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== Prediction for the Future of the Industry ==
{{Original research|section|date=February 2009}}
The future music industry is likely to have these attributes:
*All music free and paid for by [[Music Industry in the 21st Century#Advertisement-based Service|ad-based services]]
*Many delivery platforms
*Overwhelming production of [[user-generated content]]
*Dominance of home recording rather than studio recording
*Rapid disappearance of the CD


=== Free Music ===
Although [[RIAA]] member labels have been struggling for years against [[piracy]], they have failed in their attempts to stop it. The [[RIAA]] have sued over 35,000 people in connection with [[file sharing]] and that has not stopped it. The [[RIAA]] has recently announced that they would stop the mass suits<ref name = NoSuit/>. Although they have announced they would work with [[ISP]]'s in the future, this essentially means that they are unable to protect their music from illegal duplication and therefore cannot make profit from it. [[Music Industry in the 21st Century#Industry Turnover|These statistics]] indicate a dramatic drop in industry profits and this is even after years of inflation.

Of the above mentioned [[Music Industry in the 21st Century#Emergent Business Models|new business models]], all three represent a decrease in profits per unit. For example, a [[Music Industry in the 21st Century#Subscription Service|subscription service]] that charges $12.95/month does business knowing a customer will download more than thirteen songs that month, which is what a customer of an [[Music Industry in the 21st Century#A-la-carte (MP3 Store)|MP3 store]] expects to pay (that is too say $0.99/song).

The [[Music Industry in the 21st Century#A-la-carte (MP3 Store)|MP3 stores]] are now in a [[price war]]<ref name = PriceWar/>, because they offer identical products, placement, and delivery. The only marketing dimension they can compete on is price, which is falling towards cost. Despite their own cost structures, they have to face [[P2P]]'s and [[Music Industry in the 21st Century#Advertisement-based Service|ad-based services]], which offer the same product for free.

[[P2P]]'s and [[Music Industry in the 21st Century#Advertisement-based Service|ad-based services]] are both free to the user. They have the advantage of being favored by the [[Demand curve#Parameters|Law of Demand]], which is the inverse relationship between a good's price and the quantity demanded. From a purely economic view, [[P2P]]'s and [[Music Industry in the 21st Century#Advertisement-based Service|ad-based services]] are favored to succeed over [[Music Industry in the 21st Century#A-la-carte (MP3 Store)|MP3 stores]] and [[Music Industry in the 21st Century#Subscription Service|subscription services]].

Since the cost of duplicating music is near zero and there is no effective way of containing illegal distribution, the price is effectively zero and shall remain so. The only way for industry players to compete with [[P2P]]'s in the long term and still generate a profit is by being in full compliance with [[Music Industry in the 21st Century#Advertisement-based Service|ad-based services]]. The effect of such a commercial arrangement would turn 'music theft' into 'legitimate digital content'.


== See also ==
== See also ==

Revision as of 20:34, 16 February 2009

Various technological and social changes in the 21st century have impacted the music industry, including advents in digital technology, the wide-scale acceptance of broadband[1] and the ever decreasing cost of hard drive space. These conditions have forced surviving industry players to discard old profit and sales formulas. Furthermore, the open nature of the internet has allowed consumers unparalleled choice in music consumption, which opened up performers to niche markets to which they previously had little access.

The initial stage of the digital music revolution was the emergence of illegal P2P networks that engaged in copyright infringment. It wasn't until years later that internet offered legitimate free media.

Format Issues

Decline of Analog, Rise of Digital

This trend has broader implications in the use of formats. It has been a trend in music[2], television, movies[3], and print[4]. The Recording Industry Association of America(RIAA) reported data on the music industry’s sales by format over the ten-year period from 1998 until 2007. The data in the table below is from the 2007 report.

