By Sameer Hinduja
Hinduja examines the social, mental, criminological, and behavioral elements of net crime. Guided by means of the main admired basic theories of felony habit, he explores song piracy - an all too-common kind of cybercrime - through trying to resolution a few questions. Does pressure and pressure play a job? What approximately low strength of mind? Is song piracy realized inside intimate social teams? Do rationalizations and justifications give a contribution to participation? Is the habit bolstered or weakened via rewards and punishments? Hinduja then proposes a version which integrates either ''social'' and ''technical'' components to notify and advisor ideas to strive against tune piracy, and in all probability different editions of high-tech crime
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Additional info for Music Piracy and Crime Theory
Criminal liability can occur if an individual duplicates copyrighted intellectual property for the purposes of obtaining profit or “gain” from it. This is not limited to financial returns, and can include the possibility of denied revenue to the artist. When the illegally-reproduced works are used for commercial advantage, resultant penalties include incarceration for up to five years and fines up to $250,000 (Copyright Office of the United States, 2000b). Additional civil liabilities may include payment for damages incurred by the copyright holder, or statutory damages of up to $150,000 per infringed work.
S. Attorney’s office obtained the country’s first conviction under the NET Act in August 1997 against a 22-year old University of Oregon student who distributed thousands of songs, software, and movies after setting up his computer as an accessible file server (Patrizio, 1999; Roth, 1999). In 1998, a suit was filed against a 20year old junior at Arizona State University for posting approximately 50 copyrighted works by popular artists on his web site (Lipton, 1998). Another suit was filed in Washington against an individual who made over 1,100 copyrighted songs available on a server (Lipton, 1998).
The Audio Home Recording Act (AHRA) of 1992 Arising from the development of physical digital playback products such as MiniDisc (MD) and Digital Audio Tape (DAT) players, the AHRA required manufacturers to pay a royalty from the sale of each device and device media sold to musicians, songwriters, and record companies as compensation for lost revenue, and to implement mechanisms to prevent serial copying or multi-generation duplication. The Diamond Rio PMP300 player was claimed by the RIAA to be in violation of this law.
Music Piracy and Crime Theory by Sameer Hinduja