• Free downloads in our multi culti world

    25 feb 2009, 14:37 av asia-research

    Also if you don't have so much money you can get a lot of free music on lastfm

    Vavamuffinreggae hip hop >> Poland
    Renato Ventura world fusion instrumental >>italy
    Serkan Süleymaniye sufi >>turkish
    Emma Forman acoustic female vocalist folk >>scotish
    Castanets folk new weird america >> america
    La Raíz fusion, patchanka, reggae ska fusion >> spain
    Sudironda folk, tarantella traditional >>italy
    Corrientes female vocalists, chillout, funny folk >>cuba

    20.02.09
    Brian Dunn folk, marijuana, hick-hop >> america
    Patchanka ska, folk, reggae, latin >>denmark (only 1 song)
    Fritanga ska, latin rock, ragga, alternativo >> ???

    21.02.09
    Los Microbios ska, rock, hip-hop, flute >>Russia
    Hortense Ellis reggae, rocksteady, ska, women in reggae >> jamaica
    Manga De Tanos latin, female vocalists, tango >> argentina
    Yogurinha Borova drag-ones, pop, marica, pop travesti >> spain

    22.02.09
    Satelite Kingston ska, reggae, latin, world >> argentina
    Shanghai Triad cabaret, mondiovision, jazz, folk >> china
    Cidadão Quem rock, rock gaucho >>> brazil
    X-Patriate (Alan J. Lipman) relax, blues, trip hop, world >>> French ???

    23.02.09
    Baka Gbinéafrica, ml red tape, mixed vocal ensemble >>> afrika
    diha africa, pop >>> gambia
    Angele Dimovski folk, balkan, traditional, ethno >>> macedonia

    24.02.09
    Eldad Lidor, acoustic, piano >>> israel
    Jaime Heras electronica, space, jamendo, ambient >>> spain
    RiT french, chanson francaise, nouvelle scene francaise >>> France
    Hot Pants patchanka, ska, rock, rockabilly >>>> France
    Poutatorvi circus, world music, rythmic, funk >>> finnland


    25.02.09
    Mskelectronic, downtempo, alternative >>> Italian
    Oz Bambaz musica brasilera >>> Brazil
    Halo Svevo electronic, experimental, dark ambient >> Germany
    La Nef Des Fous french, indie, alternative, chanson >>> france
    Mirko Fait jazz, bossa nova, saxophone, indie >>> italy
    Guachupe rock, ska, funk, patchanka >>>> chile
    Zootsings jazzy, bluesy, blues, acoustic >>> netherlands ??

    26.02.09
    КИТАЙГОРОД progressive rock, downtempo >>> Russia
    Канцлер Ги pop, folk, vocals female >>>Russia
    Atomica trip-hop, female vocalists, electronic, chillout


    27.02.09
    Devendra Banhart indie, freak folk, new weird america >>> America
    Colectivo Etéreo nerdcore, latin, hiphop, hip-hop,>>> Spain
    Ceylán psychedelic, electronic, electro, happy >>> Chile
    M.A.U. electronic, pop, multi-cultural >>> Portugal
    En Ventura shoegaze, dream pop, cocteau >>> Mexico


    28.02.09
    Abakuya folk, africa, experimental, world music >>> Africa
    A.R.Rahman bollywood, hindi, soundtrack >>> India - only one song
    Hoba Hoba Spirit arabic, gnawa, maroc, fusion >>> Marocco
    Sir Alec Hendrix lounge, chillout, jazz, downtempo, smooth >>> ???
    Zofka downtempo, chillout, easy listening, ambient >>>> France
    Northbound electronic, nu-jazz, chill out, acid jazz >>>> ???
    Арчер blues, minstrel, rolesong, blues guitarists >>> Russia
    May Nasr arabic, folk, female vocalists >>> Lebanon
    Zola Van piano, solo piano, tranqui, elite, melodical >>> ???


    01.03.09
    Sonia Pérez latin, salsa, female vocalists, >>> cuba
    Quallofillelectronic, dream pop, chillout, avant-garde >>> netherlands
    FitiSound dub, electro dub, electronic >>> turkey
    Джем bard, fantasy, folk, menestrel >>> russia
    Nabyla Maan maroc, amazigh, north africa >>> Marocco


    02.03.09
    Чеширский Кот rock, pop rock, >>> Russia
    Веня Д'ркин bard, rock, singer-songwriter >>> Russia
    Arabic Songs arabic dance music, funny, mix music, kot >>> Russia
    Mustard Allegro surf, choke, bristol, alt rock >>> ??
    chewbacca's surf, indie, instrumental, instrumental rock, >>> ??
    Surf Sluts surf, surf punk, surf rock, rockabilly >>> ???
    Alwaro Negro surf, surf rock, instrumental, punk >>> italy


    03.03.09
    Nouvelle Cuisine galician pop, pop independiente >>> Spain
    Tuco Requena spanish, rumba, mestizaje, fusion, latino >>> Spain
    AMINOS rock, alternative, alternative rock >>> Tunesia, France
    Zeropage chillout, electronic, ambient, electronica >>> Swiss

    04.03.09
    alessandro timpanaro randhome, catania, billyboy, >>> italy
    Bleeding Nature synthpop, darkwave, dreamwave >>> russia
    Karolina balkan, eurovision, pop >>> macedonia
    iannis loumakiselectronic, jazz, nu jazz >>> greek

