An anonymous reader writes "A new study of books and music for sale on Amazon shows how copyright makes works disappear. The research is described in the abstract: 'A random sample of new books for sale on Amazon.com shows three times more books initially published in the 1850's are for sale than new books from the 1950's. Why? A sample of 2300 new books for sale on Amazon.com is analyzed along with a random sample of 2000 songs available on new DVDs. Copyright status correlates highly with absence from the Amazon shelf. Second, the availability on YouTube of songs that reached number one on the U.S., French, and Brazilian pop charts from 1930-60 is analyzed in terms of the identity of the uploader, type of upload, number of views, date of upload, and monetization status. An analysis of the data demonstrates that the DMCA safe harbor system as applied to YouTube helps maintain some level of access to old songs by allowing those possessing copies (primarily infringers) to communicate relatively costlessly with copyright owners to satisfy the market of potential listeners.'"

A few weeks ago you had the chance to ask James Logan, the founder of Personal Audio, about the business, the patents the company holds, and the lawsuits it has filed. James answered most of the questions in great detail. Read below to see what he has to say and what question he passed on and why.

Bennett Haselton writes "After initial abuse reports failed to shut down some anti-women and pro-rape pages on Facebook, a wider lobbying campaign succeeded in prompting a Facebook policy change. This has been alternately hailed as a vindication of the campaigner's cause, or derided as proof that Facebook can be cowed by humorless feminists. In reality, the success of the campaign was most likely the outcome of a mostly arbitrary and random process that required a lot of luck, just as the initial abuse reports didn't succeed because they didn't have the necessary luck on their side. Neither result should be taken to reflect on the merits of the campaigner's actual points." Read on for the rest of Bennett's thoughts.

vinces99 writes "Forget to turn off the lights before leaving the apartment? No problem. Just raise your hand, finger-swipe the air and your lights will power down. Want to change the song playing on your music system in the other room? Move your hand to the right and flip through the songs. University of Washington computer scientists have developed gesture-recognition technology that brings this a step closer to reality. They have shown it's possible to use Wi-Fi signals around us to detect specific movements without needing sensors on the human body or cameras. By using an adapted Wi-Fi router and a few wireless devices in the living room, users could control their electronics and household appliances from any room in the home with a simple gesture."

New submitter angelofdarkness writes "Jack Vance died Sunday evening. He was 96. Thank you for the stories and adventures and for influencing the games I still play after all these years. From the article: 'A science fiction Grand Master, Vance is probably best remembered for his four Dying Earth novels, which take place in a far-future Earth where the sun has dimmed and magic has been reestablished as a dominant force. They feature a brilliant picaresque adventure tone, including the unforgettable thief Cugel the Clever, and they were also celebrated in a recent anthology Songs of the Dying Earth, edited by George R.R. Martin and Gardner Dozois. These books contain Vance's characteristic ironic, lightly humorous style, which has influenced generations of science fiction writers." Reader paai points to the official Jack Vance website, and this 2009 profile in the New York Times.

mask.of.sanity writes "Lights, sounds and magnetic fields can be used to activate malware on phones, new research has found. The lab-style attacks defined in a paper (PDF) used pre-defined signals hidden in songs and TV programmes as a trigger to activate embedded malware. Malware once activated would carry out programmed attacks either by itself or as part of a wider botnet of mobile devices."

An anonymous reader writes "BitTorrent has come up with a new way to sell music. It's called BitTorrent Bundle, and it puts the music store alongside the torrent. At last, someone has come up with a way to turn all us entitled, lawless downloaders into paying customers. BitTorrent thinks of BitTorrent Bundle as a sort of 21st century band flyer. Post a torrent with a handful of live tracks from your latest tour, Bundle it with a store that lets your groupies buy the full album." Put simply, the idea is that bands publish a basic torrent with a few songs as a teaser. When users download that .torrent file from BitTorrent.com, they're shown a page asking for something — money, an email address, or social media interaction — in exchange for the rest of the album (or other bonus content). If they comply, they get a different .torrent file. It's not intended as a guard against piracy, but as a way to link up content creators with the torrenters who are actually willing to pay.

