New Report Says How Much Advertising Is Going to Piracy Sites | ADWEEK

Piracy is not only a threat to the content creators whose material is being stolen but the reputations of the advertisers whose brands appear on the sites and the credibility of the digital advertising ecosystem, says the report, titled “Good Money Gone Bad: Digital Thieves and the Hijacking of the Online Ad Business.

The report lists the sites it studied as well as the dozens of blue-chip advertisers whose ads were seen on the offending sites, including AT&T, Lego and Toyota.

“The reality of it is, this is a big business,” said Wenda Harris Millard, president and COO of MediaLink. “I think people thought it was a cottage industry.

READ THE FULL STORY AT ADWEEK:
http://www.adweek.com/news/advertising-branding/new-report-says-how-much-advertising-going-piracy-sites-155770

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Report links Google, Yahoo to Internet piracy sites | LA Times

Is The Piracy Threat Really Decreasing?

Flat or declining revenues at major media companies like Sony and Viacom is contrary to recent reports that digital piracy is declining.

Guest post by Robert Steele

Recently, there has been a lot of discussion surrounding a few articles suggesting that online piracy is decreasing.  From where I sit that is not the case.  I am the Chief Technology Officer and Chief Operating Officer of a company that helps monetize copyrighted intellectual property (IP) for the artists and holders of copyrights.

A brief overview of the public filings of Viacom and Sony, two major players in the production and distribution of copyrighted intellectual property shows that one has no growth over 3 years and the other has declining revenues. In fact, Moody’s recently expressed concern that Sony will be unable to maintain future profitability and has downgraded the Company’s debt rating to “junk” status. Due to various external circumstances including “rapid changes in technology”, Moody’s announced that it would be difficult for Sony to improve their financial position in the near-term

Much of the claims that piracy is declining are based on a new report published by Sandvine,  To get our levels set correctly here, Sandvine is a Canadian company, which as it ends up, makes software to assist ISPs to “shape” i.e. control, BitTorrent traffic.  BitTorrent is the primary tool for file sharing and pirating content online.  This report declares that “Filesharing now accounts for less than 10% of total daily traffic in North America”  This has been widely touted in various blogs as a decrease in piracy.  Specifically, the report states that during the second half of 2013, filesharing’s share of aggregate peak-period traffic in North America (not worldwide) fell to 8.93% from 10.5%. This data is being shown as proof that the proliferation of legal services that distribute copyrighted content such as Spotify, Netflix, YouTube, are helping to combat the fight against piracy.

If we had written a narrative regarding the same data, we would have stated that BitTorrent piracy grew by data volume during the period.  Since Sandvine’s clients are ISPs, they don’t want to highlight this embarrassing fact about how their clients are harming companies like Sony and Viacom, so they feature the statistics that paint their client’s in the best light. 

In regards to their narrative on their findings we see problems with the report–all of which should cause companies, investors and owners of copyrighted IP to be skeptical of any optimism about the decline of online piracy. Among them:

1) The report estimates that total traffic from the first half of 2013 to the second half of 2013 increased 20-30%.  This means that the total amount of data used for filesharing increased.  The 8.93% of internet traffic in the second half of 2013 is more movies, music and video games consumed illegally than the 10.5% indicated in the first half of 2013 because the overall “pie” grew by 20% to 30%.

2) The report shows BitTorrent’s share of total Internet traffic increased, as did total volume of BitTorrent traffic, everywhere else they measure–Europe, Asia-Pacific, and Latin America (as it has in every report published).

3) The narrative does not take into account the increase use of VPNs (Virtual Private Networks) or proxies increasingly used by BitTorrent users to “mask” where their traffic is coming from. SSL (Secure Sockets Layer) traffic, used by VPN services, more than doubled in the past year (as reported by Sandvine).  They include data on VPN usage but leave that out of their analysis on filesharing.

4) We believe that the report is misleading when it states “Long are the days when filesharing accounted for over 31% total daily traffic, as we had revealed in our 2008 report.”  The total amount of fixed data transferred on the internet grew by more than 310% between 2008 and 2012 from 9,927 Petabytes per month to 31,388 Petabytles per month.  We are still waiting for total 2013 internet traffic totals.  So 8.93% of internet traffic in 2012 used for filesharing is a lot more music and movies files than 31% of internet traffic in 2008.

4) The report hinges its filesharing debate solely on public BitTorrent, ignoring the rise in popularity of “dark nets” including Tor and other encrypted digital lockers used for online piracy.