    05.03.09
    Hal Weaver flute, traditional, native american, >>> america
    Alborada folk, world music, native american >>> peru
    Pura Fe blues, native american, folk, female vocalists, >>> america

    06.03.09
    Korvapuusti gypsy, klezmer, folk, world >>> ???
    José Antonio Delgado singer-songwriter, independiente >>> Spain
    Pinchus Bobrovsky yiddish, klezmer, pinchas >>> america
    Pedro of CBR electronica, downtempo, triphop >>> ???
    André Geraissatigreat, acoustic, brazilian, acoustic guitar >>> brazil


    09.03.09
    Mersi Bowcos pop rock >>>> sweden
    Aedi rock, pop, indie rock >>> italy
    recorder* rock, alternative, iindie >>> germany
    Zeropage chillout, electronic, ambient, electronica >>> swiss
    Matema math, matema, noise, experimental >>> brazil


    10.03.09
    Uchpa rock, rock latino >>> peru
    NUN synthpop, electro, electroclash >>> poland
    Mill a h-Uile Rud punk, gaelic, rock, celtic >>> scotland
    Sicilian AV Project nujazz funk electronic >>>italy
    Bugotak folk, throat singing, siberian, >>>> russia
    Senny Stevens esperanto, translation, acoustic, cover >>> america


    11.03.09
    Freak Fandango Orchestra gypsy, folk, balkan, folk rock >>>???
    The Bastard Fairiesindie, female vocalists, alternative >>>america
    Sean Wright indie, john lennon, powerpop, cover >>>great britain
    NEL's chillout, lounge, electronic, alternative >>>???
    degauze triphop, trip hop, trip-hop, bullshit >>>???
    Alien Masturbation Foundation electronic >>>> belgian
    Camp Electronique electronic,synthpop, dance >>> finland

    25.03.09
    Desgavell ska, catala, reggae, valencian music >>> spain
    An Danzza medieval, folk, celtic, fantasy, renaissance >>> ?
    七瀬光 anime, soundtrack, instrumental >>> japan
    Сергей Лазарев pop, dance, russian pop >>> russia
    Municipale Balcanica balkan, klezmer, gypsy, folk >>>italy


    27.03.09
    The Kleptones mashup, hiphop, 50 cent, flaming >>>>???
    Versailles visual kei, symphonic metal, j-rock, >> japan
    SFIAS experimental, noise, avant-garde, psychedelic >>> ???
    Vate electronic, electronica, ambient >>>mexican
    Kimza International lounge, house, electronica >>> japan

    28.03.09
    Today only one artist with the background of this days
    DoubleUIM jazz, lounge, funk, central point, soundtrack >>> netherlands


    29.03.09
    Ilario Vannucchi didgeridoo, didjeridoo, yrdaki, aborigeno >>> australia
    Muzyka Końca Lata rock, polish, alternative, alternative rock >>> poland
    Eggmore Blues Gang blues ... >>> ?

    23.04.09
    Lost Ideals ska post punk >>> ?
    Kreti och Pleti blandband favorit fildelning funny >>> sweden
    Le Petit Mort electronic, gimmicdance, piratfest >>> danish
    Sort Stue rap, roskilde 07, hiphop, hip-hop >>> danish
    French Teen Idol post-rock, ambient, electronic >>>italy
    Ryan Farish new age, ambient, electronica, piano, jazz >>> america


    28.05.09
    Бурдон folk, ethnic, ethno, folk rock >>> ukraine
    An Danzza medieval, folk, celtic, fantasy, renaissance >>>

    28.10.09
    Today a little bit "dark cabaret, cabaret" music
    VERA BAXTER dark cabaret, cabaret, gotic >>> argentina
    Frater Chaovsky and the God Fearing Mongrels dark cabaret >>> ?
    Kitten On The Keys cabaret, circus >>>>
    Peter Mamchich cabaret , alternative pop >>>> ukraine



    please give me a hint if you find other fine tunes to download
    so i will add them here.


    greetings with love
    bernd
  • Internet, propiedad intelectual, piratería y cultura

    13 jul 2009, 17:12 av santo257

    Cuando apareció un virus que borraba los archivos Mp3 de los discos duros de los usuarios de las redes P2P, la Asociación de Compositores y Autores de la Música dijo que ese virus iba “contra los amantes de la música pirata”. Los usuarios de P2P no aman la música, sino la música pirata, que debe ser otra cosa distinta.

    Para Zapatero “el mejor homenaje a nuestra obra universal lo ha dado el pueblo comprando y leyendo El Quijote más que nunca en nuestra historia”. El hecho de que El Quijote se haya comprado es una de las partes fundamentales en la ecuación del amor a la cultura. De hecho, como no hay cámaras ocultas en las casas, no hay tampoco datos veraces de que se ha leído, sino tan solo de que se ha comprado, que es, al parecer, lo determinante. Ver las películas de la televisión, leer en la biblioteca o escuchar el disco que te ha copiado tu amigo no son actos que celebran y festejan la cultura sino que simplemente la parasitan. Para los que han aprendido que también la pasión se mide con cifras, el amor, como en San Valentín, se demuestra pagando. (...)