An anonymous reader writes "On April 28, 2003, Apple launched the iTunes Music Store. In their original press release, they called it 'revolutionary,' in typical PR fashion. As the service reaches its 10th anniversary, it seems they were actually correct. From The Verge: 'At launch, it was Mac-only and offered a relatively tiny catalog: 200,000 songs (it currently has 26 million). But it did have the support of the major record labels of the day: Universal, EMI, Warner, Sony, and BMG. The partnerships were key to helping Apple take control of music distribution — without the songs, the iPod was a nicely designed but empty box. ... Jobs certainly had his challenges. Vidich said he's the one who suggested that iTunes charge 99 cents per track and he remembers Jobs nearly hugged him. At the time, Sony Music execs wanted to charge more than $3 a track, according to Vidich. No doubt a $3 song price would have tied an anchor around iTunes' neck, stifling growth. 99 cents, on the other hand, was below the sub-$1 psychological barrier — and has continued to be an important price point for not only music but the wide swath of 99-cent iOS apps in the store. ... Apple bet that the majority of consumers wouldn't have an issue with its lock-in tactics, and it bet correctly.'"

tlhIngan writes "On Tuesday, the New York appellate court denied Grooveshark the DMCA safe harbor protection on songs like Johnny B. Goode. What happened was due to an oddity in the law, the DMCA does not apply to state-licensed copyrighted works (those copyrighted before February 15, 1972). What happened was Congress overhauled copyright law to make it a Federal matter, but all works prior to that date still come under common-law and state statutes. The end result is that Grooveshark does not have DMCA safe harbor protection for older works and may be sued for copyright infringement (barring other agreements, e.g., UMG and YouTube), even though they fully comply with the DMCA otherwise, taking down copyrighted materials. Grooveshark is a "music locker" service allowing users to upload music for others to listen to."

Nerval's Lobster writes "Twitter is plunging into the online music game. Twitter Music (or "Twitter #music," in the company's own rendering) uses Twitter activity such as Tweets and engagement "to detect and surface the most popular tracks and emerging artists," according to an April 18 posting on Twitter's official blog. Songs on the app derive from three sources: iTunes, Spotify, or Rdio. And yes, Twitter is big, but its victory is by no means assured: other IT giants have entered the same market only to watch highly-publicized projects wither away, doomed by some combination of audience apathy and implementation issues. Take Apple's Ping, for example: launched in September 2010 as part of an iTunes update, the ambitious social-networking and music-recommendation engine immediately ran into a number of problems, including a lack of Facebook integration (despite Steve Jobs' assurances to the contrary) and widespread reports of spam and fake accounts. Can Twitter's effort stand out, or will it just be lost in all the noise?"

Last week you had the chance to ask J. Michael Straczynski (jms) about Babylon 5, his new original series, Sense8 , and all things sci-fi. Below you'll find his answers to your questions.

Hugh Pickens writes writes "Richard Gray reports that scientists have found a way to help anyone plagued by those annoying tunes that lodge themselves inside our heads and repeat on an endless loop — when snippets of a catchy song inexplicably play like a broken record in your brain. The solution can be to solve some tricky anagrams to force the intrusive music out of your working memory allowing the music to be replaced with other more amenable thoughts. 'The key is to find something that will give the right level of challenge,' says Dr Ira Hyman, a music psychologist at Western Washington University who conducted the research. 'If you are cognitively engaged, it limits the ability of intrusive songs to enter your head.' Hyman says that the problem, called involuntary memory retrieval, is that something we can do automatically like driving or walking means you are not using all of your cognitive resource, so there is plenty of space left for that internal jukebox to start playing. Dr Vicky Williamson, a music psychologist at Goldsmiths, University of London, says that the most likely songs to get stuck are those that are easy to hum along to or sing and found that that Lady Gaga was the most common artist to get stuck in people's heads, with four of her catchy pop songs being the most likely to become earworms – Alejandro, Bad Romance, Just Dance and Paparazzi. Other surveys have reported Abba songs such as Waterloo, Changes by David Bowie or the Beatles' Hey Jude."

wiredmikey writes "In an effort to increase security for user accounts, Apple on Thursday introduced a two-step verification option for Apple IDs. As the 'epic hacking' of Wired journalist Mat Honan proved, an Apple ID often carries much more power than the ability to buy songs and apps through Apple's App store. An Apple ID can essentially be the keys to the Kingdom when it comes to Apple devices and user maintained data, and as Apple explains, is the key to many important things you do with Apple, such as purchasing from the iTunes and App Stores, keeping personal information up-to-date across your devices with iCloud, and locating, locking, or wiping your devices.' 'After you turn [Two-step verification] on, there will be no way for anyone to access and manage your account at My Apple ID other than by using your password, verification codes sent your trusted devices, or your Recovery Key, a support entry announcing the new service explained."

sarysa writes "The Supreme Court has refused to hear the latest appeal of the 7 year old Jammie Thomas case, regarding a single mother who was fined $222,000 in her most recent appeal for illegally sharing 24 songs. Those of us hoping for an Eighth Amendment battle over this issue will not be seeing it anytime soon. In spite of the harsh penalties, the journalist suggests that: 'Still, the RIAA is sensitive about how it looks if they impoverish a woman of modest means. Look for them to ask her for far less than the $222,000.'"

