LYCOS RETRIEVER 
File Sharing: Music
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Overall, the information gathered from file-sharing monitoring services will enhance a record label’s ability to market and sell records by improving its ability to match music to consumers’ tastes. This will provide the music industry with new opportunities for increased business. Each record company department mentioned has a use for information collected by BigChampagne and Webspins. Retail, promotion, touring, and marketing could all use the online information to better target and serve consumers. For too long the record industry has viewed the Internet as a threat. BigChampagne and Webspins have raised the possibility that the industry might actually prosper from the intelligent use of data gathered from those downloading music illegally.
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Experts continue to disagree as to whether P2P file-sharing is a death-knell or boon to music. At the annual Austin, Texas music festival in March 2005, panellists argued over the current and future impact of file-sharing on music. Similarly, research out of Japan by a Keio Universtity Economics Professor concluded that "Winny", the most popular P2P application in Japan, has had no effect on CD sales in Japan. In fact, the study found that P2P allows consumers to discover new music and so promotes music sales.
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File sharing on p2p is soaring despite the music and movie industry efforts to curb the practice. Regardless of which side of the arguement you are on it is likely that sharing of copyright material will continue in one form or another for the foreseeable future.
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File sharing is the act of uploading files to the Internet or smaller networks so that they can be downloaded and played. File sharing depends on the use of file sharing programs, which are not in and of themselves illegal; ... using file sharing programs to bypass legal acquisition of and access to copyrighted materials is illegal. If copyright owners do not make their music or movies available to you for free downloading as part of a promotion, for example, or do not give you explicit permission to copy, distribute, and use their copyrighted music or movies and/or you do not buy or pay a fee to download, copy, distribute, and use the music or movie, chances are good that you’re breaking the law. In fact, it’s not much different than stealing a CD or DVD from a store.
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This paper aims to evaluate power relations between corporate elites and online music file-sharers on the Web. By documenting changes in discourse occurring between 1998 and 2004 over the labeling of music file-sharing as deviant, it seeks to unveil how power machinates in establishing the parameters between acceptable and unacceptable behaviors In doing so, Foucault's work on power is used as a starting point for investigating strategies employed by corporate elites and file-sharers in order to shift the balance of power. The contest between discourses seeking to restrict or enhance the capacities of free agents in online environments is evidenced in the mutability of a legal discourse seeking to normalize online life. Until now, how the online "music pirates" should be disciplined is in a state of flux where certain developments appear to be favoring corporate interests and others, the interests of music file-sharers. In this struggle, online discourses seeking to curtail freedoms and opportunities advanced by corporate elites and online discourses of freedom purported by music file-sharers, are reversible. This reversibility suggests that online, some offline discourses would be a hindrance and as such, their agents could resist the dominant online discourse by engaging in creative behaviors.
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While the effects of file-sharing on the music industry and the sale of CDs are being debated, CD sales have increase since the lawsuits were filed. In 2003, overall sales of CDs in the US were down 2% from 2002. However, in the fourth quarter of 2003, after the suits were filed, sales went up 6% as compared to the same period in 2002. The popularity of online digital music services ... grew during the same period.
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