    La mayoría de los creadores no serían lo que son si no hubiera existido antes lo que ahora llaman piratería. Si vas a casa de cualquier músico verás que guarda como reliquia del pasado una pila de casetes que, en sus tiempos, se multiplicaban de amigo en amigo. Es esa música, esa cultura que se regalaba, la causa de que ellos hoy sepan qué hacer en el estudio de grabación. La única manera de tenerle ganas a la música es escuchándola y no hay mayor inspiración para hacerlo que ver cómo lo hicieron otros. La principal instrucción de muchos
    músicos de hoy viene, precisamente, de que se saltaron la barrera que construyó el mercado y accedieron a una cultura que les estaba negada. Sería bueno que existieran los encuestados sinceros y pudiéramos saber cuántos autores de los que hoy claman contra la piratería han sido amamantados por ella. (...)

    El principal problema con el que se encuentra este afán privatizador está en la
    intangibilidad de las obras intelectuales. No todo es susceptible de ser una propiedad privada. De hecho, la propiedad intelectual es una ficción. Las leyes pretenden el imposible de que alguien pueda apropiarse de algo inmaterial como quien se apropia de un coche o de una casa. Cerrar la puerta es una forma muy sencilla de impedir a los demás el uso de mi vivienda, pero ¿cómo hacer eso con una canción que no está en ninguna parte y en todos sitios? Podríamos hacer leyes que dijeran que el aire es una “propiedad especial”, como lo es la intelectual, pero eso no impediría que la práctica común chocara con ese invento legal. Y eso es justo lo que ocurre hoy con la propiedad intelectual: la realidad social vuelve del
    revés a unas leyes que pretenden proteger un interés que se basa en una fantasía. (...)

    La “Paloma Blanca”, símbolo de la Paz, también tiene propietarios. Este dibujo de
    Picasso que el pueblo hizo suyo como estandarte del pacifismo no puede usarse libremente. Si lo hicieras, la entidad que gestiona los derechos del artista no tardaría en ponerse en contacto contigo para comunicarte el precio que tiene tu actividad ilegal. Y esto será así hasta el año 2023. Todas las páginas webs pacifistas que incluyen este símbolo están al margen de la ley. Es posible que VEGAP, la entidad a la que pertenecen los herederos del pintor, no haga nada
    al respecto por lo escandaloso que resultaría, pero si decidiera hacerlo, la ley estaría de su parte. (...)

    La canción “Happy Birthday To You” es propiedad de Warner y le reporta 2 millones de dólares anuales en concepto de royalties. Según la legislación estadounidense cantar esa canción en un restaurante sería un acto de comunicación pública ilegal por el que podrían pedirte una indemnización. (...)

    Incluso el silencio es propiedad de alguien. El grupo musical Planets incluyó en su
    último disco una canción que consistía únicamente en 60 segundos de silencio. Al poco tiempo de la publicación de su obra, fueron demandados por plagio por los herederos de John Cage, que tiempo atrás había grabado y publicado 237 segundos de silencio total. Mike Batt, de los Planets, tomándose a broma una demanda que iba en serio, consideró que su silencio era mejor que el de Cage porque ellos habían conseguido decir lo mismo en menos tiempo. (...)

    Tal y como se explica en el libro Free Culture, cuando los hermanos Wright inventaron el aeroplano, las leyes estadounidenses, redactadas en los tiempos en los que la posibilidad de volar era ciencia ficción, establecían que el dueño de una propiedad poseía, además de la superficie, todo lo que hay arriba “hasta una extensión indefinida”. Esta ley que extendía teóricamente la propiedad hasta las estrellas y más allá, chocaba con la nueva realidad que suponían los aviones. Estos aparatos, inimaginables hacía solo unos pocos años, violaban el derecho de propiedad cada vez que sobrevolaban tierras ajenas. Los granjeros Thomas Lee y Tinie Causby, estaban enojados porque los aviones militares volaban demasiado bajo, así que demandaron al gobierno por allanar sus propiedades. El Tribunal Supremo admitió que existía la doctrina que establecía que “la propiedad se extendía hasta la periferia del universo” pero dijo que esa doctrina no tenía cabida en el mundo moderno. Para el tribunal “el sentido común se rebela ante esa idea. Reconocer semejantes reclamaciones privadas al espacio aéreo bloquearía estas autopistas, interferiría seriamente con su control y desarrollo en beneficio del público, y transferiría a manos privadas aquello a lo que solamente el público justamente tiene derecho”. (...)

    La industria discográfica, con una facturación según Courtney Love de 40.000 millones de dólares anuales, está empeñada en que los nuevos aviones no sobrevuelen sus propiedades. Ya son más de 150.000.000 de personas las que lo hacen en todo el mundo, y entre la alternativa de perseguirlos y la de adaptarse a la nueva realidad, la industria se decanta por morir matando. Este negocio que es amenazado por el contratiempo de que estamos en el siglo XXI pretende sostenerse a base de miedo, adoctrinamiento y demandas en una batalla perdida que intenta el imposible de congelar el tiempo.

    Cuando se habla de buscar alternativas para la remuneración del trabajo de los autores, algunos músicos reaccionan como Teo Cardalda, que dice que le parece escandaloso que alguien se empeñe en decirle cómo debe ganarse la vida. En realidad, el único que se empeña en decírselo es el calendario que marca el año 2005. Si recomiendas a un amigo que se olvide de su pretensión de ser taxista conduciendo un troncomóvil, él podría reprocharte que te estás metiendo en su forma de ganarse el pan, pero eso no impedirá que termine en la ruina económica en poco tiempo. Independientemente del debate en torno a si está bien o mal el intercambio en Internet, la realidad es que ese intercambio existe y que nada hace indicar que vaya a desaparecer. Cada demanda contra estas redes ha supuesto un incentivo excelente para que los programadores las mejoren y las blinden.

