The Music Industry - Ether (17) - Muridae + Other Tracks (File, MP3)

Apple Computer Inc. Well, it's been a long and winding road, but finally The Beatles' catalogue is now available for digital download on the music service. It took until for The Beatles' catalogue to be digitally remastered from its original stereo analogue recordings, leaving fans salivating The Music Industry - Ether (17) - Muridae + Other Tracks (File yearning for nearly two decades longer than they had to wait for the remasters of other contemporaneous rock acts.

A finger on The Music Industry - Ether (17) - Muridae + Other Tracks (File steam reader has submitted this hip hop sample, and it is too sweet to pass up. Both of these may be reactivated by the user. The sidebar design has been slightly altered, reinstating the colored icons removed in iTunes When the sidebar is not activated, users can move between media libraries using a drop down menu below the control buttons.

In addition to static playlist support, version 3 of iTunes introduced support for smart playlists. Multiple criteria can be entered to manage the smart playlist. While creating Smart Playlists the user has to choose whether they want the playlist to be based on genre, whether or not the songs have album artwork, date added, etc. For example, a genre like country musicor songs added in a specific month or year, or an individual artist.

The user can also limit the amount of songs they want in the playlist or they can leave it as unlimited. The Live Updating option will automatically update their new playlist as their library changes. There formerly was a feature which allowed publishing of a playlist, which was called iMix.

Introduced in iTunes 4. This allows a mixture of both preselected and random tracks in the same meta-playlist. The playlist from which Party Shuffle drew could be changed on the fly by the computer user, but doing so will cause all randomly chosen tracks to disappear and be replaced.

When iTunes was updated to 8. The free Apple Remote application for the iPhone and iPod Touch was also updated at this time that added a new iTunes DJ option in the settings screen when the user is connected to a Wi-Fi network and a new song request feature is enabled in iTunes DJ on the hosts.

Along with the song request feature voting on songs in the queue was added, the more votes a song gets the higher in the queue it will be and the sooner it will be played. Song voting can only be done when song requesting is enabled and in two ways: the first by right clicking on a song in the iTunes DJ queue on the host's computer in iTunes, the second is in the Remote application ether connected with the iTunes DJ option by a guest or by the host in the full playlist section.

When song requesting is enabled a customizable welcome message is displayed below the host's shared library name in the button used to connect to iTunes DJ. Playlists can be played randomly or sequentially. The randomness of the shuffle algorithm can be biased for or against playing multiple tracks from the same album or artists in sequence a feature introduced in iTunes 5. With the release of iTunes 11, the iTunes DJ feature was removed in favor of the Up Next feature, which allows users to specify a song from their collection to play next, add it to a queue of songs to be played, or view a list of previously played tracks.

However, the Up Next feature does not include features previously found in iTunes DJ, such as the ability for guests to request songs, does not provide as much information as the playlist view, and requires juggling multiple windows and floating dialogs to perform similar The Music Industry - Ether (17) - Muridae + Other Tracks (File.

To compensate for the lack of a physical CD, iTunes can print custom-made jewel case inserts as well as song lists and album lists. After burning a CD from a playlist, one can select that playlist and bring up a dialog box with several print options. The user can choose to print either a single album cover for purchased iTunes albums or a compilation cover for user-created playlists.

There is also a feature called "Sound Check", which automatically adjusts the playback volume of all songs in the library to the same level; this is usually called volume leveling or audio normalization. Like "sound enhancement" and crossfade, this can be turned on in the Playback section of iTunes' preferences.

On May 9,video support was introduced to iTunes with the release of iTunes 4. Users can drag and drop video clips from the computer into the iTunes Library for cataloguing and organization.

They can be viewed in a small frame in the main iTunes display, in a separate window, or fullscreen. Before version 7 provided separate libraries for media types, videos were only distinguished from audio in the Library by a small icon resembling a TV screen and grouped with music in the library, organized by the same musical categories such as "album" and "composer". On October 12,Apple introduced iTunes 6.

Since then, the collection has expanded to include content from numerous television networks. The iTunes Music Store also gives the ability to view Apple's large collection of film trailers.

As of September 5,the iTunes Store offers over television shows for download. Additionally, a catalog of 75 feature-length films from Disney -owned studios was introduced. As of April 11,over feature-length films are available through iTunes. Originally, films and TV shows were only available to U. This feature is being extended to other countries as licensing issues are resolved.

Many videos and video podcasts currently require the latest version of QuickTime, QuickTime 7, which is incompatible with older versions of Mac OS only v The higher resolution video content is encoded as 1. In SeptemberiTunes progressed to selling full-length films. Once a rental is downloaded the viewer has thirty days to watch the movie before it expires. Movies can be organized in the iTunes library by title, genreor unwatched. In Octoberthe iTunes Store began to offer the option of downloading television shows.