Format Marketshare

[5] 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 10-Year Change 4-Year Change
Full-length CDs 74.8 83.2 89.3 89.2 90.5 87.8 90.3 87.0 85.6 82.6 Increase7.8 Decrease -7.7
Full-length cassettes 14.8 8.0 4.9 3.4 2.4 2.2 1.7 1.1 0.8 0.3 Decrease -14.5 Decrease -1.4
Singles (all types) 6.8 5.4 2.5 2.4 1.9 2.4 2.4 2.7 3.4 2.4 Decrease -4.4 0
Music videos/Video DVDs 1.0 0.9 0.8 1.1 0.7 0.6 1.0 0.7 1.1 0.4 Decrease -0.6 Decrease -0.6
DVD audio NA NA NA 1.1 1.3 2.7 1.7 0.8 1.3 1.2 Increase1.2 Decrease -0.5
Digital Download NA NA NA 0.2 0.5 1.3 0.9 5.7 6.7 11.2 Increase11.2 Increase10.3
SACD NA NA NA NA NA 0.5 0.8 1.2 0.0 0.6 Increase0.6 Decrease -0.2
Vinyl LPs 0.7 0.5 0.5 0.6 0.7 0.5 0.9 0.7 0.6 0.7 0 Decrease -0.2

Statistical analysis suggests the large-scale change in distribution:

  • Full-length CD distribution (by percentage of total music revenue) peaked in 2004.
  • Between 2004 and 2007, Full length CD sales have experienced a linear decline of around 2% annually. During this time period, Digital Download has increased from 0.9% to 11.2%.
  • Of the over 10% of total market growth taken by Digital Download, roughly 8% came from losses in Full-length CD sales.
  • Full-length cassettes experienced the most loss (-14.5% marketshare) in the 10-Year period, although most of the loss (-13.1%) was experienced from 1998-2003. In 2007, they were outsold by Vinyl.
  • As of 2007, only two formats had greater than 10% of the market: Full-length CDs and Digital Download.
  • The ratio of digital to analog sales in 2004 it was roughly 1:99, but by 2007 it was roughly 1:9.

In 2008, physical album sales fell 20 percent to 362.6 million from 450.5 million, while digital album sales rose 32 percent to a record 65.8 million units[6].

Proliferation of Formats

The advent of digital media has led to the sudden creation of many new music formats available to the average consumer. In 2003 there were less than 10 formats available, but by 2007 there were over 100. Today a single artist release can be packaged in multiple formats including video downloads, ringtones or mobile full tracks. As the International Federation of the Phonographic Industry(IFPI) notes:

Five years ago music distribution formats were numbered in single figures – today, they number in the hundreds…In the digital era, record companies are licensing music across a multitude of platforms, in scores of different formats and with hundreds of different partners[7].

The Beginning: Peer-to-Peer (P2P) Piracy

Further reading File sharing and the law
Main article Napster (1999-2002)

Napster and Government Regulation

Napster was an online music file sharing service created by Shawn Fanning while he was attending Northeastern University in Boston and operating between June 1999 and July 2001[8]. Its technology allowed people to easily copy and distribute MP3 files among each other, bypassing the established market for such songs and thus leading to the music industry's accusations of massive copyright violations.

The first peer-to-peer case was A&M Records v. Napster, 239 F.3d 1004 (9th Cir. 2001). In the Napster case, the 9th Circuit considered whether Napster was liable as a secondary infringer. First, the court considered whether Napster was contributorily liable for copyright infringement. To be found contributorily liable, Napster must have engaged in "personal conduct that encourages or assists the infringement."[9]

The court found that Napster was contributorily liable for the copyright infringement of its end-users because it "knowingly encourages and assists the infringement of plaintiffs' copyrights."[10] The court goes on to analyze whether Napster was vicariously liable for copyright infringement. The standard applied by the court is whether Napster "has the right and ability to supervise the infringing activity and also has a direct financial interest in such activities."[11]

The court found that Napster did receive a financial benefit, and had the right and ability to supervise the activity, meaning that the plaintiffs demonstrated a likelihood of success on the merits of their claim of vicarious infringement.[12] The court denied all of Napster's defenses, including its claim of fair use. Although the original service was shut down by court order, it paved the way for decentralized peer-to-peer file-distribution programs, which have been much harder to control.

Main article File sharing and the Music Industry

The next major peer-to-peer case was MGM v. Grokster, 545 U.S. 913 (2005). In this case, the Supreme Court found that even if Grokster was capable of substantial non-infringing uses, which the Sony Court found was enough to relieve one of secondary copyright liability, Grokster was still secondarily liable because it induced its users to infringe.[13]

File sharing and its effects

A number of studies have found that file sharing has a negative impact on record sales. Examples of such studies include three papers published in the April 2006 issue of the Journal of Law and Economics (Liebowitz, Rob and Waldfogel, Zentner).[14] Alejandro Zentner notes in another paper published in 2005[15], that music sales have globally dropped from approximately $38 billion in 1999 to $32 billion in 2003, and that this downward trend coincides with the advent of Napster in June 1999. Using aggregate data Stan J. Liebowitz argues in a series of papers (2005, 2006) that file sharing had a significant negative impact on record sales.

