This book is for system administrators and security professionals who need to bring now ubiquitous IM and P2P applications under their control. Many businesses are now taking advantage of the speed and efficiency offered by both IM and P2P applications, yet are completely ill-equipped to deal with the management and security ramifications. These companies are now finding out the hard way that these applications which have infiltrated their networks are now the prime targets for malicious network traffic. This book will provide specific information for IT professionals to protect themselves from these vulnerabilities at both the network and application layers by identifying and blocking this malicious traffic.* A recent study by the Yankee group ranked "managing and securing IM and P2P applications" as the #3 priority for IT managers in 2004* The recently updated SANS/FBI top 10 list of vulnerabilities for computers running Microsoft Windows contained both P2P and IM applications for the first time* The recently released Symantec Threat Assessment report for the first half of 2004 showed that 19 of the top 50 virus threats targeted IM or P2P applications. Despite the prevalence of IM and P2P applications on corporate networks and the risks they pose, there are no other books covering these topics

A very helpful and accessible collection of contemporary issues in digital copyright law. . . Rimmer s book is quite possibly the most enjoyable and easy to read guide to selected issues of digital copyright law on the market today. . . Its core strength is undoubtedly its accessibility it is a pleasure to read. Martin Arthur Kuppers, Journal of Intellectual Property Law and Practice Matthew Rimmer s book provides much needed insight into the current status of digital copyright and its relationship to the general purchasing public. . . This book, which has a structure that flows with concinnity and concision, makes it easy to navigate some of the most complicated and controversial issues. Lisa Wong, Osgoode Hall Law Journal This engaging account of US copyright law (and copyright wars) is thorough and informative. Following a comprehensive and compelling introduction, encompassing a literature review and outline of the methodology and arguments to be adopted. . . His deep understanding of the subject matter, as well as his profound empathy with consumers, are evident throughout the work; the book will, no doubt, foster a similar interest in another generation of copyright law scholars. Louise Buckingham, Copyright Reporter Digital Copyright and the Consumer Revolution is a very important and timely book. . . and is a crucial vade mecum on the ever evolving global maze of case law and copyright reform . Colin Steele, Australian Library Journal It will most definitely prove to be an indispensable tool for researchers concerned with recent legal developments in the copyright field, both in America and Australia. Rimmer s Hands Off My iPod is a comprehensive and detailed analysis of current problems facing copyright holders as the struggle (and often fumble) to find a balance between profiting off their property and keeping the newly-powerful, increasingly agile user happy. Adam Sulewski, Journal of High Technology Law Rimmer brings the tension between law and technology to life in this important and accessible work. Digital Copyright and the Consumer Revolution helps make sense of the global maze of caselaw and copyright reform that extend from San Francisco to Sydney. The book provides a terrific guide to the world s thorniest digital legal issues as Rimmer demonstrates how the consumer interest is frequently lost in the crossfire. Michael A. Geist, the Canada Research Chair of Internet and E-Commerce Law, the University of Ottawa, Canada This book documents and evaluates the growing consumer revolution against digital copyright law, and makes a unique theoretical contribution to the debate surrounding this issue. With a focus on recent US copyright law, the book charts the consumer rebellion against the Sonny Bono Copyright Term Extension Act 1998 (US) and the Digital Millennium Copyright Act 1998 (US). The author explores the significance of key judicial rulings and considers legal controversies over new technologies, such as the iPod, TiVo, Sony Playstation II, Google Book Search, and peer-to-peer networks. The book also highlights cultural developments, such as the emergence of digital sampling and mash-ups, the construction of the BBC Creative Archive, and the evolution of the Creative Commons. Digital Copyright and the Consumer Revolution will be of prime interest to academics, law students and lawyers interested in the ramifications of copyright law, as well as policymakers given its focus upon recent legislative developments and reform proposals. The book will also appeal to librarians, information managers, creative artists, consumers, technology developers, and other users of copyright material.

Examining the development and design of regulatory structures in the online environment, The Regulation of Cyberspace considers current practices and suggests a regulatory model that acknowledges its complexity and how it can be used by regulators to provide a more comprehensive regulatory structure for cyberspace. Drawing on the work of cyber-regulatory theorists, such as Yochai Benkler, Andrew Shapiro and Lawrence Lessig, Murray explores and analyzes how all forms of control, including design and market controls, as well as traditional command and control regulation, are applied within the complex and flexible environment of cyberspace. It includes chapters on: the role of the cyberlawyer environmental design and control online communities cyber laws and cyber law-making. This book is an essential read for anyone interested in law and information technology.

In 1999, when Napster made music available free online, the music industry found itself in a fight for its life. A decade later, the most important and misunderstood story—and the one with the greatest implications for both music lovers and media companies—is how the music industry has failed to remake itself. In Fortune’s Fool, Fred Goodman, the author of The Mansion on the Hill, shows how this happened by presenting the singular history of Edgar M. Bronfman Jr., the controversial heir to Seagram’s, who, after dismantling his family’s empire and fortune, made a high-stakes gamble to remake both the music industry and his own reputation. Napster had successfully blown the industry off its commercial foundations because all that the old school label heads knew how to do was record and market hits. So when Bronfman took over the Warner Music Group in 2004, his challenge was to create a new kind of record executive. Goodman finds the source of the crisis in the dissolution of the old Warner Music Group, the brilliant conglomerate of Atlantic, Elektra, and Warner Bros. Records. He shows how Doug Morris, the head of Atlantic Records, rose through the ranks and rode the CD bonanza of the 1990s to enormous corporate and personal profit before becoming embroiled in an ego-driven corporate turf war, and how all of Warner’s record executives were blindsided when AOL/Time-Warner announced in 2003 that it wanted nothing more to do with the record industry. When the music group was finally sold to Bronfman, it was a ghost of itself. Bronfman built an aggressive, streamlined team headed by Lyor Cohen, whose relentless ambition and discipline had helped build Def Jam Records. They instituted a series of daring initiatives intended to give customers legitimate online music choices and took market share from Warner’s competitors. But despite these efforts, illegal downloads still outnumber legitimate ones 19–1. Most of the talk of a new world of music and media has proven empty; despite the success of iTunes, even wildly popular sites like YouTube and MySpace have not found a way to make money with music. Instead, Warner and the other labels are diversifying and forcing young artists to give them a cut of their income from touring, publishing, and merchandising. Meanwhile, the average downloader isn’t even meeting forward-thinking musicians halfway. Each time a young band finds a following through music websites, it’s a unique story; no formula has emerged. If one does, Warner is probably in a better position than anyone to exploit it. But at the end of the day, If is the one-word verdict on Bronfman’s big bet.