U2 Manager Paul McGuiness Calls Google a Monopoly

U2 Manager Paul McGuiness Calls Google a ‘Monopoly,’ Spotify ‘Ultimately a Good Thing’ @MIDEM

U2 manager Paul McGuinness picked up the copyright cudgel once again at MIDEM, this time directing his energies at Google.

It was the Irishman who in 2008 used the platform of MIDEM to demand ISPs counter illegal file movements on their networks, and take control of the war on piracy. This time, he fired shots at Google’s role in undermining the proposed SOPA anti-piracy project.

@MIDEM 2012: The Billboard.biz Blog Experience

“Why are they not trying to solve the future in a more generous way?” McGuinness said during the Sunday morning panel discussion, “Why copyright still matters online?” “Ultimately it’s in their interests that the flow of content will continue. And that won’t happen unless it’s paid for.

“Though there is some improvement in the digital environment in terms of people getting paid , the vast majority of content distributed through their pipes is not paid for,” he continued. “That’s, in my view, utterly, utterly wrong. I don’t think we can rely on politicians who are afraid of being unpopular to accomplish this without some real willingness – as I say, generosity – on the part of the technology area which…has shown this in the last few weeks to be very well able to make its case in a popular way. Never underestimate the ability of a monopoly to defend itself.”

Five Notable Quotes From Paul McGuiness @ MIDEM

McGuinness, who is managing director of Dublin-based Principle Management, was a bit more generous to Spotify, which he called “ultimately a good thing,” but called it more a “promotional medium” than a genuine business opportunity for artists. “I’d rather give (new music) to a DJ on a great station,” he says.

U2 Manager Paul McGuinness participating in a panel at MIDEM (Photo: ©360 Medias/Image & Co)

“Spotify has yet to become popular with artists because artists don’t see the financial benefit. That’s partly the fault of the labels because the labels partly-own Spotify, and there is insufficient transparency.”

But he admits the service does have its place. “There’s no reason why the basic Spotify model can’t be a part of the future. It is essentially honest so it should be encouraged. I would like to see it adopted everywhere.”

McGuinness talked through the challenges Europe faced in policing the Internet for copyright-infringing works, and how smaller countries on the Continent have effectively held the EU to ransom. “France is the leader, ahead of Germany and Britain. These cultural centers of Europe have a lot to protect. But smaller countries, like Czech Republic, can stand in the way of progress. It’s really hard.” The resources available to record companies and music businesses are “nothing compared to those available to giant pharmaceutical companies with global patents to protect. It’s not a fair fight.”

“Free Ride” author/Former Billboard editor Robert Levine, who was also on the panel with entertainment lawyer Pierre-Marie Bouvery and Qobuz president Yves Riesel, brought an analytical voice to the panel discussion. Levine pointed to Google making “twice as much in the US last year as all four major labels combined… we need to change the way we look at these issues”. Levine gave the audience a catch-phrase to take away. “We have to get back on the white horse,” he said.

Larry Page : Gerente general de Google en 1998.


                   LARRY PAGE’S GOOGLE BUSINESS CARD, 1998.


    ¿Cuál es la mejor oportunidad de trabajo que dejaste pasar en tu vida ?


Conocí tanto Carl Page y Larry Page, en una fiesta organizada por un amigo mío de Stanford en 1998. Carl me dio su tarjeta para eGroups y me dijo  “estamos contratando personal “. Larry también me dio su tarjeta para Google, la tarjeta digamos era un poco endeblee impresa con un chorro de burbujas. Larry me dijo también  “estamos contratando personal”. Yo le contesté: “No, ¿quién necesita otro motor de búsqueda, los buscadores qué futuro pueden tener ?”

Hasta el día de hoy guardo la tarjeta como anécdota .

Por Zestypin




Beatles : Let It Be …recreaciones de este álbum clásico

Let It Be fue el último álbum lanzado por los Beatles  como grupo, a pesar de que fue grabado antes que Abbey Road.  Editado en el Reino Unido, el disco salió al mercado en  1970.

Se trata de un álbum controvertido desde su concepción: una vez que dejaron de tocar en vivo en 1966 por la imposibilidad de plasmar su música en el escenario, los Beatles se propusieron grabar un álbum para tocar un último concierto en vivo, tal vez en un barco o en un lugar público. Por tanto, las sesiones de grabación del disco (que por aquel entonces se llamaba Get Back, aludiendo al regresar a las raíces rocanroleras del grupo) comenzaron a ser filmadas, en 1969. Los ensayos fueron tensos, con constantes discusiones entre los miembros del grupo, que desde sus discos anteriores denotaban una convivencia cada vez peor y más hostil entre ellos.

Acá algunas ilustraciones de la carátula de Let It Be, frase adoptada por el mundo Pop.



                       Let it Be, 1970.




                      Let It Be de los Replacements  ..




            Let it Be : Ya una frase adoptada a nivel mundial.




Mr Bean en las Olimpiadas de Londres como Beatle.




                    Gatos por escarabajos. 



         Rolling Stones    Let it Bleed : Déjalo Sangrar 




              Courtney Love Cobain : Let It Bleed  tattoo.


  Doumental : Let It Be de los Beatles.