    Lo que no esperaba la RIAA cuando acabó con Napster es que éste dejara descendencia. No solo no consiguieron acabar con el intercambio, sino que este ataque motivó la multiplicación de las redes P2P y de sus usuarios. Considerar que es imposible de frenar esta realidad no es cantar victoria antes de librar batalla, sino que los mismos fundamentalistas del copyright lo reconocen. En EEUU, donde las multinacionales han sido pioneras en la mala estrategia de marketing que supone demandar a sus clientes, parece que empiezan a darse cuenta de que el tren es imparable. Un grupo de especialistas comisionado por Microsoft dijo que la batalla contra las descargas de música “está perdida”. Cary Sherman, presidente de la RIAA, dice que “no hay forma de combatir las descargas de música”. La única razón por la que siguen interponiendo demandas a adolescentes no debe ser entonces la de procurar parar lo que reconocen imparable sino la que a veces se les escapa entre declaración y declaración. Matt Oppenheim, vicepresidente de la misma asociación, se frota las manos mientras dice que están recibiendo “un montón de llamadas” y que prevén “alcanzar muchos acuerdos extrajudiciales”. El hecho de que sean ciudadanos honrados a los que les están dando la alternativa del tribunal o la bancarrota a pesar de que saben que eso no arreglará nada, no parece importar a aquellos que solo entienden la frase “maximización del beneficio”.

    El 20 de Octubre de 2004, Alejandro Amenábar dijo que a día de hoy lo que más le preocupaba era “el fenómeno de la piratería”. Para el director, los avances tecnológicos “han creado un monstruo: la capacidad cada vez más rápida y exacta de copiar una obra con un coste mínimo. Esto, por más que se intente justificar desde algunos sectores, rompe las reglas del juego y pone en peligro la pervivencia de nuestro oficio". Las reglas del juego a las que se refiere el director son concretamente las reglas del juego que impuso una industria que tenía el monopolio de esos instrumentos capaces de hacer copias rápidas y exactas de una obra. Esas reglas del juego decidían la cultura que iba a producirse, dónde se iba a distribuir y, mediante el precio, qué sector social iba a poder acceder a ella. Esas son, precisamente, las reglas del juego que hacen que la cultura sea para quien pueda pagarla. Las reglas del juego, al contrario de lo que Amenábar cree, no son mandatos divinos escritos con sangre sino que son creadas por los seres humanos y, tal y como las hicieron, pueden deshacerlas. Esas reglas que excluyen a la mayoría no casan bien ni con el momento tecnológico en el que vivimos ni con la mentalidad de los ciudadanos que han terminado por reivindicar que o jugamos todos o rompemos la baraja.

    El monstruo al que se refiere el director no es nuevo. En 1908 lo fueron los rollos de piano, un sistema de cartuchos perforados que mediante un determinado dispositivo tocaba música automáticamente. La editora musical White-Smith demandó a Apollo Co, responsable de esta nueva amenaza que acabaría con la música y que, en aquel momento, rompía las reglas del juego. (...)

    El miedo, el insulto y la criminalización han sido siempre la estrategia favorita de la industria ante cualquier avance que pusiera en duda su modelo de negocio. Los nuevos inventos que cambian el estado de las cosas son las representaciones de un demonio que hay que eliminar rompiendo a la máquina. Para Eric, de Los Planetas, el mayor deseo que podía pedir para el año 2003 era que le cortaran la cabeza “al que comercializó el aparato de grabar CDs” y que se la trajeran “encima de un disco pirata”. La animadversión viene de antiguo, cuando en los años 70 comenzó a generalizarse la práctica de la copia de casetes, la industria hizo todo lo posible por frenar tan peligrosa costumbre. A los que hoy seguimos de cerca la persecución de las copias hechas desde Internet, la campaña que se hizo para frenar a las de casete nos resulta familiar. En ella se incluían dos tibias cruzadas y un sucinto mensaje: "Las grabaciones caseras están matando la música".

    -----
    Extractos de:
    COPIA ESTE LIBRO
    David Bravo Bueno

    Disponible en internet bajo licencia creative commons que da la libertad de copiar, distribuir y comunicar públicamente la obra.
  • TechCrunch vs. Last.fm vs. the RIAA, Round 2 + Deny this Last.fm

    23 maj 2009, 16:51 av PSR-B1937



    From Downloadsquad :





    TechCrunch vs. Last.fm vs. the RIAA, Round 2

    Remember the panic a while back about social music site Last.FM supposedly leaking listener data to the RIAA? TechCrunch sure does, because they started the rumor, and then faced accusations of shoddy reporting from basically the whole Internet when it turned out to be false. Well, now TechCrunch have uncovered some new information that shows they were right after all ... sort of.

    Last.fm's parent company, CBS, was the source of the leak to the RIAA.
    Last.fm didn't know about it at the time, having just turned over the data to CBS, which explains their vehement denials. TechCrunch isn't saying Last.fm lied, but they are saying that CBS duped them during the reporting for their original story, asking TC to attribute a CBS quote to Last.fm.

