The tech giant has published a new policy paper outlining the company’s preferred approach to AI regulation…

The ruling from Judge Alvin K. Hellerstein keeps the case at the 333 works that Sony had originally put in suit.

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AI music generator Suno has lost the copyright infringement lawsuit brought by German collecting society GEMA. The collecting society alleged that Suno used, stored and reproduced copyrighted music to…

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Application Services for Private Origins is available now in closed beta. Route public hostnames to private IP origins over your existing IPsec, GRE, CNI, or Cloudflare Mesh paths. No public IPs or ex...

La catedrática de Ciencia Política Antonia Martínez, integrante del proyecto ‘The Crowns’, cree que los escándalos de Juan Carlos I siguen condicionando la i...

<p><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsJKA09EyjgQcHGYIvCe7JaTRTp1t4b1MZRCvK9FNm2-AqH3lgM0vE66sMFSn05HrpwUTtkok1ouBrSPqlczlezDMQ_S0UDHv91aFyax70dsp42UmGOJ27CZXI-vgWTTdQS37fF7BbCmFDxMUyE044KLkEI1hI0IuCh84VgwWi-FPI7UvQr-X0Hw_M0lr/s16000/Cisco%20IP%20Phones%20XSS%20%20Injection%20Flaws.webp" alt="Cisco%20IP%20Phones%20XSS%20%20Injection"></p>Guru is an Ex-Security Engineer at Comodo <b>Cybersecurity</b>. Co-Founder - <b>Cyber Security</b> News &amp; GBHackers On Security.

<p><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSacGv8TXOBrrHHuer3vk4M5thAHx9hBslf4ON9rTjZNqoNYIhYDOrsi359uSyMF78SGMQ33R795a2lmlbmi1SQdV7pD2sCqOT5-S6VT4ufdph67yFC5WgJt1HkTFWu0VA-NLf4JgH0ZKddXGwanK98nMWjGd2bFwYgcDqxyHjNnFOJU5Cf0v_rXjnV50Z/s16000/Best%20IP%20Geolocation%20APIs.webp" alt="Best%20IP%20Geolocation%20APIs.webp"></p>You can then take that data to the relevant ISP (<b>Internet</b> Service Provider) and ask them to block those IP addresses to stop the <b>attack</b>.

Web Service Issue -- I created a new service and just not seeing what I am doing wrong. Is it not finding it because Resource/Parameters don't match? What else should I be looking at? When I do this, it says page not found (404). I know the ip and port are correct as I use it in several other services I have created. http://(our IP):(our port)/web/services/Contact_Maintenance/AA/780/0/ADD/Test-WOM/MAS/Master/123456789/0/456789012/testit@xxxxxxxxx<http://(our%20IP):(our%20port)/web/services/Contact_Maintenance/AA/780/0/ADD/Test-...

Know the difference between interpolation and sampling, and how to clear both properly before you hit release

Don’t let the so-called “AI czar” sell you the idea that changing the law to legalize taking artists’ work without consent is innovation. It isn’t. Innovation creates new value. The AI boondoggle takes existing value from creators and communities and hands it to a small number of tech companies—without permission, without payment, and without accountability but with a nuclear reactor next to your house. Artists aren’t raw material. They’re rights-holders under U.S. law. Rewriting those rights to subsidize AI business models isn’t progress—it’s a policy choice to reward theft at scale. AI can thrive without gutting creative rights. But that requires consent, licensing, and fair compensation—not retroactive immunity dressed up as innovation. Stealing isn’t innovation. It’s just stealing, with a press strategy. Find out more at Stealing Isn’t Innovation and @human_artistry * Email a link to a friend (Opens in new window) Email * Print (Opens in new window) Print * Share on Facebook (Opens in new window) Facebook * Share on LinkedIn (Opens in new window) LinkedIn * Share on X (Opens in new window) X * Share on Reddit (Opens in new window) Reddit * Share on Tumblr (Opens in new window) Tumblr * Share on WhatsApp (Opens in new window) WhatsApp * Like Loading... ### _Related_

Music Business Worldwide delves into the 53-page lawsuit issued by X Corp against most significant players in the music publishing business

