Online music

videogames and music. Copyrighted works are distributed illicitly through Internet chat rooms, newsgroups and peer-to-peer file trading networks. All of these kinds of internet copyright infringement are crimes that should be punished by law. This essay will discuss illegal online music downloading, the consequences for the music industry and artists, and will introduce two solutions in terms of the law in relation to this issue. Finally, an evaluation of these solutions will be given. Illegal music downloads

to sharing over the internet copies of works that are not authorised or illegal downloading of software, movies, videogames and music. Illicit downloads started through hacked

movies, videogames and music. Illicit downloads started through hacked computers, file-sharing networks, illegal servers and website (Plowman, 2009). Hard goods pirates are selling illegal duplicated DVDs through online websites. Copyrighted works are through Internet chat rooms, newsgroups and peer-to-peer file trading networks. All of these kinds of internet copyright infringement are a crime that should be punished by law. This essay will discuss illegal online music downloading, the effects

1. Online subscription based music services (like Spotify) compare lists of songs users have played using if statements and for loops to find recommended songs for us. If a certain percentage of songs are the same in the list of songs two users have played, the system will recommend songs to the first user from the list of the other one. Computer and mobile games use all programming concepts we have covered in this course: they store lots of data - for example boolean variables to check if objectives

Introduction In today 's era of regular internet downloads and the easy access to illegal films and music, the creative industry has struggled, (BBC.co.uk, 2016). Due to this, money has increased for live performances and cinema to try and ensure money is still being made by the industry,(MakeUseOf, 2016). What are the other options for platforms and how are they surviving? One method is the pay what you want model. Pay what you want (or PWYW) is a payment model where buyers pay their desired amount

1. 4 C’s Stakeholder Analysis • Customers Based on the background of “the era of the Digital lifestyle”, iTunes 3 target customers are; Stakeholder Stake in the project Potential impact on Project Growth percentage of online distribution Perceived attitudes and/or risks 12 – 24 years Downloaded an average of 12 tunes per month, housing libraries between 25 to more than 300,000 songs from the internet High 59% • Unlimited library of songs and videos by genre, artist and album • Software design

1. 4 C’s Stakeholder Analysis • Customers Based on the background of “the era of the Digital lifestyle”, iTunes 3 target customers are; Stakeholder Stake in the project Potential impact on Project Growth percentage of online distribution Perceived attitudes and/or risks 12 – 24 years Downloaded an average of 12 tunes per month, housing libraries between 25 to more than 300,000 songs from the internet High 59% • Unlimited library of songs and videos by genre, artist and album • Software design

At times, it can be hurtful when we do not get that attention that our friends get on social media as this makes us feel as if we are nothing in this world. Michelle Linker can be equated with approval or self-esteem as she was a daily user of Instagram. She told her guardian that she feels anxiety over the likes she got after she posted her pictures on his Instagram page. She said that she got only two likes and she would ask herself what was really wrong with her. This greatly influenced her and

apparatus. Thus began the evolution of music industry. From gramophones to tapes to compact discs, music industry has undergone drastic transformations with improvised technologies and innovations. Fifteen years ago (June 1,1999), the style of listening and sharing music has been completely revolutionized by two teenagers, Shawn Fanning and Sean Parker. They created an online platform for swapping music and named it NAPSTER. Thus began the era of online music. Though Napster was initially a great

In 2005, a California appellate court tackled the issue of online sales taxation by formulating some rules for taxing online companies. That case was Borders online, LLC v. State Board of Equalization. The Borders Online decision represents an attempt by a court to define when an online company is responsible to a state for collecting sales and use tax. The dispute in this case was whether Borders Online, which made more than $1.5 million in sales to California customers over the Internet in 1998-1999