Archive of "Media Moguls" posts
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Imagine if you bought a CD and, a few months or years later, some guy came to the door and said, "Sorry, if you ever move from this house, or buy new stereo equipment, you won't be able to play that CD any more. Too bad."
Or, perhaps, you simply downloaded music from MSN's Music Store.
Customers who have purchased music from Microsoft's now-defunct MSN Music store are now facing a decision they never anticipated making: commit to which computers (and OS) they want to authorize forever, or give up access to the music they paid for. Why? Because Microsoft has decided that it's done supporting the service and will be turning off the MSN Music license servers by the end of this summer.
MSN Entertainment and Video Services general manager Rob Bennett sent out an e-mail this afternoon to customers, advising them to make any and all authorizations or deauthorizations before August 31. "As of August 31, 2008, we will no longer be able to support the retrieval of license keys for the songs you purchased from MSN Music or the authorization of additional computers," reads the e-mail seen by Ars. "You will need to obtain a license key for each of your songs downloaded from MSN Music on any new computer, and you must do so before August 31, 2008. If you attempt to transfer your songs to additional computers after August 31, 2008, those songs will not successfully play."
This doesn't just apply to the five different computers that PlaysForSure allows users to authorize, it also applies to operating systems on the same machine (users need to reauthorize a machine after they upgrade from Windows XP to Windows Vista, for example). Once September rolls around, users are committed to whatever five machines they may have authorized—along with whatever OS they are running.
This is why DRMed (Digital Rights Management) music sucks. Because you don't really own it if it only works as long as the music servers are maintained online.
It's as if they actually want us to buy (and rip) CDs instead ...
(via Les)
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Time to clear out the various tabs ...
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A federal judge here on Wednesday ruled that the heirs of Jerome Siegel — who 70 years ago sold the rights to the action hero he created with Joseph Shuster to Detective Comics for $130 — were entitled to claim a share of the United States copyright to the character. The ruling left intact Time Warner’s international rights to the character, which it has long owned through its DC Comics unit.
And it reserved for trial questions over how much the company may owe the Siegel heirs for use of the character since 1999, when their ownership is deemed to have been restored. Also to be resolved is whether the heirs are entitled to payments directly from Time Warner’s film unit, Warner Brothers, which took in $200 million at the domestic box office with “Superman Returns” in 2006, or only from the DC unit’s Superman profits.
All of which may -- due to appeals and negotiations -- put the kibosh on a Superman Returns sequel and the announced Justice League of America film. Not to mention future animated Superman projects. A similar 2006 ruling on "Superboy" is the main reason why the current Legion of Super-Heroes cartoon refers to Kal-El as "Superman" instead.
The ruling specifically upheld the Siegels’ copyright in the Superman material published in Detective Comics’ Action Comics Vol. 1. The extent to which later iterations of the character are derived from that original was not determined by the judge.
[...] By 1937, the pair were offering publishers comic strips in which the classic Superman elements — cape, logo and Clark Kent alter-ego — were already set. When Detective Comics bought 13 pages of work for its new Action Comics series the next year, the company sent Mr. Siegel a check for $130, and received in return a release from both creators granting the company rights to Superman “to have and hold forever,” the order noted.
In the late 1940s, a referee in a New York court upheld Detective Comics’ copyright, prompting Mr. Siegel and Mr. Shuster to drop their claim in exchange for $94,000. More than 30 years later, DC Comics (the successor to Detective Comics) gave the creators each a $20,000-per-year annuity that was later increased to $30,000. In 1997, however, Mrs. Siegel and her daughter served copyright termination notices under provisions of a 1976 law that permits heirs, under certain circumstances, to recover rights to creations.
The heirs to Shuster get their turn at bat starting in 2013.
Compensation to the Siegels would be limited to any work created after their 1999 termination date. Income from the 1978 “Superman” film, or the three sequels that followed in the 1980s, are not at issue. But a “Superman Returns” sequel being planned with the filmmaker Bryan Singer (who has also directed “The Usual Suspects” and “X-Men”) might require payments to the Siegels, should they prevail in a demand that the studio’s income, not just that of the comics unit, be subject to a court-ordered accounting.
Time Warner is expected to appeal.
Hrm. On the one hand, anything that pokes Big Media in the eyeball and restores some measure of rights to the creators of works is, to my mind, probably a good thing. On the other hand, the likely effect on stuff I want to see makes me (selfishly, to be sure) a bit less sanguine. We'll see.
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There have been rumblings about it for some months, but Disney has now confirmed that it will be making changes to Disneyland's "It's a Small World" ride.
