All future releases of Pearson’s 1,500 current U.S. textbook titles will be updated in digital versions only rather than in print, a shift from the traditional education publishing model. Pearson called the new program a “product as a service” model, adding that the intention was to have its textbook publishing program “be much more like apps, professional software, or the gaming industry.”

Source: Pearson Puts Print Books to Bed

Intellectual property licensing schemes for chips may not strike you as the most exciting thing. But as the number of companies building their own silicon increases, often for very specialized use cases, having access to the IP from companies like Arm is something more companies than ever are looking to have.

Source: Arm’s new licensing option lets its partners experiment and test for free before they pay – TechCrunch

Canada-born LANDR, the AI-powered creative platform for musicians, has closed its Series B financing round, raising $26 million.The round was led by Sony Innovation Fund, microphone manufacturer Shure, state-owned financing corporation Investissement Québec and Fonds de solidarité FTQ.

Source: LANDR closes $26m Series B funding round

Google’s video-sharing platform YouTube and streaming video giant Netflix surged to the No. 2 and 3 spots in a ranking of the world’s most valuable media brands behind Disney. YouTube’s brand value jumped 46% to $37.9 billion, while Netflix’s value more than doubled to $21.2 billion, compared with Disney’s 40% gain to $45.8 billion this year from 2018, per an announcement that Brand Finance shared with Marketing Dive.

Source: YouTube, Netflix surge in ranking of most valuable media brands

Described as “a technique for human image synthesis based upon artificial intelligence,” deepfakes are altered photos or videos that are definitely not what they seem, and in the context of copyright law, disrupting more than you think.

Source: Faking It: Why Deepfakes Pose Specific Challenges Under Copyright & Privacy Laws

We are seeing the beginning of what may be the biggest paradigm shift in the music business in decades, but as with all big changes, we won’t appreciate the true magnitude of it until further down the road when more of the pieces have fallen into place.

Source: FREE REPORT: Independent Artists In The Age of Empowerment [Mark Mulligan]

Part of the problem here is that public libraries have little leverage with which to negotiate digital pricing and terms with publishers and vendors. With physical materials, our ability to buy and lend copies and to create rich collections for our communities is protected by law. In the digital world, however, we can’t license content without agreeing to the terms the publishers set.

Source: Libraries Must Draw the Line on E-books

Many record contracts allow artists to record new versions of the same songs 5 years after they were first released. If Swift’s contract states five years, she could re-record her first five hit albums which collectively have sold more than 39 million copies in the US.

Source: Taylor Swift Should Re-record Hits Lost To Scooter Braun, says Kelly Clarkson

In this piece, former-RIAA executive Neil Turkewitz offers a different take on the recent Taylor Swift rights ownership incident, arguing against viewing it as an indictment of copyright, and rather as a reminder that the rules protecting creators’ intellectual property need to be easier to enforce.

Source: Taylor Swift’s Story Is Indictment Of “Negotiating Asymmetries” and Call For Copyright Reform

Deutsche Telekom has lost a legal battle to continue offering an all-you-can-watch mobile video product after a court sided with the German regulator, saying it violated European rules on roaming and network neutrality. Deutsche Telekom, Europe’s largest telco, had sought to emulate the success of its T-Mobile US business, which won market share in the United States by offering Netflix “on us”.

Source: U.K.