However, a widely cited paper published in February 2007 concludes that file sharing has no negative effect on CD sales. This paper by Olberholzer-Gee and Strumpf,[16] was published in the Journal of Political Economy, and is the only paper which analyzes actual downloads on file sharing networks. Data gathered from tracking downloading on OpenNap servers indicates that most users logged on very rarely and when they did log on they only downloaded a little more than one CD’s worth of songs. To show how these downloads affected album sales they tracked sales and downloads of 500 random albums of varying genres and after doing so found that illegal downloads would only be a small force in the decrease in album sales, possibly even slightly improving album sales of the top albums in stores at the time. CNET News.com staff writer John Borland reports, “even high levels of file-swapping seemed to translate into an effect on album sales that was "statistically indistinguishable from zero"[17].

In March 2007 the Wall Street Journal found that CD sales have dropped 20 percent in one year, which the Wall Street Journal interpreted as the latest sign of the shift in the way people acquire their music. BigChampagne LLC has reported that around one billion songs a month are being traded on illegal file-sharing networks. As a result of this decline in CD sales, a significant amount of record stores are going out of business and “...making it harder for consumers to find and purchase older titles in stores.”[18] On December 19, 2008, the Wall Street Journal reported the following[19]:

After years of suing thousands of people for allegedly stealing music via the Internet, the recording industry is set to drop its legal assault as it searches for more effective ways to combat online music piracy.The decision represents an abrupt shift of strategy for the industry, which has opened legal proceedings against about 35,000 people since 2003. Critics say the legal offensive ultimately did little to stem the tide of illegally downloaded music. And it created a public-relations disaster for the industry, whose lawsuits targeted, among others, several single mothers, a dead person and a 13-year-old girl.Instead, the Recording Industry Association of America said it plans to try an approach that relies on the cooperation of Internet-service providers.

Emergent Business Models

With the explosion of formats and the creation of legitimate digital content, three main business models have rose to dominance. They are a-la-carte, subscription service, and advertisement based[7] .

A-la-carte (MP3 Store)

A-la-carte is a service that sells individual songs, typically for $0.99. They are known to consumers as "MP3 Stores". The leading provider is iTunes Store (Apple Inc.), who surpassed Wal-Mart to become the US’s largest music retailer in April 2008[20]. Sector leaders include:

Rolling Stone reported a price war between MP3 stores, iTunes and Amazon. Bill Carr, vice president of digital media for Amazon mentioned the following of digital music "one of the great benefits of the digital business versus the CD business is that we can experiment with price changing for an hour, a day or how ever long we like, with no impact on inventory"[21].

Subscription Service

A subscription service offers the consumer unlimited downloads for a monthly fee. The sector leader is Napster[7] , which costs $12.95/month and offers 6 million downloads[22]. Napster’s net revenue for the quarter ending in June 30, 2008 was $30.3 million[23]. Sector leaders include:

Advertisement-based services offer music free of charge to the consumer, while funding is derived from advertisement. The model is becoming a dominant influence as seen by the success of AOL Music, Yahoo! Music and YouTube (multimedia provider). Many of these services are internet radio stations, while others are multimedia providers.MySpace even offers social-networking as flagship service. comScore reports the top 10 in internet radio viewership:

Unique Visitors (000)
July '07 July '08 % Change
Total Internet: Total Audience 180,078 189,134 Increase5
AOL Music 15,284 23,884 Increase56
Yahoo! Music 23,075 18,725 Decrease-19
Clear Channel Online 10,697 9,394 Decrease-12
PANDORA.COM 2,551 4,834 Increase89
Interactive One 512 3,515 Increase587
CBS Radio 3,469 3,240 Decrease-7
NPR.ORG 1,717 2,538 Increase48
Citadel Broadcasting Corporation 1,373 1,885 Increase37
Batanga.com 1,239 1,810 Increase46
Disney Music 1,721 1,598 Decrease -7

Other sector players:

See also List of Internet stations

YouTube (owned by Google Inc.) is the premier site for finding music videos for both independent bands and mainstream bands that have released their music on CD or digitally, while also being useful for finding rare songs[24]. YouTube provides content that is both music and non-music, so it is difficult to say how much entertainment it has provided to music consumers, however it did provide about one-third of all 11 billion online video views in the US in the month of April[25]. The site is also testing three new landing pages dedicated to the popular categories of news, movies, and music. Each page will be populated with the most popular content on the site related to that category[26].

