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bmusic Newsletter No.258 June 4th - June 17th 2007 There's been much talk over the past month or so regarding the possible sale of EMI, one of the remaining "Big Four" major labels of the music world. This latest go-round for an EMI sale was expected to see Warner outbid private equity firms who also had their eye on the company. However private equity firm Terra Firma showed it's cards last week with a 2.4 billion pound bid for the EMI group. That was 265 pence per share, but the market has already traded them another 5 pence higher, indicating shareholders are wanting more moolah. They would be encouraged by the fact that Terra Firma has given the group until June 27 to decide on it's offer and Warner are still poring over the company's books. Warner is still the suitor that makes more sense as they could immediately start capitalising on the shared resources it would give them, not to mention they already know how to run a record company. Just what the private equity firm's intentions for the different segments of the EMI group are is anybody's guess. There's also another player emerged in recent times, giving shareholders even more incentive to hang on until June 27. Former EMI Music Chief Executive Jim Fifield has also said he wants to buy his former company. Now see, Warner is the one that makes sense from the outside. But, and a big but, Warner would be subject to very close scrutiny by European regulators, the Sony/BMG deal of some years ago now is still being looked into by the regulators. This means Warner would have to pay substantially more than Terra Firma to compensate for this. Private equity firms are notorious for breaking up and selling companies once they acquire them. Perhaps Warner won't see the benefit in going for the whole shabang and paying much more to do so when they may simply have the opportunity to pick up the music division, no doubt the most important asset of the group from their point of view, at a later date from Terra Firma. Jim Fifield throws an interesting spanner in the works though, Warner vs Terra Firma would have made things much simpler. I guess we'll know who his backers are, if he is willing to follow through on his desire and just how much of a chance he has and succeeding before the end of this month. Meanwhile EMI turned up as part of another news story to emerge in the last day or so. Apple's iTunes launched it's catalog of EMI music available for download free of DRM (Digital Rights Management) on May 30. This came after an open letter penned by Steve Jobs in February that called for music companies to release tracks without digital locks. EMI were the first to go for the plan, announcing the deal with Apple in April of this year. DRM protects the file from being written to CD or other devices other than the user's iPod. Obviously there are programs around that are able to circumvent this system unlawfully, known as Fairplay, and many had called for the ability to be able to distribute the music they'd paid for fair and squrae to other players or media they might have. Fair enough, but obviously open to abuse should the track not have any protection. Not an ideal situation, nor is the existence of DRM for those who wanted to use the material honestly for their own use. So to the DRM free files. Pay an extra USD20 cents for tracks free of DRM. So does this then open up the file to the very abuse that the DRM was trying to protect it from? Of course it does. Unfortunately there's really no other way around it. Or is there? Discovered this week by news site Ars Technica was the existence of user information on the newly available tracks downloaded lawfully from Apple's iTunes. These tracks, free of Fairplay, have embedded within them the full name and account information, including e-mail address, of the purchaser! DRM restricted tracks also have this information. Further investigation is ongoing into the DRM free tracks as very curious data anomalies between identical tracks have been identified and those with the expertise are working their way through the code to see just what these mean. Just how much information or perhaps complex code designed to circumvent attempts to strip the identifying data from the file is embedded? And why is it there in the first place? Should such a file end up being distributed illegally via a file sharing network or burnt CDs there's no mystery then as to where they came from. Interesting, no? As of writing this Apple were yet to respond to numerous requests from news agencies for their explanation of this discovery. This issue's Where Are They Now? is a replay with some great new information that has come to light since the original ran a year or so ago. I've noticed this feature or parts thereof spread across the internet, including the Wikipedia article on this band using our original article for the basis of the spiel there, since it was originally published. Regulars including Feature Article, The Weeks Ahead in Music History, Featured Artist and more are all inside Issue 258 of the bmusic Newsletter. Links in the Table of contents below will launch your browser, so you'll need to be online to view the newsletter. If you are unable to receive html format e-mails then copy and paste the following link into your browser's address bar to view the newsletter: http://www.bmusic.com.au/links/whatsnew/newsletters/archives/newsno258.html Thanks to everyone for reading, we'll see you next issue! TABLE OF CONTENTS (You will need to be online to use the Table of Contents to jump through sections) Events Births Deaths |
WHERE ARE THEY NOW? - HEAVEN (UPDATED)
![]() Earliest Customers of Grover Jackson |
![]() Kelly and a "Kelly" around 2001 |
FEATURED PRODUCT - T-REX ENGINERING

THIS WEEK'S FEATURE ARTICLE - SETTING UP A SUCCESSFUL TOUR: PART 1
FEATURED ARTIST - THE MEXICANS
THE WEEK AHEAD IN MUSIC
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