    The reason for the link, according to Techcrunch's source at CBS, is that the requester (it could have been the RIAA, or an individual label) had the ability to hurt CBS/Last.fm on streaming rates. The source also claims that Last.fm premium accounts aren't making any profit, and the leak was made with the intent of protecting Last.fm from increased rates that could put it out of business.

    No comment from Last.fm yet, but it's still early (and a three-day weekend) at their headquarters in the UK. We'll know more when they've had a chance to respond.




    From Techcrunch:



    Deny This, Last.fm

    A couple of months ago Erick Schonfeld wrote a post titled “Did Last.fm Just Hand Over User Listening Data To the RIAA?” based on a source that has proved to be very reliable in the past. All hell broke loose shortly thereafter.

    Before posting Erick reached out to the RIAA, Last.fm and parent company CBS for comments. The only response was from CBS - “To our knowledge, no data has been made available to RIAA.” The CBS spokesperson, Katie Gunion, subsequently emailed us to say “would you please attribute the statement to Last.fm, it is currently reading as though CBS issued the statement” Gunion’s email lists her title as Public Relations, CBS Interactive, and her first statement did not name Last.fm (this is important, see below). A subsequent statement by Shannon Jacobs, VP of Communications at CBS: “this is a last.fm issue, as far as I am concerned. It is not a corporate issue. This is a last.fm issue, not a corporate issue. The posting represents last.fm’s response.”

    After the story broke all concerned parties had no problem commenting publicly.

    Last.fm cofounder Richard Jones said “I’m rather pissed off this article was published, except to say that this is utter nonsense and totally untrue.” He followed up with a blog post “Techcrunch are full of shit, “I denied it vehemently on the Techcrunch article, as did several other Last.fm staffers. We denied it in the Last.fm forums, on twitter, via email – basically we denied it to anyone that would listen, and now we’re denying it on our blog.” One blog called us a “tabloid masquerading as a legitimate news outlet.” Lots of others piled on.

    Apart from updating the original post we’ve been quiet on this story. The person who first leaked the news was terminated from CBS for the leak, says our original source, and threatened with legal action. He understandably went very quiet. But the outrageously shrill denials by Last.fm just didn’t ring true. Once you got past the personal attacks, the denial language itself was too carefully worded.

    Now we’ve located another source for the story, someone who’s very close to Last.fm. And it turns out Last.fm was telling the truth, sorta, when they said Erick’s story wasn’t correct.

    Last.fm didn’t hand user data over to the RIAA. According to our source, it was their parent company, CBS, that did it. That corresponds to what our original source said in conversations we had after our initial post and before CBS lawyers became involved. But we didn’t want to update until we had an independent source for that information, too.

    Here’s what we believe happened: CBS requested user data from Last.fm, including user name and IP address. CBS wanted the data to comply with a RIAA request but told Last.fm the data was going to be used for “internal use only.” It was only after the data was sent to CBS that Last.fm discovered the real reason for the request. Last.fm staffers were outraged, say our sources, but the data had already been sent to the RIAA.

    Here’s an email from the original source, partially redacted. A screenshot of this email is here.

    Re: touching base

    From: [redacted, a CBS employee]
    Sent: [redacted]
    To: [redacted]

    [ _____] We provided the data to the RIAA yesterday because we know from experience that they can negatively impact our streaming rates with publishers. Based on the urgency of the request they probably just wanted to learn more about the leak but who knows. Seriously, can you blame them? [______] Our ops team provided the usual reports along with additional log data including user IP addresses. The GM who told them to do it said the data was for internal use only. Well, that was the big mistake. The team in the UK became irate because they had to do it a second time since we were told some of the data was corrupted. This time they transferred the data directly to them and in doing so they discovered who really made the request. Shit really hit the fan, I even got a call [______] Obviously, I can see their POV but what they don’t understand over there is that we are in the analytics business and it’s not like this is the first time we’ve provided this data to a third party. Someone over there should be more forthright with users about the data policy instead of complaining about BD to upper management like I’m here trying to destroy the business. We’re just trying to help them stay afloat here it’s not like Pro memberships are earning any revenue! [______________] So if you hear of anything, I’m even open to possibly moving West now for the right opportunity, let me know.


    Our new source, which hasn’t seen this email, says much the same: that Last.fm didn’t know the nature of the CBS request until after the data was sent and that the data was in fact subsequently sent by CBS to the RIAA. This source’s information comes directly from Last.fm employees who he has spoken with.

    It’s important to note that while sources are in agreement that it was the RIAA that made the request, it may have been one or more music labels acting independently. The suggestion in the email above that the compliance was made because of the ability for the requester to negatively impact streaming rates suggests it was a label request. But the end result is the same.

    We believe CBS lied to us when they denied sending the data to the RIAA, and that they subsequently asked us to attribute the quote to Last.fm to make the statement defensible. Last.fm’s denials were strictly speaking correct, but they ignored the underlying truth of the situation, that their parent company supplied user data to the RIAA, and that the data could possibly be used in civil and criminal actions against those users. We believe that the outrage they aimed at us for reporting the story, which was materially correct, should have been aimed at CBS instead. But Last.fm never spoke publicly of the real facts of the story.

    We believe Last.fm and CBS violated their own privacy policy in the transmission of this data. We also believe CBS and Last.fm may have violated EU privacy laws, including the Data Protection Directive, and should be investigated by the appropriate authorities.