MySpace (owned by Fox Interactive Media) is also a key player and Rolling Stone reports that it hosts more than 70 million users monthly and that “visitors to the site can hear both Bob Dylan’s or The White Stripes' entire catalogue”. MySpace also made copyright deals with the RIAA's "Big Four", which is Sony BMG, Warner Music Group, Universal Music and EMI [27], in September 2008. In January 2009, MySpace made partnerships with the following independent labels: Nettwerk, INgrooves, Iris Distribution, RoyaltyShare, and Wind-up Entertainment[28].

Pandora Internet Radio is distinctive from both YouTube andMySpace in that it offers consumers continuously streaming media rather than "on-demand" file serving, which makes it highly similar to radio or television. However, it can be contrasted with radio in that it offers music recommendation. YouTube is similar to Pandora in that it also offers recommendation, but is distinct in that content is user-generated.

Mobile Music: Then and Now

Past

The 21st century saw the decline of CD players and cassette players as result of decline in CD and cassette distribution, respectively.

Present

Rise of MP3 players, which are consumer electronics devices that stores, organizes and plays audio files. Some DAPs are also referred to as portable media players as they have image-viewing and/or video-playing support. The first mass-produced DAP was created in 1997 by SaeHan Information Systems, which domestically sold its “MPMan” player in the middle of 1998[29]. In October 2001, Apple Computer (now known as Apple Inc.) unveiled the first generation iPod, the 5 GB hard drive based DAP with a 1.8" Toshiba drive. With the development of a minimalistic user interface and a smaller form factor, the iPod was initially notable within users of the Macintosh community. In July 2002, Apple introduced the second generation update to the iPod. It was compatible with Windows computers through Musicmatch Jukebox (now known as Y!Music Musicmatch Jukebox). The iPod series, which grew to include microdrive and flash-based players, has become the market leader in DAPs.

Future

The 21st century saw the birth of 3G Mobile Phones, which is based off the third generation of tele standards and technology for mobile networking, superseding 2.5G. It is based on the International Telecommunication Union(ITU) family of standards under the IMT-2000.[30] 3G networks enable network operators to offer users a wider range of more advanced services while achieving greater network capacity through improved spectral efficiency. Services include wide-area wireless voice telephony, video calls, and broadband wireless data, all in a mobile environment. Additional features also include HSPA data transmission capabilities able to deliver speeds up to 14.4 Mbit/s on the downlink and 5.8 Mbit/s on the uplink.

The key advantage of 3G enabled phones over MP3 players is their higher integration with the web. This enables users to readily access a far larger quantity of songs than MP3 player users can. For an MP3 player, songs must be stored before the user leaves their computer, but with 3G enabled phones the device is not separated from the source.

Industry Turnover

Record Sales (in billions, USD)

[31] 2000 2001 2002 2003 2004 2005 2006 2007 % Growth % Growth (Inflation adjusted)
Worldwide 36.9 33.7 32.2 32.0 33.6 33.5 31.8 29.9 Decrease -19.0% Decrease -32.1%
US 14.0 13.4 12.6 11.8 12.2 12.3 11.5 10.4 Decrease-25.7% Decrease-37.7%

Note: Table is a meta-analysis of eight IFPI annual reports

In 2008, 123m physical albums were sold in the UK compared with 131m in 2007 and 151m in 2006. At an average price of £7.72, CDs were more than 25 percent cheaper in 2008 than in 2000[32].

Many industry players were not able to make the transition into the digital era. Many were preoccupied with issues of digital piracy and protecting copyrights, rather than seeing the potential of digital media as a legitimate distribution tool. Little thought was given to seeing consumers preference for the convenience and low cost of digital media and trying to create value in the digital sector, instead attention was and is focused on creating legislative and technological barriers to distribution over this medium.

Other noteworthy developments

In video games

  • In the video game industry, the music category overtook the sports category as no. 2 top category in sales, behind action. 58 percent of players played music games, second only to 65 percent who played action games. About 50 percent played sports games, down from 55 percent in 2007 and 62 percent in 2005[33]. The Video game industry was worth $22 billion in 2008[34].
  • Guitar Hero III: Legends of Rock, which launched in 2007, has become the first single game to surpass $1 billion in sales. The announcement came during a CES keynote by Activision Publishing CEO Mike Griffith, and follows on from an announcement that the entire franchise had broken the same mark a year ago. Griffith said that Guitar Hero's monumental success has trickled down to other industries, most especially the struggling music industry. According to Griffith, sales on everything connected to Guitar Hero from music to real guitars have gone up[35].