5) Despite the increase in total traffic, U.S. digital track sales decreased for the first time ever in 2013, dropping from 1.34 billion to 1.26 billion, according to Nielsen SoundScan. CD sales also declined, dropping 14% to 165 million.

The data provided by Sandvine says nothing about the number of files share, or the number of files shared per person. That is the information that matters, and what we attempt to solve everyday at Rightscorp.

Ignoring all the other factors, this is reason alone to question the claim that “piracy is decreasing”.

VPNs and Proxies

US BitTorrent users are becoming more savvy and turning to VPNs to mask their traffic from their ISP. It has been shown that this method is effective in avoiding piracy lawsuits and strikes. TorrentFreak, a popular piracy blog, reports “a majority” of BitTorrent users are turning to VPNs.

The results in the Sandvine report show that SSL (Secure Sockets Layer) traffic, used by VPN services, has increased significantly over the last report, more than doubling from 2.5% to 5.4% of total traffic. Since actual traffic has increased even more, the true usage of VPNs could be significantly more.

As TorrentFreak pointed out

“This increase in VPN use also means that the actual percentage of BitTorrent traffic is even higher, since the Sandvine report puts the traffic generated by these users in the SSL category.”

Other Piracy Channels

The metric Sandvine uses for all “piracy” is BitTorrent. This is flawed, as recently many pirates have been abandoning torrent-based peer-to-peer file sharing, partially because there are many other ways available to share material.

Dark nets” such as Tor and other encrypted digital lockers have experienced an exponential growth in number of users in recent months. Particularly following the attention drawn to them by the Edward Snowden case. Other popular anonymous networks including I2P, and Freenet have combined to more than double in size in the past year.

The limitations in Sandvine’s tracking data for anonymous networks such as Tor suggest that the report is missing one of the fast growing segments of the piracy market.

What Does This Mean?

Well, to be frank, piracy is not decreasing, and investors should be skeptical about reports stating that it is. On the contrary, there are many reasons to believe that it is in fact on the rise. Artists are still unable to properly monetize their copyrights.

Hopefully, with services, including our own at Rightscorp (RIHT), artists will be able to protect what is theirs. Additionally, Rightscorp has been successful at getting VPN companies to adopt its copyright monetization services to discourage misuse of VPN services.

The cultural acceptance of piracy–particularly with young people–creates a lot of media incentives to mask the consequences of this system. It also leads to optimistic reports like the one above.

Google pretends to care about human rights | Vox Indie

It’s not the message, but the messenger–a hypocrite to its very corporate core.  If Google as a company truly believed in “human rights” why does it continue to disregard the rights of artists at every turn?  Perhaps those who doodle for Google might want to review the United Nation’s Universal Declaration of Human Rights (Article 27, paragraph 2) which includes this passage:

(2) Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.

Why is Google so keen on “fair play” and the rights of athletes to compete, but when it comes to artists, not so much?

READ THE FULL STORY AT VOX INDIE:
http://voxindie.org/google-lgbt-olympic-doodle-opportunism

Jean Michel Jarre: ‘Don’t forget that us creators are the smart part in a smart phone | MTP

by Helienne Lindvall

At this week’s Midem music conference in Cannes, France, I sat down with electronic music pioneer Jean Michel Jarre, whose career as an artist and composer is now in its fifth decade, having broken through internationally with his groundbreaking Oxygene album in 1976. Last year, he took over the presidency of CISAC, the global body for authors’ societies, after the previous president, Robin Gibb, passed away – and so his Midem “visionary talk” went under the headline Fair Share for Creators.

Jarre:

“We should never forget that in the smartphone, the smart part is us creators. If you get rid of music, images, videos, words and literature from the smartphone, you just have a simple phone that would be worth about $50. Let’s accept that there’s a lot of innovation in the smartphone, so let’s add $100 for this innovation – the remaining $300-$400 of the price should go to us.

So we should sit down and talk to all the telephone companies and computer companies selling hardware, the companies carrying the content on the internet, such as Facebook and Google. We need each other, so at the end of the day we have to find the right partnership. We are talking about a business partnership, not a tax, and this shouldn’t affect the consumer.”

READ THE FULL INTERVIEW AT MUSIC TECHNOLOGY POLICY:
http://musictechpolicy.wordpress.com/2014/02/05/jean-michel-jarre-dont-forget-that-us-creators-are-the-smart-part-in-a-smartphone-by-helienne-lindvall/

U2 Manager Paul McGuinness on Artists Rights and Piracy

What needs to be done is simple, take the sites down and keep them down. If the pirates can manage to replace their sites instantly with legions of bots, Google, with their brilliant algorithm engineers can counter it.