So what, some would ask. After all, it's a slow boat ride past treacly animatronics chanting over and over again one of the insidiously brain-addictive Disney songs of all time. Why shouldn't visitors welcome change?
The specific changes mentioned are:
Fie! say some Disney loyalists (and, all things considered, I probably number myself among them here).
To be fair:
But I really have to ask a simple question, in keeping with the maxim that not having a good reason to do something is a reason not to do it: why? Have people been complaining about the ride? Have people been wondering why Simba isn't in the African forest, or Mulan in China? Have too many patriots been offended by the lack of a distinct "USA" zone?
Small World is a throwback to a kinder, simpler time, as a nation and as Disney. Tweaking it should be done with great caution, and only for a strong reason. No such reason has been forthcoming.
Any change at the park is going to bring howls of protest. Changes that are too blatantly commercial are not only a bad idea per se, but are going to alienate (and create bad press from) some of the most vocal Disney loyalists. There might have been ways to effect some of these changes -- leaving out the geopolitical rebalancing of the USA Zone -- through a careful, very quiet, very gradual slipstreaming of "new character" Easter Eggs into the ride ("Just spotted -- Alice in UKland!"). Instead, by trying to do it under stealth of some other needed maintenance, and then trying to color it as a tribute and "respectful" enhancement, Disney's managed to make a mediocre idea even worse.
But, one might argue, isn't this just protesting by nostalgic adults? Aren't the kids going to want to see Disney characters in ever nook and cranny? Isn't that why they're there? It's an arguable point -- but, then, aren't the Small World characters also "lovable" by kids? Disneyland started -- and still continues -- with lots of areas not specifically branded, except by vague association and by costumed folks giving out autographs. I'd argue that kids aren't just there to see Mickey Mouse everywhere, but for the overall fun, pleasant, even nurturing experience overall. Tweaking Small World doesn't improve that.
All it does is -- maybe -- sell more toys and movies. Which may be a good enough reason for the Disney suits, but not for the attending public.
it's a changed world
Re-Imagineering: A World of Tears
Disneyland to add ‘Alice’ to Small World ride - Travel - LATimes.com
The Disney Blog: Disneyland to add Disney Characters to Its A Small World - confirmed
Save Small World, ride creator’s family begs Disneyland - Travel - LATimes.com
Re-Imagineering: There's so much that we share...
Re-Imagineering: With Utmost Reverence
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It's not so much that I missed added content for my favorite TV shows (I have enough other good stuff to watch to backfill for it), as much as the appalling state of what the networks were throwing out there to fill the airwaves in its stead.
Everyone seems fairly happy with the settlement, both per se and for what each side gave and take. A pity it ended up costing everyone as much as it did in order to reach something reasonable.
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Too many tabs, too many things to do:
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Micro$oft is offering $45 billion ("It was burning a hole in our pocket") for Yahoo!, which is its last, best hope to keep from slipping behind Google forever and ever in the search/advertising market.
Meanwhile, Google stock has slipped because making $17 billion in profit this last year (or something insane like that) was, evidently, not enough for Wall Street.
Crazy world.
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A few years back, Colorado Public Radio, which has the main NPR station in our area, KCFR, split into two channels. The old FM station was turned into classical music KVOD, and the NPR news station shifted over to the AM band.
Which, to be honest, is okay, because, y'know, it's just people talking. Right?
That's the way I feel, until each time I travel to LA and listen to KPCC, and hear the amazing textures of the voices and sounds of the NPR news there. Coming back and listening to it on AM makes me feel like I have a black and white TV for a while -- yeah, you can see it all, but it's just not as nice.
Recently, KCFR was playing around with HD Radio, so you could get the NPR channel on the FM side of things (with special equipment). I actually pondered the idea (for about 30 seconds)..
Now, though, it sounds like they're buying another (normal) FM channel, and will be moving KCFR back over to FM. Which makes me very happy -- almost enough to consider sending them money ...
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Coolness. Sony is the last of the major labels to finally offer non-DRMed MP3 tracks for sale at Amazon. That's spiffy both because it means, well, music available without PC- and fair-use-crippling DRM, but it sets Amazon up as a serious competitor to Apple's iTunes store.
The trade-off: Apple's music has DRM in it, but it's all 99-cents per track; Amazon's music is DRM-free, but is offered at variable prices based on what the music labels want. (That price variability is almost certainly why the labels have hopped on the Amazon bandwagon, both because it lets them charge what they want and to pressure Apple to do the same).
Competition. Non-crippleware music. It's all good -- and I say that as someone who never buys tracks online.
(via Doyce)
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