The high definition feature on TV shows was added in July This allows viewers to buy an entire season that automatically downloads new episodes around twenty-four hours after they air. In the iTunes library, these shows are then categorized by season of the particular show. In fall of iTunes offered TV The Music Industry - Ether (17) - Muridae + Other Tracks (File rental options, but as of August this option is no longer offered.

Version 4. The front page of this displays high-profile podcasts from commercial broadcasters and independent podcasters and allows searching by category or popularity. Once subscribed, the podcast can be set to download manually, or automatically — and as with other audio, content can be listened to directly or synced to a portable hardware device like an MP3 player. The addition of podcasting functionality to such a widespread audio application like iTunes greatly helped podcasting enter the mainstream.

Version 6 of iTunes introduced official support for video podcastingalthough video and RSS support was already unofficially there in version 4. Downloadable files can be synchronized to a video-capable iPod, or downloadable files and streams can be shown in Front Row.

A user may configure a smart playlist to display only podcasts less than two weeks old or removing any podcast that the iPod user has already listened to. This smart playlist is synced with the iPod every time the iPod is plugged into the PC, ensuring that the user does not have to listen to the same show more than once.

Once a podcast has been listened to, it will be removed from this list as soon as the iPod is synced with the PC. There are many criteria which can control what goes in a smart playlist, such as "name", "artist", "category", "grouping", "kind", "last played", "play count", "rating", "last skipped", and "playlist" and these can be combined with functions such as "equals", "is greater than", MP3) less than", "contains", "does not contain", "is true", "is false", "is", "is not", "starts with", "ends with", "is in the range", "is before", and "is after".

As a result, it is possible to control exactly which podcasts are transferred to the iPod. In FebruaryApple announced the release of the iPad, and along with it a new app for it called iBooks. The application performs two functions. The first function is as a direct link to the iTunes book store, called iBookstorewhich can be accessed on iOS devices and computers Mac or PC.

The second was as a storage place for downloaded books whether free or purchased from the iBookstore. The format of books from the Apple store and the only one users could use with iBooks, until PDF functionality was added later is ePub. Also PDF documents were able to be added, and were stored under their own tab in a user's iBooks library, with the same functionality. Until the release of OS X Customer reviews.

How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Reviews with images. See all customer images. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now.

Please try again later. Verified Purchase. Among the many vast fortunes and colossal failures written about covering the dot com era, we have the story of Shawn Fanning and Napster. Despite a remarkable rise to prominence and infamous downfall, Napster never made any significant monetary impact; however, the company and its founder shaped the industry of online music and peer-to-peer file sharing and left a significant impact.

Menn presents a thorough account of Napster's lifespan from Fanning's early work on development, the financial backing by Fanning's somewhat suspect Uncle, obtaining venture capital funding, and the eventual rulings leading to the demise of the company. If you have an interest in the companies that started the internet age and the mindsets and actions that were behind building them, this book will be of interest as Menn does a first-class job presenting Fanning's story and Napster's lasting relevance in the digital age.

One person found this helpful. Lots of content covering the Napster rise and But, after a strong opening, it wasn't all that entertaining to read in the end. The book had a lot of important details and facts which led to Napster's history being the way that it was, but I was hoping for more anecdotal and fun stories about the company.

Great book, I. Menn writes an illustrative depiction of the complicated tech giant that changed how the world interacted with media. I've had a difficult time putting this book down because of the impressive way Menn delves into the story behind Napster. Here we have a voluminous history of the Napster phenomenon, but only from a certain jaundiced angle.

As a critical outside journalist, Joseph Menn was unable to directly interview some of the principal players in the saga, and often relies on legal documentation. In turn, much of his research is based on secondary sources and hearsay from people not directly involved in the events described.

This all taints many parts of the book and reduces its believability. We do get a good rundown of the genesis of Napster, as teenage computer whiz Shawn Fanning and some ambitious hacker friends had a brilliant idea about music file sharing, which then got far more monstrous than anyone could have ever expected. Menn then spends most of the book describing the byzantine investment deals and corporate wheeling and dealing to launch the doomed Napster corporation, in ways that were preposterous even during the dot-com bubble.

In the end, enthusiastic people with great ideas tried to cash in, and watched forlornly as others let everything crash and burn. These investigations by Menn are initially informative but descend into a tiresome swamp of nitpicking and unnecessary details that detract from the more interesting cultural ramifications of the Napster craze.

And the biggest problem is that Menn gets very personal, especially when describing the business executives who got involved in Napster after its incorporation - piling on criticisms from other people who are clearly not neutral observers, and dwelling uselessly on people's love lives and personal transgressions.

