A internet vista como inimiga (ou o interesse das corporações em limitar e dominar)
«in 2002, the Librarian of Congress, under pressure from the commercial broadcasters lobby, the recording industry, and Congress, issued new rules requiring Internet stations to pay royalties to the music publishing cooperatives ASCAP and BMI. Commercial radio broadcasters have never had to pay those royalties, on the theory that airplay of musical recordings promotes record or CD sales.[Traditional broadcast stations pay royalties only to the writers and publisbers of songs they play, while Web stations now must pay those fees plus extra royalties to the record companies and performers of the music. Billington accepted the recording industry's argument that traditional radio's exemption from those fees is justified because airplay promotes sales of the music.- Notes 356] Librarian of Congress James Billington knew his new fee scale would silence most Internet stations, which could not afford to pay the royalties. Sure enough, within hours, basement Web operations started switching off the music. Some small stations survived by pulling all commercially released music off their shelves and dedicating themselves entirely to local artists who have no recording contracts. But at hundreds of college stations and many more solo operations, the Internet stream simply went silent. (...) By late 2003 - only eighteen months after those early signs of flowering diversity - Arbitron's list of the top fifty Internet radio stations had changed dramatically. America Online had launched its Web radio stations-offerings that mimic commercial radio's formats almost exactly. The impact of the new copyright rules was clear: now, twelve of the top twenty Internet stations were AOL's (AOL Top Pop, AOL Top Country, AOL Smooth Jazz, AOL Lite Rock, and so on). Among the top thirty stations, only four were not run by huge corporations» (Fisher, 2007: 306)
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