In politics

  • On January 5, 2009, president-elect Barack Obama appointed Tom Perrelli to the position of associate attorney general. Tom Perrelli represented the RIAA in a slew of cases, including a high-profile bid to unmask file sharers without the requirement of a judge reviewing the evidence first. Barack Obama's selection of Joe Biden as vice president showed that the presidential hopeful was comfortable with someone with firmly pro-RIAA views. Biden urged the criminal prosecutions of copyright-infringing peer-to-peer users and tried to create a new federal felony involving playing unauthorized music[36].

In the courtroom

  • On December 19, 2008, the RIAA announced that it would stop suing file sharers, because the strategy isn't working to stop the flow of illegal downloads. Instead, the RIAA is trying to work with ISP's to prevent P2P piracy[19].
  • On December 28, 2008, WIRED reported[37]:
U.S. District Judge Michael Davis of Minnesota declared a mistrial in the Jammie Thomas case months ago and nullified the jury's $222,000 award against the Minnesota woman for sharing 24 songs on the Kazaa network. The judge declared a mistrial a year following the 2007 trial after concluding that making available copyrighted songs for download on peer-to-peer networks did not amount to copyright infringement, as he erroneously instructed the jury. The RIAA sought permission to appeal, a decision the judge has now rejected for the same reason he declared a mistrial. Davis said "actual" distribution of copyrighted music must be shown -- meaning that the RIAA must prove that others are downloading the music being shared. The RIAA said it was virtually impossible to detect whether people were downloading music from an open peer-to-peer share folder on Kazaa, Limewire or other sharing services. A Thomas retrial is scheduled for March 9 (2009). Appeals of mistrials normally require the trial judge's approval.