    And to the CBS employee who was fired and threatened based on this story - we believe certain U.S. Whistle Blower laws may protect you from retaliation from CBS in this matter. We’d like to provide you with legal counsel at our cost.


    Last.fm response last time was 'Techcrunch are full of shit'. I wonder what are they gonna say now. In any case, LAST.FM IS FULL OF SHIT.

    Update: Last.fm founders have left the website.

  • LCL tracks removed from LastFM

    4 maj 2009, 13:40 av pakupaku

    Hi,

    Our netlabel LCL (Les Crsitaux Liquident) releases tracks under Creative commons licence : free and legal to download and share.
    Last FM is now a paying platform, so we are sorry but we have to remove all our tracks, because we just can't make listeners pay for something that is free. This includes tracks from Volfoniq, Volatil, and also some from BUGUINHA DUB and Bernard Reeb.

    However, all our release remain free elsewhere, the old one as much as the next ones !

    You can get in touch with LCL via any of the following means :
    - http://www.twitter.com/lcl_netlabel (LCL twitter page for instant news)
    - http://lescristauxliquident.blogspot.com (LCL blog with RSS feed for regular updates)
    - http://www.lescristauxliquident.org (LCL website, archive of everything)

    If you want to follow Volfoniq news more specifically :
    - http://www.twitter.com/volfoniq (Volfoniq twitter page for instant news)
    - http://volfoniq.blogspot.com (Volfoniq blog with RSS feed for regular updates)
    - http://www.volfoniq.com (Volfoniq website, archive of everything)


    Best regards

    LCL netlabel (Les Cristaux Liquident)
  • No news? Bored? Try StumbleAudio.

    12 apr 2009, 16:53 av feeding

    No news or updates or whatsoever? Well, at least last.fm staff members should now know how badly planned and badly organised things are at their London HQ - as bad as the Downing Street. ;-P

    I've tried several other services since I uninstalled last.fm client. One of such services is StumbleAudio.
    http://www.stumbleaudio.com/

    It seems that StumbleAudio is run by PayPlay.fm, an independent outlet like iTunes/Amazon mp3. So far it seems StumbleAudio is something like a showcase gallery for PayPlay.fm (you can listen to the full length tracks for free before you buy), so you can't expect Coldplay and Radiohead streamed there (finally, Radiohead-free radio station!!). Instead, SA has a lot of independent (and obscure) artists, some of whose songs are quite impressive. Their channel names are somewhat interesting, too; it's been ages since I last saw the phrase "avant garde" used like this. ;-)

    PayPlay.fm is obviously run by music lovers who want to sell music. Look at their "browse" page. Last.fm, this is what makes you want to "pay". Not your usual "we are listening, but ..." sort of excuses.

    I've used SA for four or five hours and did not hear a single song I already knew, and the "radio" was not boring. This is why I registered there. When you register, they save your listened tracks (for you or for them, I don't know) and you can save and listen to your "loved" tracks, for free. If you love the song so much, you can buy an audio file at iTunes, Amazon mp3, CD Baby or PayPlay ($0.88 per track plus) in 10 seconds. The website is not like "social music blah blah blah" but anyway last.fm's "social music r-word" is now dead, so who cares.

    Also, I've been using http://jamendo.com/ for months, and I like the place. I quite often visit archive.org's live music archive (Fugazi etc) and netlabel page. I also began to use blip.fm and have found it's okay - other people's blips are too mainstream for me in general (I can't stand five seconds of Bon Jovi etc), and so, as a "radio", I prefer soma.fm (the best of internet radio!) or other internet radio stations, though I have found a couple of my favourite blip.fm DJs. GrooveShark is something different from a "radio". It's good (better than blip.fm) to search for a song, though. And I've been a user at iLike.com, the nearest alternative to last.fm. Their recommendation isn't bad. (I use a different username outside last.fm, so a user "feeding" on these services is not me, if there is one.)

    BTW, I'm strongly against this tactic (email bombing), so I'm going to leave "Free is Free" group.



    To be honest, I read this ten minutes ago and feel it a bit regrettable that I've been on this group - I didn't see this message last time, and I haven't checked this group for a while. No idea what has been going on, except that one member got banned - no idea what has happened, but I don't think it's "because she discussed other services on last.fm". I posted about other music services in some discussion threads in the past (and again here, today), and I am not banned.

    I'll stay on "Bring back the free last.fm" group and "Equal rights for last.fm members" group.

    Be sure to share your positive experience(s) on this discussion board in the latter group.
  • Here's why "no more free is free on Last.FM"

    6 apr 2009, 13:05 av Hoxerijo

    From Wired blog, see http://blog.wired.com/music/2008/06/warner-music-gr.html

    ----------------------------------------------------------------

    Warner Music Group Pulls Music from Last.fm

    By Eliot Van Buskirk

    June 06, 2008 | 5:59:39 PMCategories: Digital Music News

    Rockin Warner Music Group has confirmed that its music is no longer available through Last.fm's on-demand music streaming service.

    Last.fm users can still stream music from Warner's artists via their artist-based radio stations (see below), because those songs are licensed under a different deal.

    However, Last.fm users will no longer be able to stream songs on-demand from albums Neil Young, Nickelback, Death Cab for Cutie, or any other artist recorded for the label, as Silicon Alley Insider discovered.

