've been nurturing our network," he says. An advantage of that: as of September, Morpheus will do one-stop searching on the Gnutella network as well as its own. Appropriately enough, Morpheus' holy trinity-Weiss, Smith and MusicCity.com founder Steve Griffin-is pretty decentralized. They live in Los Angeles, Scottsdale, Ariz., and Nashville, respectively, and work in virtual offices. They also licensed some of Morpheus' key technology from an Amsterdam-based company called Fast Track. All of which is not surprising, since the commodity they're dealing in is borderless. An advantage of Morpheus is that it enables users to hear tunes from around the world instantly, without having to wait for their local CD store to replenish its imports section. As Weiss says, "It's human nature to want to share." Not that the big record labels see it that way. But Weiss is a veteran of battles with the entertainment industry. As a video retailer in the late 197()s, when movie studios thought rental tapes would destroy them and pushed tape prices sky high, he took the retailers' case to Congress-and won a resounding victory. In any case, the only way to shut Morpheus down would be to sue individual users for trading copyrighted files-which would be difficult to prove. Music industry lawyers would have to trade the files themselves, since the only way to get users' information is to trade with them. So will big labels see the light? Says Weiss: "The industry needs to listen to consumers. Free and easy file sharing is what they want." Sixty million musical sinners say Amen.