Viacom Wins Right To Cruise YouTube Records (source: marketingVOX)
Google has been ordered to surrender the data of users that watch YouTube videos, including videos streamed on other websites, to Viacom.
The ruling was made by Judge Stanton of the federal court for the Southern District of New York.
YouTube user data now available to Viacom includes usernames, videos viewed and IP addresses, which Viacom can use to identify some individuals through ISPs - making users potentially liable for copyrighted material they consumed, the same way the RIAA pursued peer-to-peer file sharers.
But as Mashable points out, the ruling was made in part because of a recent Google blog post claiming IP addresses do not necessarily constitute as "personally identifiable information."
The Electronic Frontier Foundation has protested Judge Stanton's decision.
When most of us think of the Fourth of July we think of fireworks, hamburgers and a day off from work. There are lots of ways we celebrate the fourth, but I propose a special way music fans can celebrate the occasion; by making Independence Day all about independent music. Independence is independence, whether it’s from Great Britain or from major labels, and today I'm combing those two forms of independence as I bring you my top five ways for music fans to celebrate Independence Day.
Artist: Termanology Title: Talking to God Label: St. Records/Nature Sounds/EMI
"I'm talking to God/when you got, Kanye comparing Soulja Boy to Nas/I used to pray, used to pray for the cars/and the jewels and the money now I pray for rap stars... Puff Daddy comparin Lil Wayne to Biggie Smalls." This may be one of the most timely hip-hop singles released in a long time, as Termanology goes out of his way to reference feuds as recent as Shaquille O'Neal dissing Kobe Bryant, which is dope to listen to present tense but could just as easily result in the song becoming quickly dated. Nevertheless the somber strings and symphonic backdrop put across Termanology's point well, and hit the right note of nostalgia when he complains that "nowadays there's no graffiti on the train." Highly recommended for the headphones or an underground mixtape but definitely not a club banger.
Artist: Spit Syndicate Title: Here Today, Gone Tomorrow Label: Obese Records
Enjoy today, because tomorrow is promised to no one. We have all heard that message a million times. The overall message is that, since death is inevitable, you should not waste time allowing the barriers created by living from enjoying the actual state of being alive. This message is hammered home when one experiences the death of someone whom you are close to, or if one should experience a close engagement to a potentially life-ending event. According to the notes delivered with this single by the duo from Sydney, Australia, that appears to be their motivation for recording this song. The track, produced by M-Phaze, is an almost Kanye-ish confection that manages to rock mellow drums over a disco-based sample. The two emcees from Spit Syndicate do an adequate, but not magnificent, job of delivering the message I stated above. With this being their debut single from their new album "XXX", they should have come with something a little harder. Though this track does not do anything wrong, it does not do a whole lot to leave a lasting impression after the last snare track drum fades from your headphones. Though it would work well in a club environment, and would probably sound a lot nicer in a blend; it just does not do enough to make what I hear TODAY excited about what they might have to say TOMORROW.
Smooth lyrics centered on sensuality and romance. Soulful production with one foot firmly planted in R&B terrain. A guest vocal by Dwele. This song sounds as if it could have been recorded by Slum Village, and comes across in the same vein as their smash hit "Tainted" from a few years ago. However, though the chorus is fleshed out by Dwele, the track is not produced by Karriem Riggins; it was produced by Blackout Movement. In addition, the vocals are not by T3 and Elzhi; they feature a young emcee out of Youngstown, Ohio called Prycelezz (pronounced Priceless). It is an easygoing selection that falls in with the legendary Detroit collective's recent spate of radio hits (the aforementioned song and "Selfish"). However, Prycelezz executes an imaginative sing-song flow that simultaneously aligns him with SV, yet it differentiates him at the same time. For anyone who enjoyed those songs by SV, you will want to pick this one up as well.
Artist: Nas f/ Keri Hilson Title: Hero Label: Columbia Records
Something magic happened the night Nasir Jones met Polow Da Don in the studio. There's no question the two come from different rap backgrounds and styles, let alone completely different generations, but this track is as epic as anything on "Illmatic" or "Hip Hop Is Dead." Polow's beat goes old school with a tinkling electronic backdrop from the days of Afrika Bambaataa yet switches to new school with heavy synth change-ups and a bass drop designed to rupture even the best designed woofer box. This would be for naught if Nas wasn't spitting fire, but there's no question he was feeling the beat when he wrote these raps: "This universal apartheid/I'm hog-tied, the corporate side/Blocking y'all from going to stores and buying it/First L.A. and Doug Morris was riding wit it/But Newsweek article startled big wigs they said, Nas, why is he trying it?/My lawyers only see the Billboard charts as winning/Forgetting - Nas the only true rebel since the beginning/Still in musical prison, in jail for the flow/Try telling Bob Dylan, Bruce, or Billy Joel they can't sing what's in their soul/So UNTITLED it is." Nas may or may not be your "Hero" but after hearing this song he's STILL mine.
Artist: The Game Title: Dope Boys Label: Geffen Records
I don't know 1500 or Nothin' from Adam, but I do know that 1.5KN produces a very heavy hitting beat for The Game's "Dope Boys." It seems I hear a new song from "L.A.X." every two or three weeks, leading me to believe the entire album will be leaked out before the CD ever hits record stores. That's not a complaint though; it's more of a question as to whether Game's camp needs to tighten up the studio access or if they're releasing these on purpose to hype things up. Don't bother to answer though - we can all assume it's the latter. Lyrically this is pretty standard fare, with Game shouting out Luda and D.T.P. and spitting drug related raps like "a boss never touch work" and making veiled references about fucking Curtis like Shawnna. Game, your narcotic rap is all good to me since you've got the charisma and flow to pull it off, but it's about time to kill the beef with 50.
The original "Don't Touch Me (Throw the Water On 'Em)" was already one of the most bouncy pop songs released from Busta's (continually) delayed new album. As far as I can tell the only difference the "Travis Barker Remix" adds is a layer of guitar and a little bit heavier drums, but otherwise the song is essentially the same. Busta rips through the song in typical high-speed high-octane format and also uses his familiar gimmick of changing volume throughout the song - pulling the beat and delivery down to a whisper until to bring it back it up to scream DON'T TOUCH ME when necessary. The funniest part of the song may actually be when he stops flowing for a few seconds just to suck wind for a minute on the mic. As for the remix, I can't see how it adds to or improves the song, but the track is another surefire club hit for Trevor either way.
I was originally introduced to 2 Hungry Brothers, the duo of Ben Boogie and Deep (pictured Left to Right), by my friend Substantial a little over a year ago. Ever since that first conversation with Deep I’ve noticed more and more emcees I know and respect in the New York City area have been working with them. When Deep hit me with Table Manners, which is 2 Hungry Brothers’ latest release, and I saw the lineup on it, I knew it was time to find out more about them. This week I sat down with Deep, who is the more vocal of the two, and learned all I could about this dynamic duo that has both Portished and Homeboy Sandman in their CD changers, including what they look for in artists and how food brought them together.