    "I can confirm that our music is no longer available on the service," a Warner Music Group spokeswoman told Listening Post via e-mail.

    In our efforts to include music on the Listening Post blog, we've ended up turning to imeem more than Last.fm, because Last.fm doesn't allow single-song embedding, and imeem seems to have more on-demand music. And that was before the Warner deal fell through. Now, imeem, MySpace, Napster and YouTube could become more attractive to users, because each of them still has the label's music free and on-demand.

    Most likely, Warner either wants more money or an equity stake in Last.fm similar to the ones it has in imeem and MySpace. CBS purchased Last.fm for $280 million; it's possible that Warner, as the first label to make a deal for on-demand music with Last.fm, expected to see its ship come in, so to speak.

    Last.fm had earlier pointed to the availability of free, on-demand music on its site as having had a promotional effect on sales, increasing them 58 percent. Apparently, Warner doesn't care much about that, and would prefer to get paid more for on-demand playback than Last.fm (a division of CBS) was willing to pay.


    ----------------------------------------------------------------

    I leave you any comment.
  • My crazy idea for a free "metascrobbler" software.

    5 apr 2009, 09:28 av Ambybunny

    I couldn't sleep very well last night, but I had a revelation, I got this crazy idea for a free software project.

    Let's say you click a link to a song (mp3, ogg, flac, whatever) from your browser, what happens is the player (or the browser) invokes a plugin that records the name of the song, the URL where it was fetched from, how many times you listen to it and your personal rating for the song. (I got the rating idea from iRate.) Whenever there are doubles, that is different URLs for the same songs, they act as a backup if one or more of them disappear. And if a link goes dead, it would get removed. All this would be handled in a simple personal database, sqlite might do well. This plugin could also be used to rate all the other songs on the users playlists.

    This much is probably peanuts. It is relatively basic concept, and it doesn't handle other than simple scrobbling, or have an ability to do recommendations.

    (Next, the "social" part:)

    The program could be then modified so that it would be possible to share personal charts and links to music in a p2p network, foaf style, friend-to-friend.

    The statistics and the links get shared within the network. Statistics about likes and dislikes could be shared among friends, while information about the links could be distributed globally in the network, so that those who have in some point listened to a certain song, would get alternative URLs for it. This way we could get the "radio" functionality, simply by playing the links one after another in a seemingly "random" fashion, or by the taste statistics collected by the users.

    Also, the ratings system could be used to determine if a song is not really what it says it is, additionally we could use MusicBrainz to complement the functionality, both to recognise songs and as a deterrent.

    Recommendations could work in a friend-to-friend fashion, according to the mutual ratings in the friend network.

    Communications with friends and other users of the network might best be provided as a service built on the XMPP. I've even thought it would be possible to use existing tools, with plugin added functionalty. The jabber network already supports private chat and chat forums. This could work as a means of distributing the links and statistics between friends and also as a global discussion forum. We might still need a website, perhaps to just simply share the plugins and work as an aggregator for the listeners' statistics. I'm thinking the statistics counter could be just that, a counter that'd add to stats accordingly to how people listen to music, nothing more. No data gathering, only aggregating, counting it together and displaying it. If we wanted to see our own statistics, it'd be in our player, and if we wanted to see statistics from users "ben@playerstats.org", "leo@p2p-irate.fm" and "anna@wesharemusic.com", we'd only have to make our player fetch their account information, where ever it is, just like fetching the user info over in a Jabber client, such as Pidgin or Psi.

    The functionality in the previous paragraph would ultimately need us to have two parts to the project. The client side, and the server side. The client essentially does the handling of music and collection of statistics and shares it with other clients (friends in the p2p network). It also uses the friend-to-friend stats to "recommend" and play new music. The server, which in itself can be distributed in nature, just like any jabber server will work as a relay between clients, and as an aggregator to the statistics. While the server is free software, anyone could have their own "last.fm" metascrobbler infrastructure to boast to friends about. And if someone has bandwidth and filespace to donate, they could add an ability to upload music to their server.

    This resolution would take away the problem of listeners not being able to listen whenever, wherever, and the artists wouldn't have to bother to sign to each and every music site in the Internet as they could also use their preferred sites to upload music to, whether it's Jamendo, Last.fm, Dogmazic or whatever, as long as the site provides straight download links to the music. Links to their downloads would in this system also serve as links for "streaming" radio. A bit like the idea on blip.fm. Also, to help people decide for themselves as whether to download/buy/support the artists it would be good to implement a similar functionality towards free licenses like iRate has:




    So here it is.. My grande (crazy) idea. Any ideas? I'm not much of a programmer, but I've been thinking of checking out python and maybe try to make a plugin for rhythmbox that collects these kinds of data from the played links. I haven't a faintest idea how to implement the rest. Anyone willing to help me on this?

    (I'm in the process of slowly adding links to this post, patience!)
  • My open letter to Last.fm

    30 mar 2009, 19:10 av Ambybunny

    Concerning your latest announcement. Posted a copy of this letter as a response.

    So... what you are basically saying is you didn't understand why we are upset. You are presenting us with these new features, like they are a difficult compromise for you, while you probably should have implemented such features anyway. Nothing changes though, the discrimination and division of your sites community continues and you are committed to making a buck out of it. Doesn't sound good. It seems the protest goes on, then, with added fervour.