By Chris Castle I was grateful to Hypebot for publishing my 2026 music‑industry predictions, which focused on the legal and structural pressures already reshaping the business. For regular readers, I’m reposting those predictions here—and adding a few more that follow directly from the policy work, regulatory engagement, and royalty‑system scrutiny we’ve been immersed in over the past year with the Artist Rights Institute. These additional observations are less about trend‑spotting and more about where the underlying legal and institutional logic appears to be heading next. ## 1. **AI Copyright Litigation Will Move From Abstract Theory to Operational Discovery** In 2026, the center of gravity in AI‑copyright cases will shift toward discovery that exposes how models are trained, weighted, filtered, and monetized. Courts will increasingly treat AI systems as commercial products rather than research experiments, and discovery fights for the good of humanity…ahem…rather than summary judgment rhetoric. The result will be pressure on platforms to settle, license, or restructure before full disclosure occurs particularly since it’s becoming increasingly likely that every frontier AI lab as ripped off the world’s culture the old fashioned way—they stole it off the Internet. The next round of AI copyright litigation will come from fans: As more deals are done with AI like the Disney/Sora deal, fans who use Sora or other AI to create separatable rights with AI (like new characters, new story lines) or even new universes with old story lines (like maybe new versions of the Luke/Darth/Hans/Leia arc in the Old West) will start to get the idea that their IP is…well…their IP. If it’s used without compensating them or getting their permission, that whole copyright thing is going to start to get real for them. ## **2. Streaming Platforms Will Face Structural Payola Scrutiny, Not Just Royalty Complaints** Minimum‑payment thresholds, bundled offerings, and “greater‑of” formulas will no longer be treated as isolated business choices. Regulators and courts will begin to examine how these mechanisms function together to shift risk onto artists while preserving platform margins. Antitrust, consumer‑protection, and unfair‑competition theories will increasingly converge around the same conduct. Due to Spotify’s market dominance and intimidation factor for majors and big to medium sized independent labels, these cases will have to come from independent artists. ## **3. The Copyright Office Will Approve a Conditional Redesignation of the MLC** Rather than granting an unconditional redesignation of the Mechanical Licensing Collective, the Copyright Office is likely to impose conditions tied to governance, transparency, and financial stewardship. This approach allows continuity for licensees while asserting supervisory authority grounded in the statute. The message will be clear: designation is provisional, not permanent. Digital-Licensing-Coordinator-to-USCO-2-Sept-22-2025Download ## **4. The MLC’s Gundecked Investment Policy Will Be Unwound or Materially Rewritten** The practice of investing unmatched royalties as a pooled asset is becoming legally and politically indefensible. In 2026, expect the investment policy to be unwound or rewritten by new regulations to require pass‑through of gains, or strict capital‑preservation limits. Once framed as a fiduciary issue rather than a finance strategy, the current model cannot survive intact. It’s also worth noting that the MLC’s investment portfolio has grown so large ($1.212 billion) that its investment income reported on its 2023 tax return has also grown to an amount in excess of its operating costs as measured by the administrative assessment paid by licensees. ## **5. An MLC Independent Royalty‑Accounting and Systems Review Will Become Inevitable** As part of a conditional redesignation, the Copyright Office may require an end‑to‑end operational review of the MLC by a top‑tier royalty‑accounting firm. Unlike a SOC report, such a review would examine whether matching, data logic, and distributions actually produce correct outcomes. Once completed, that analysis would shape litigation, policy reform, and future oversight. ## **6. Foreign CMOs Will Push Toward Licensee‑Pays Models** Outside the U.S., collective management organizations face rising technology costs and political scrutiny over compensation. In response, many will explore shifting more costs to licensees rather than members, reframing CMOs as infrastructure providers. Ironically, the U.S. MLC experiment may accelerate this trend abroad given the MLC’s rich salaries and vast resources for developing poorly implemented tech. These developments are not speculative in the abstract. They follow from incentives already in motion, records already being built, and institutions increasingly unable to rely on deference alone. ## 7. **Environmental Harms of AI Become a Core Climate Issue** We will start to see the AI labs normalize the concept of private energy generation on a massive scale to support data centers built in current green spaces. If they build or buy electric plants they do not intend to share. This whole thing about they will build small nuclear reactors and sell excess back to the local grid is crazy—there won’t be any excess and what about their behavior over the last 25 years makes you think they’ll share a thing? So some time after Los Angeles rezones Griffith Park commercial and sells the Greek Theater to Google for a new data center and private nuclear reactor and Facebook buys the Diablo Canyon reactor, the Music Industry Climate Collective will formally integrate AI’s ecological footprint into their national and international policy agendas. After mounting evidence of data‑center water depletion, aquifer stress, and grid destabilization — particularly in drought‑prone regions — climate coalitions will conceptually reclassify AI infrastructure as a high‑impact industrial activity. This will become acute after people realize they cannot expect the state or federal government to require new state permitting regimes because of the overwhelming political influence of Big Tech in the form of AI Viceroy-for-Life David Sacks. (He’s not going anywhere in a post-Trump era.). This will lead to environmental‑justice litigation over siting decisions and pressure to require reporting of AI‑related energy, water, and land use. ## **8**. **Criminal RICO Case Against StubHub and Affiliated Resale Networks** By late 2026, the Department of Justice brings a landmark criminal RICO indictment targeting StubHub‑linked reseller networks and individual reseller financiers for systemic ticketing fraud and money laundering. The enterprise theory alleges that major resellers, platform intermediaries, lenders, and bot‑operators coordinated to engage in wire fraud, market manipulation, speculative ticketing, and deceptive consumer practices at international scale. Prosecutors present evidence of an organized structure that used bots, fabricated scarcity, misrepresentation of seat availability, and price‑fixing algorithms to inflate profits. This becomes the first major criminal RICO prosecution in the secondary‑ticketing economy and triggers parallel state‑level investigations and civil RICO suits. Public resellers like StubHub will face shareholder lawsuits and securities fraud allegations. Just another bright sunshiny day. [A version of this post first appeared on MusicTechPolicy] ### Share this: * Click to share on X (Opens in new window) X * Click to share on Facebook (Opens in new window) Facebook * Click to email a link to a friend (Opens in new window) Email * Click to share on Reddit (Opens in new window) Reddit * Click to share on LinkedIn (Opens in new window) LinkedIn * Click to share on Tumblr (Opens in new window) Tumblr * Click to share on Pinterest (Opens in new window) Pinterest * Like Loading... ### _Related_

