Add to ORKGAs a starting point for this Essay, in Section I, I will present new data on the musical preferences of Spotify listeners that confirms and reinforces the core findings of Copyright’s Excess. In Section II, I will then move to address some of the concerns and questions that my colleagues have raised. In Section III, I will briefly conclude
The author takes a careful look at the new Copyright Revision Act of 1976 from the perspective of wr...
Copyright provides a long term of legal excludability, ostensibly to encourage the production of new...
Many participants in the music industry consider unauthorized downloading of music files over the In...
As a starting point for this Essay, in Section I, I will present new data on the musical preferences...
The focal point of this symposium is COPYRIGHT’S EXCESS, Glynn Lunney’s thoughtful and trenchant cri...
Glynn Lunney’s recent book Copyright’s Excess: Money and Music in the Recording Industry provides ma...
(Excerpt) Beyoncé’s release raises questions concerning the adequacy of common narratives about the ...
In this essay, I revisit my 2001 article, The Death of Copyright, for the Franklin Pierce Center for...
For more than two hundred years, copyright in the United States has rested on a simple premise: more...
Commissioned for a symposium on copyright law and the creation of music, this article explores five ...
At its height, the U.S. recorded music industry brought in annual revenue of $20 billion. Since the ...
Part I explores the challenge that COPYRIGHT’S EXCESS tackles. It explains the core of copyright’s i...
Over the last several years, copyrighted works have come to account for a healthy portion of our GNP...
This paper seeks to establish the reasons why federal copyright protection was created, discuss the ...
More than four years after Napster demonstrated the power of the Internet as a means of distributing...
The author takes a careful look at the new Copyright Revision Act of 1976 from the perspective of wr...
Copyright provides a long term of legal excludability, ostensibly to encourage the production of new...
Many participants in the music industry consider unauthorized downloading of music files over the In...
As a starting point for this Essay, in Section I, I will present new data on the musical preferences...
The focal point of this symposium is COPYRIGHT’S EXCESS, Glynn Lunney’s thoughtful and trenchant cri...
Glynn Lunney’s recent book Copyright’s Excess: Money and Music in the Recording Industry provides ma...
(Excerpt) Beyoncé’s release raises questions concerning the adequacy of common narratives about the ...
In this essay, I revisit my 2001 article, The Death of Copyright, for the Franklin Pierce Center for...
For more than two hundred years, copyright in the United States has rested on a simple premise: more...
Commissioned for a symposium on copyright law and the creation of music, this article explores five ...
At its height, the U.S. recorded music industry brought in annual revenue of $20 billion. Since the ...
Part I explores the challenge that COPYRIGHT’S EXCESS tackles. It explains the core of copyright’s i...
Over the last several years, copyrighted works have come to account for a healthy portion of our GNP...
This paper seeks to establish the reasons why federal copyright protection was created, discuss the ...
More than four years after Napster demonstrated the power of the Internet as a means of distributing...
The author takes a careful look at the new Copyright Revision Act of 1976 from the perspective of wr...
Copyright provides a long term of legal excludability, ostensibly to encourage the production of new...
Many participants in the music industry consider unauthorized downloading of music files over the In...