    Points to ponder about:
    1. Licenses, either use them or lose them.
    - You pay a hand and a leg paying the copyright industry as licensing. You say you have the largest catalog of music online, you should then have all the muscle you need to throw them a bone. "Either you ease up with your demands or we stop playing your music. Plenty of free material around to use the collected scrobble data to recommend independent lesser known artists to people in our streams instead of yours."
    2. Want to keep providing streams to all? Demand subscription for everyone wanting to hear licensed music. Provide free music streams to everyone.
    3. Even if you make all streams subscriber-only it is more ethical than dividing listeners based on ad-revenues. (I'm having doubts about this being a good solution for artists though. See the followup.)

    See, I didn't complain about those measly 3 euros. But actually, while I am on the topic of money, I'd like to give you a tip. If you chose any of the above 3, you'd probably make enough money to cover the costs even if the subscription fee was only 1 euros.

    Hopefully,

    me.

    Addendum:
    I know I forgot some keypoints in my argument, like API issues, On-demand streaming and describing how smaller artists lose when last.fm makes the global radio streams exclusive to only three countries. I will be adding interesting links here to further elaborate why we think the last.fm decision is detrimental to the community.

    Links to other places (further reading):
    Why is streaming better... (My own followup.)
    chilling effects on independent artists' publicity (by jagabandhu)
    How much are your scrobbles worth? (compliments to franko-gap and ultradax)
    When Pigs Fly: The Death of Oink, the Birth of Dissent, and a Brief History of Record Industry Suicide.

    ---
  • Why is streaming better than offering plain downloading for free artists?

    31 mar 2009, 20:38 av Ambybunny

    It's the idea that listening to streams is a lot easier than listening to songs separately. And by making free music in the streams not accessible to everyone by restricting the streams regionally to subscribers only last.fm is now taking this easy publicity away from the free artists atleast in countries that are outside the G3. No wonder so many of them are upset. That's where equal rights should come into play. If the streaming radio is to be regulated anywhere, regulate only the part that wants to be regulated (copyright industry) and keep free the part that wants to stay free (all the rest of the people). Otherwise you are promoting inequality between musicians and your customers.

    While offering free downloads is good, in a way. It doesn't help the free musicians if their music doesn't first get heard any other way. I've noticed that I like to listen music more as a continuous fashion than downloading and checking the quality afterwards. I for one find it more comfortable that way, and I know there are more listeners like me around there. The impact of the radio in listening habits is tremendous and it benefits artists directly. More so than mere free downloads. Clicking things on the internet just gets boring after a while, that's why I think just providing links for downloading really isn't a working compromise for free independent artsts.

    This is why I would urge Last.fm to implement a way for artists to mark their music freely streamable using their choice of free licenses. It might be their only way out of this mess. I have no idea how to address this issue straight to them, and if they will ever even listen, but I can hope they do, can't I?

    (This journal post is part of my ongoing protest against last.fm practices.
    I apologize if you think I am crossposting off-topic on your group, but I think this pressing matter needs to be addressed with as much visibility as possble.)
  • Open Letter 2

    29 mar 2009, 03:03 av robhogg

    I emailed this to the Last.fm office yesterday -thought I'd share it here.
    *** *** *** *** ***
    I am a Last.fm user from the UK, so not directly
    affected by the change, but I am emailing you because I think it is
    urgent you consider the alternatives before taking a disastrous step.

    I believe that by adopting this policy, you will be signing the death
    warrant for Last.fm. You are already losing a lot of goodwill by the way
    this policy is being implemented (IMHO, charging everybody would
    actually have been better, creating less bad feeling). However, any
    compulsory charge will drive users away. Some users will not be able to
    afford the 3 euros per month (incomes in many countries are far lower
    than in the three countries that remain free), some will not have a
    suitable credit card or PayPal account, some will just be put off by the
    barrier of having to pay. This, in the long run is likely to reduce
    advertising revenue (fewer customers, less value to the advertisers). A
    point that has been missed, in discussion about advertising revenues in
    particular countries is that many of the brands you are advertising are
    global (Nokia, Apple) - maybe this needs to be brought up in
    negotiations.

    Yes, I realise that we users can still scrobble and get recommendations
    without paying, but this removes the point of the service. I have
    discovered the music of many new artists on Last.fm, but if all I could
    discover were their names I would not have gone on to buy their albums
    and gig tickets. Also, with fewer users outside the three main
    countries, there will end up being a narrower range of music to
    discover, and the site will be less useful to me.

    In the long run, I believe the royalties system needs to be changed
    completely, but obviously that is not a solution to an immediate
    problem. A better solution, at least initially, would have been to
    contact all your users appealing for voluntary subscriptions. I have
    said that if you did this I would immediately take out a years
    subscription (I've paid for the first three months as a gesture, and
    would still have paid it at 3 euros). Many users in the three main
    countries would do likewise, but it would keep the "entry point" to the
    service free and so not create a barrier.

    Another area that could be improved is the click-through facility to buy
    tracks from affiliates. At the moment, many tracks (e.g.
    http://www.last.fm/music/Shuggie+Otis/_/Strawberry+Letter+23 ) offer
    only the opportunity to buy from iTunes - I am not able to take
    advantage of this (I use Linux, so cannot run the iTunes software) - yet
    the track is available from both Amazon and 7Digital.

    Please, suspend the plans to implement this on March 30, and look at the
    alternatives.