Dr Max sends this excerpt from an AP report: "U.S. prosecutors won a New Zealand court victory Friday in their battle to extradite Megaupload founder Kim Dotcom and three colleagues accused of facilitating massive copyright fraud through the now-defunct online file-sharing site. The appeals court overturned an earlier ruling that would have allowed Dotcom and the others broad access to evidence in the case against them at the time of their extradition hearing, which is scheduled for August. The appeals court ruled that extensive disclosure would bog down the process and that a summary of the U.S. case would suffice. Dotcom says he's innocent and can't be held responsible for those who chose to use the site to illegally download songs or movies."

Nerval's Lobster writes "The Recording Industry Association of America (RIAA) claims that Google has failed in its attempt to lower the search-results rankings of so-called 'pirate' Websites. "We have found no evidence that Google's policy has had a demonstrable impact on demoting sites with large amounts of piracy," read the report's summary (PDF). 'These sites consistently appear at the top of Google's search results for popular songs or artists.' Last August, Google indicated that it would start lowering the search-result rankings of Websites with high numbers of 'valid' copyright removal notices. 'This ranking change should help users find legitimate, quality sources of content more easily—whether it's a song previewed on NPR's music website, a TV show on Hulu or new music streamed on Spotify,' Amit Singhal, Google's senior vice president of Engineering, wrote in a corporate blog posting at the time. Google, which receives millions of copyright removal notices every month, also offers a counter-notice tool for those who believe their Websites have been unfairly targeted for copyright violations."

concealment sends this excerpt from the NY Times: "Late last year, Zoe Keating, an independent musician from Northern California, provided an unusually detailed case in point. In voluminous spreadsheets posted to her Tumblr blog, she revealed the royalties she gets from various services, down to the ten-thousandth of a cent. Even for an under-the-radar artist like Ms. Keating, who describes her style as “avant cello,” the numbers painted a stark picture of what it is like to be a working musician these days. After her songs had been played more than 1.5 million times on Pandora over six months, she earned $1,652.74. On Spotify, 131,000 plays last year netted just $547.71, or an average of 0.42 cent a play. 'In certain types of music, like classical or jazz, we are condemning them to poverty if this is going to be the only way people consume music,' Ms. Keating said. ... The question dogging the music industry is whether these micropayments can add up to anything substantial. 'No artist will be able to survive to be professionals except those who have a significant live business, and that’s very few,' said Hartwig Masuch, chief executive of BMG Rights Management."

An anonymous reader writes with news that the first successful case was brought before the copyright tribunal under NZ's three strikes law. From the article: "The first music pirate stung under new file-sharing laws has been fined $616 but 'didn't realise' the actions were illegal. The Recording Industry Association of New Zealand (RIANZ) — which represents music studios — took an unnamed offender to the Copyright Tribunal last year for sharing songs on the Internet — a track by Barbadian pop-star Rihanna on two occasions and the other by Nashville band Hot Chelle Rae. In a decision released today, the tribunal found in RIANZ's favor and ordered the offender ... to pay a penalty $616.57." Torrent Freak has a slightly different perspective: a lack of evidence and pushback from the tribunal resulted in much smaller fines than the RIANZ wanted.

littlekorea writes "A data analyst has successfully predicted the top ten songs of the world's biggest song contest — the Triple J Hottest 100 — by extrapolating voting intentions fans had posted on Twitter and Facebook. Nick Drewe's Warmest 100 list closely mimicked the Hottest 100 results, predicting the top three in correct order and predicting 92 of the most popular 100 songs."

FunPika writes "Jonathan Coulton, who is known for songs such as "Code Monkey", is claiming that his cover of "Baby Got Back" was used without permission on Glee, a television show aired by Fox Broadcasting Company. When the Glee version appeared on YouTube last week, Coulton suspected that it sounded similar to his cover, and several of his fans confirmed this by analyzing the two tracks. Despite Coulton contacting Fox, they continued with airing the episode and have placed the song on sale in iTunes."