This goes especially for an apparent personal vendetta that Menn seems to have against John Fanning, Shawn's uncle and business strategist who muscled his way into prominence based on his nephew's invention.

It's reasonably evident that John Fanning was a poor businessman and unfairly latched onto his nephew for his own gain. However, be suspicious of an author who relies on character assassinations toward someone who refused to give him an interview. Menn's questionable personal motivations and general focus on unnecessary details damage what could have been a very insightful book.

Sean Fanning's Napster is widely regarded as the poster child for the dot-com-bubble's bust. In some ways that description is very apt. Characterizing the company as a VC-baby that never developed a business model and whose fame was based on giving away other's property would hardly be inaccurate. But All The Rave author Joeseph Menn goes far beyond the hype and failure to provide a detailed analysis and chronology of the company from pre-inception to post-collapse.

Menn, whose resume includes the LA Times and Bloomberg, takes an unbiased look at Napster and the decisions that they made. He documents the internal fighting that he proffers as the cause of the company's failure. The book, though, reads more like a novel than a business book.

The book also incorporates afterthoughts from the company's principals about what they would have done differently in retrospect. With the exception of John Fanning who ostensibly refused interview requestsMann incorporates lessons learned from all of the principals both interspersed within the heart of the book and in a post-mortem chapter that serves as an epilogue.

For a company that once flew so high to have died so quickly is somewhat amazing though not as much so today as perhaps it was five years ago. This book chronologies that trip. It is an exciting ride! See all reviews. Top reviews from other countries. Translate all reviews to English. Good read but overrun with legal jargon.

I found myself nodding off at times and intrigued at others. It has been practiced by some greedy, self-serving figures from the s onward, as well as committed fans and collectors who wanted to keep out-of-print music in circulation. Bootleg labels, for instance, put out copies of old, hard-to-find blues and jazz records in the s and s, after their original labels stopped selling them or went out of business. As Duke law professor James Boyle argues in The Public Domain available for free onlinethe vast majority of creative works ever produced are out-of-print.

Many such works will simply not be available to the majority of people, stored away, if anywhere, in a library or museum. A more contemporary example would be concert bootlegs on YouTube. Although copyright owners retain the right to request unauthorized clips to be removed, the site still abounds with live footage of countless artists. Before, a band might choose to put out one or two concerts on VHS or DVD, but the majority of their performances would vanish into the air.

Now my stepdad can watch all the vintage Styx he wants online. Probably not. Is Google profiting from their work? Are fans getting something for free? Also yes. Is this fair? This is what the long history of the record industry tells us, from the jazz era of the s to the profusion of jam music, hip-hop, and punk on bootleg tape in the s. A new cycle has unfolded with the prevalence of mixtapes—free recordings where hip-hop artists experiment wildly with samples in the way earlier musicians did before copyright clearances became prohibitively expensive and inefficient.

It is not surprising, perhaps, that two of my favorite albums of recent years, Shut Up, Dude and Sit Down, Manby Das Racist were offered for free download. The industry is clearly in a stage of transition, as it once was during the shift from shellac to vinyl in the s and vinyl to cassette in the s. Both advocate for a fairer system that compensates artists while giving fans what they want.

As White said in her controversial post:. What I want is one massive Spotify-like catalog of music that will sync to my phone and various home entertainment devices. With this new universal database, everyone would have convenient access to everything that has ever been recorded, and performance royalties would be distributed based on play counts hopefully with more money going back to the artist than the present model. All I require is the ability to listen to what I want, when I want and how I want it.

Is that too much to ask? Now while something like Spotify may be a solution for how to compensate artists fairly in the future, it is not a fair system now. This is not a gigantic disagreement. I suspect that Lowery had a stack of mixtapes in his bedroom once upon a time—he might still have a spindle of CDs friends have burned for him.

Or perhaps Lowery has been principled enough to never accept a single note of recorded music from anyone else, preferring to acquire all of his music from the local record shop. What has changed is the scale of sharing.

The industry did not want to adjust, which left it clubfooted in the face of digital distribution, and even today Lowery has a touch of the annoyed elder when he scolds White for not owning more CDs. If I had to pay a dollar every day to buy a magazine containing all the information and insight contained in several hours of NPR, I do not think I would do it.

This is a model that Radiohead famously attempted with its release In Rainbowsand other artists are exploring. It is hard to say if this model will work, or if artists can negotiate a better deal out of Spotify, iTunes, Pandora and other outlets that make their work available online. From my own personal experience, I can say that digital distribution has made a great deal more music available than ever before—and one need not live near a large city with a cool indie record store or have the benefit of a hip older sibling to get hold of it.

The numbers for record sales show a clear drop sincefirst with the introduction The Music Industry - Ether (17) - Muridae + Other Tracks (File Napster and then again with the mids advent of YouTube and other sites. It has before and it can again.

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