We need the technology giants like Google to do the things that labels, the publishers, the artists, the writers repeatedly ask them to do. They need to show corporate and social responsibility. Take down the illegal sites, keep them down and clear the way for the legal digital distributers like iTunes, Spotify, Deezer, the new Jimmy Iovine Beats service, which promises to be a very serious competitor. Those services now exist, it is no longer acceptable to say that the music industry is not available, not making its wares available online.

We’re all aware in this room that subscription is now replacing downloading — legal or illegal — but we do need those mega corporations to make a genuine effort to cooperate and feed the industry that has been so good to them.

READ THE FULL STORY AT BILLBOARD:
http://www.billboard.com/biz/articles/news/global/5893877/u2-manager-paul-mcguinness-receives-billboards-industry-icon-award

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NAMM 2014 Artists Rights Panel, Actually Features Artists…

We’ve written here before how so called “Artists Rights” or “Artists & Copyright” panels at conventions such as CES and SXSW seem to be lacking any artists who are actually interested in protecting their rights and copyrights. So we’re pleased to see that NAMM has gotten it right and we encourage those going to the convention to drop in on the panel.

NAMM 2014 – Copyright, The Internet and You
http://www.namm.org/thenammshow/2014/hot-zone/copyright-internet-and-you-panel

Day: Thursday, Jan 23

Start Time: 3:00 pm (One Hour) 

Room: The Forum (203 A-B)

Presenter / Moderator: Gregory Butler

Why are content creators seeing less money than ever while their art is being used so widely? Join our panel of experts as they look at the challenges of navigating the new music industry, piracy and intellectual property.

Panelists:
* Lucy Miyaki of Tashaki Miyaki
* Manda Mosher of Calico
* Reinhold Heil, Film & TV Composer
* John Cate, fmr Tunecore CFO
* Tom Biery, Artist Management
* Brian McNelis, Music Supervisor / Soundtrack Album Producer

The Hubris Behind Google’s Demotion of Rap Genius (Guest Post) | Billboard

by Chris Castle

Rap Genius topped any Google results for practically any lyric search string, so the site was very well-known to music fans. That enviable ranking doesn’t seem dissimilar from search results for Isohunt, the Pirate Bay or Kickass Torrents.

So what was the cardinal sin justifying Google in disappearing Rap Genius? Operating without licenses? No, certainly not that. Openly challenging the music industry? No, not that either.

It would appear Rap Genius did the one thing Google doesn’t permit — it spoke openly about beating Google at its own game. Rap Genius evidently tricked Google’s search algorithm into ranking it higher than the site should have been absent the manipulation. And for this cheeky violation of Google’s rules — not a law — the search giant demonstrated two points in one flex of its dominant muscle.

READ THE FULL STORY AT BILLBOARD:
http://www.billboard.com/biz/articles/news/digital-and-mobile/5869795/the-hubris-behind-googles-demotion-of-rap-genius-guest

While Artists are Bitching About Spotify Royalties… Google, YouTube and Grooveshark are in the Getaway Car…

While artists bitch about low payments from Spotify royalties,  YouTube,  Grooveshark and The Pirate Bay pay artists less or even nothing.  The reason Spotify pays so little is because it’s forced to compete with illegally operating, unlicensed sites who pay nothing at all. Artists need to focus on the big picture.

Spotify has become the symbol of inequity for artists in the digital age, and we’re not saying artists are wrong to focus on the Spotify royalty payments as an example of this inequity. We’ve written our own criticisms of Music Streaming Math and our doubts that Spotify could ever actually scale to be a sustainable business for both artists and labels.

Whatever the criticisms we may have of Spotify it is important to note that they are legal and licensed with secured rights.

The truth is that Spotify is only a symptom of a much larger disease.  The actual cause of the inequity is mass scale, enterprise level, corporate sanctioned piracy for profit. Ad Funded Piracy is the primary mechanism by which the work of artists and musicians has been devalued to fractions of cent and here’s how it works.

Imagine creating a business where you could profit by attracting every fan of every musician and band.

Imagine not requiring any licenses or permission from any of the musicians and bands.

Imagine selling advertising based on not only the overall popularity of the musicians and bands, but also from providing free streaming and/or downloads to the music of the musicians and bands.

Imagine not having to pay musicians and bands and keeping all of the advertising (and/or subscription/access fee) money.