See also

References

  1. ^ Palmer, Shelley (2008). "Broadband and Retail: Black Friday and Cyber-24/7/365". Retrieved 2008-11-24. {{cite web}}: Unknown parameter |Day= ignored (help); Unknown parameter |month= ignored (help)
  2. ^ Jonathan Skillings (2008). "Digital music gains, but CD losses a pain". Retrieved 2008-12-23. {{cite web}}: Unknown parameter |month= ignored (help)
  3. ^ Ogg, Erica (2008). "Digital downloads will be Blu-ray's downfall". Retrieved 2008-12-23. {{cite web}}: Unknown parameter |day= ignored (help); Unknown parameter |month= ignored (help)
  4. ^ Greg Sandoval (2008). "The Internet, the last hope of newspapers". Retrieved 2008-12-23. {{cite web}}: Unknown parameter |day= ignored (help); Unknown parameter |month= ignored (help)
  5. ^ "10 Year Music Consumer Trends Chart (2008)". 2008. Retrieved 2008-11-24. {{cite web}}: Text "Recording Industry Association of America" ignored (help)
  6. ^ John Gerome (2009). "Another tough year for music industry". Retrieved 2009-1-12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
  7. ^ a b c International Federation of the Phonographic Industry (2008). "Digital Music Report_2008". Retrieved 2008-11-24. {{cite web}}: Unknown parameter |month= ignored (help)
  8. ^ Napster's High and Low Notes - Businessweek - August 14, 2000
  9. ^ A&M Records v. Napster, Inc., 239 F.3d 1004, 1019 (9th Cir. 2001) citing Matthew Bender & Co. v. West Publ'g Co., 158 F.3d 693, 706 (2d Cir. 1998)
  10. ^ Napster, at 1020.
  11. ^ Napster, at 1022, citing Gershwin Publ'g Corp. v. Columbia Artists Mgmt., Inc, 443 F.2d 1159, 1162 (2d Cir. 1971.
  12. ^ Napster, at 1024.
  13. ^ MGM v. Grokster, 514 U.S. 913, 940 (2005).
  14. ^ Stan J. Liebowitz, "File Sharing: Creative Destruction or Just Plain Destruction?"; Rafael Rob and Joel Waldfogel, "Piracy on the High C's: Music Downloading, Sales Displacement, and Social Welfare in a Sample of College Students"; Alejandro Zentner, "Measuring the Effect of File Sharing on Music Purchases",The Journal of Law and Economics, Vol. 49, No. 1 (April 2006)
  15. ^ Alejandro Zentner, "File Sharing and International Sales of Copyrighted Music: An Empirical Analysis with a Panel of Countries", The B.E. Journal of Economic Analysis & Policy, Vol. 5, Issue 1 (2005)
  16. ^ Felix Olberholzer-Gee and Koleman Strumpf, "The Effect of File Sharing on Record Sales: An Empirical Analysis" Journal of Political Economy, 2007, 115(1):1-42; Retrieved on 2008-10-22 from Koleman Strumpf's website
  17. ^ John Borland (2004). "Music sharing doesn't kill CD sales, study says". Retrieved 2009-1-12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
  18. ^ "Sales of Music, Long in Decline, Plunge Sharply". {{cite web}}: Unknown parameter |Accessdate= ignored (|accessdate= suggested) (help); Unknown parameter |Last= ignored (|last= suggested) (help); Unknown parameter |Year= ignored (|year= suggested) (help)
  19. ^ a b Sarah McBride and Ellen Smith (2008). "Music Industry to Abandon Mass Suits". Retrieved 2008-23-12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |day= ignored (help); Unknown parameter |month= ignored (help)
  20. ^ Apple Inc. (2008). "iTunes Store Top Music Retailer in the US". Retrieved 2008-11-24. {{cite web}}: Unknown parameter |day= ignored (help); Unknown parameter |month= ignored (help)
  21. ^ Rolling Stone, Issue #1071, February 2, 2009, "Digital Albums Prices Slashed" p.13
  22. ^ Napster, LLC. "napster.com". Retrieved 2008-11-24.
  23. ^ Napster, LLC (2008). "Napster Reports $30.3 Million in First Quarter Sales and Positive Results From New MP3 Initiative". Retrieved 2008-11-24. {{cite web}}: Unknown parameter |Day= ignored (help); Unknown parameter |month= ignored (help)
  24. ^ Terdiman, Daniel (2008). "Finding rare songs on YouTube". Retrieved 2008-12-23. {{cite web}}: Unknown parameter |Day= ignored (help); Unknown parameter |month= ignored (help)
  25. ^ Kaplan, Dan (2008). "Online video continues to explode, Google's grip tightens". Retrieved 2008-11-24. {{cite web}}: Unknown parameter |Day= ignored (help); Unknown parameter |month= ignored (help)
  26. ^ Musil, Steven (2008). "YouTube Launches HD Video Page". Retrieved 2008-12-23. {{cite web}}: Unknown parameter |day= ignored (help); Unknown parameter |month= ignored (help)
  27. ^ Browne, David (2008). "MySpace Music Takes on iTunes: Social-networking giant's new service streams millions of songs for free". Retrieved 2008-11-24. {{cite web}}: Unknown parameter |Day= ignored (help); Unknown parameter |month= ignored (help)
  28. ^ Caroline McCarthy (2009). "New indie partnerships for MySpace Music". Retrieved 2009-1-18. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
  29. ^ Van Buskirk, Eliot. "Introducing the world's first MP3 player". CNET.
  30. ^ Clint Smith, Daniel Collins. "3G Wireless Networks", page 136. 2000.
  31. ^ IFPI (2000–2007). "Recorded Music Sales". Retrieved 2008-11-24.{{cite web}}: CS1 maint: date format (link)
  32. ^ Salamander Davoudi (2009). "Music industry must learn to play to new tune". Retrieved 2009-1-12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
  33. ^ Dean Takahashi (2008). "Music video games overtake sports and game console growth". Retrieved 2008-12-29. {{cite web}}: Unknown parameter |month= ignored (help)
  34. ^ Dean Takahasahi (2008). "Video game sales defy recession, rise 10 percent in November". Retrieved 2008-12-29. {{cite web}}: Unknown parameter |month= ignored (help)
  35. ^ Kat Bailey (2009). "Guitar Hero 3 Surpasses $1 billion". Retrieved 2009-1-12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
  36. ^ Declan McCullagh (2009). "Obama picks RIAA's favorite lawyer for a top Justice post". Retrieved 2009-1-9. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
  37. ^ David Kravets (2008). "RIAA Thomas Appeal Denied; Retrial Likely to Set New Copyright Infringement Course". Retrieved 2009-1-12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help)
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