Aaron Perzanowski and Jason Schultz
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262035019
- eISBN:
- 9780262335959
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035019.003.0003
- Subject:
- Information Science, Library Science
This chapter outlines three major transformations in how consumers acquire copyrighted content, and the gradual erosion of ownership rights that accompanied them. Historically, copyrighted works were ...
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This chapter outlines three major transformations in how consumers acquire copyrighted content, and the gradual erosion of ownership rights that accompanied them. Historically, copyrighted works were distributed through tangible copies. In the early 2000s, the first transformation took place through the rise of digital downloads. Second, remote cloud storage allowed consumers to access remote copies through high-speed data connections. The third major shift, to subscription streaming services, is now underway. With each step in this progression, consumers have sacrificed permanence and stability for lower prices and convenience. More importantly, copyright law has failed to keep up with the development of these new technologies. Copyright law has focused on the copy/work distinction to delineate the rights of copyright holders and consumers, but the traditional tangible copy is disappearing from the marketplace.Less
This chapter outlines three major transformations in how consumers acquire copyrighted content, and the gradual erosion of ownership rights that accompanied them. Historically, copyrighted works were distributed through tangible copies. In the early 2000s, the first transformation took place through the rise of digital downloads. Second, remote cloud storage allowed consumers to access remote copies through high-speed data connections. The third major shift, to subscription streaming services, is now underway. With each step in this progression, consumers have sacrificed permanence and stability for lower prices and convenience. More importantly, copyright law has failed to keep up with the development of these new technologies. Copyright law has focused on the copy/work distinction to delineate the rights of copyright holders and consumers, but the traditional tangible copy is disappearing from the marketplace.
Laurence Maslon
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780199832538
- eISBN:
- 9780190620424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199832538.003.0014
- Subject:
- Music, Popular, History, American
A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. ...
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A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.Less
A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.