GOOGLE:

One of the most accessible points of piracy starts at Google search and they can absolutely do more to assist legal and licensed businesses that pay artists. Digital Music News recently reported that “Google Receives Its 100 Millionth Piracy Notice. Nothing Changes…” As we’ve seen with Google’s swift retribution to Rap Genius, search can very effective to discourage or remove bad actors from the legitimate marketplace (When it is in Google’s business interest to do so!). Google is also tracking over 200,000 known domains engaged in active piracy. This seems like an easy problem to solve.

Not only did a series of research studies by the USC Annenberg Innovation Lab identify Google as one of the primary companies feeding advertising to pirate sites, but there is actually a longer darker history of Google assisting illegally operating business online.

Artists don’t get paid anything from pirate sites profiting from advertising revenue. This is the big one, those who pay nothing at all but distribute the most music at the highest volumes.

YOUTUBE:

YouTube is a company that was intentionally founded and designed to profit by ripping off artists, musicians and creators. These practices are well known from court documents published by sources such as Daily Finance.

It appears that much of the music on YouTube may still be generating profit for YouTube but not so much for musicians. East Bay Ray of the Dead Kennedy’s details the state of things here on NPR.

Even when YouTube is paying, they are paying half as much (or less) than Spotify on a per play basis.

GROOVESHARK:

We’d love to hear from artists (musicians and songwriters) who actually have their music legally licensed on Grooveshark. And, for those who do, we’d love to see what some of those royalty statements look like. We can’t imagine that Grooveshark is paying better than Spotify and that’s only for those artists who may actually have a valid license from Grooveshark.

As of this writing Grooveshark is still embattled in a number of lawsuits, which at one time included every major label. Essentially Grooveshark designed their business to be like an audio and music only version of YouTube. We detailed their practices in the post “Grooveshark, Notice and Shakedown”.

We don’t know how much money Grooveshark is making, but it’s enough to put the companies founders on the Forbes 30 Under 30 List… It seems that it is the (new boss) gatekeepers controlling the money and once again it is the artists themselves getting screwed.

PANDORA:

As of this writing Pandora has abandoned it’s ill conceived attempt at legislation that would have reduced artists royalties by 85%. But let us not forget that the arguments used by Pandora for attempting that move were also motivated by the downward economic pressure placed on artists whereby the majority of music consumption is happening with no compensation at all due to various forms of Ad Funded Piracy.

Welcome to the Exploitation Economy.

We suggest that artists focus on the disease that is creating the symptoms of businesses like Spotify.

RELATED:

Google, Advertising, Money and Piracy. A History of Wrongdoing Exposed.

Lou Reed and Dead Kennedys Go Public Against Ad Funded Piracy with Facebook Posts


Don Henley Talks Google Versus Musicians | LA Times

In the technocratic world of Google (which owns YouTube), my musical brethren and I are no longer artists; we’re not creators — we are merely “content providers.” Copyright and intellectual property mean nothing to the technocracy. They’ve built multi-billion-dollar, global empires on the backs of creative, working people who are uncompensated. They’re wrecking entire industries.

There might be a legislative fix, but there seems to be no political will. Google alone has about a dozen lobbyists on Capitol Hill. Google spent over $11 million last year on lobbying and over $18 million the previous year. They spread the money and the propaganda around like manna, employing their favorite buzz words like “innovation.” Regulation, they say, will “stifle innovation,” and the legislators all nod in agreement. It’s an oligarchy, plain and simple.

READ THE FULL INTERVIEW AT THE LA TIMES:
http://www.latimes.com/entertainment/music/posts/la-et-ms-don-henley-qa-20140115,0,5745299.story

Google Receives Its 100 Millionth Piracy Notice. Nothing Changes… | Digital Music News

“After 100 million piracy notices, it’s time for Google to take meaningful action to help curb online copyright infringement.

Google, with its market capitalisation of more than US$370 billion, is directing internet users to illegal sources of music.

This is not only harming a recording industry whose revenues have fallen by 40 percent in the last decade to US$16.5 billion, but it is also harming the more than 500 licensed digital music services worldwide that offer up to 30 million tracks to internet users.”

READ THE FULL STORY AT DIGITAL MUSIC NEWS:
http://www.digitalmusicnews.com/permalink/2014/01/14/googlereceives

RELATED:

Google, Advertising, Money and Piracy. A History of Wrongdoing Exposed.

 

Lou Reed and Dead Kennedys Go Public Against Ad Funded Piracy with Facebook Posts


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