AI is transforming culture, entertainment, business, and society at a pace unprecedented in the digital era. Unlike previous tech, AI is evolving at the speed of computing, not the speed of the human brain. While some disillusionment with AI will inevitably follow, it is likely to be shallow and short lived. Meanwhile, entertainment business and culture will have been turned upside down. Building on MIDiA’s already-extensive body of AI analysis, we have just released our biggest and most comprehensive report yet. The report provides an exhaustive view of where AI is at right now, where it is heading, and how entertainment companies need to respond and adapt. With more than a hundred companies and brands referenced, nearly 30 pages of analysis, new data, workflow analyses, and scenario mapping, if you are in entertainment or the creator economy, this report is a must read. The report is immediately available to MIDiA clients. Here are a few highlights… The early buzz around AI has focused on what it can make rather than what it can do. The simple fact is, it is easier to gauge the potentially transformational impact of something by seeing or hearing what it does than by thinking about how it might change processes and workflows. Yet, it is the latter that we should pay most attention to – and this is where AI’s most important work will be done. AI will reshape entertainment from three directions: 1. Creators using AI 2. Consumers using AI 3. Companies using AI AI alone will not drive change and disruption to entertainment – it needs consumers, creators, and companies to use it. While the first wave of AI hype focused on creation, creators’ primary needs lie in their wider workflows, and the AI vendor landscape is evolving to meet this wide array of needs. The following are key workflow focuses: ● **Inspiration** (e.g., Songstarter, CoSo, vidIQ) ● **Creative co-pilot (** e.g., CoPilot, Descript, CoProducer) ● **End-to-end creation** (e.g., LTX Studio, Mubert) ● **Final touches (** e.g., LANDR, Captions AI, Resound.fm) ● **Workflow(** e.g., Podcastle, COSMOS, Dream Screen) ● **Career (** e.g., MNGRS.AI, Replo, Albert) While creators are leaning into workflow tools, consumers are engaging en masse with utility and creation tools. While much of this leans towards functional creation (writing cover letters, writing college papers, etc.) AI is also presenting wider creative opportunities to consumers, and this behaviour will grow. Rather than a blurred line between creator and audience, the overlap is more like a segment of a Venn diagram. AI will result in more consumers creating – not just for the results, but because creation will become a form of entertainment in its own right. Entertainment companies are adopting AI at pace too, integrating it across their workflows, from sourcing content through to royalties and reporting. The most interesting area to keep an eye on is entertainment companies using AI to stamp their visual or sonic identity on their releases and output and using AI to identify talent _before_ it is talent. In other words, the top of the funnel is going to start outside the funnel! It is becoming clear that, unless specific _lanes_ are built for it, AI will encroach upon everything. There is a growing body of thinking about how to compete against AI, but the harsh reality is AI can compete with everything where it can exist, and we are going to reach a point where it is hard to distinguish between “AI” and “non-AI” content. It is the platforms, therefore, that must actively build walls around AI. This is just a high level overview of the report. There are lots (and I mean, _lots_) of interesting reads about AI at the moment – but, this is not only an interesting read, it is a _necessary_ read! If you are not yet a MIDiA client and would like find out more about the report, email businessdevelopment@midiaresearch.com ### Share this: * Share * * Click to share on LinkedIn (Opens in new window) LinkedIn * Click to share on X (Opens in new window) X * Click to share on Facebook (Opens in new window) Facebook * Click to share on Pinterest (Opens in new window) Pinterest * Click to email a link to a friend (Opens in new window) Email * Like Loading... ### _Related_

Disney and Universal file the first copyright infringement suit by major studios against an AI developer in Disney et. al v. Midjourney.