Name	International Federation of the Phonographic Industry
Abbreviation	IFPI
Motto	representing the recording industry worldwide
Formation	1933
Headquarters	10 Piccadilly, London, United Kingdom
Leader title	Chief executive
Leader name	Frances Moore
Main organ	Main Board of Directors
Website

The International Federation of the Phonographic Industry (IFPI) is the organisation that represents the interests of the recording industry worldwide. It is headquartered in London, with regional offices in Brussels, Hong Kong, Miami and Moscow. Its services to members include legal policy advice (lobbying), anti-piracy enforcement, litigation and regulatory affairs, market research and communications support. though the company does not specify what "reasonable quantities" actually means.

National groups and affiliate bodies include SNEP in France, Bundesverband Musikindustrie in Germany, RIAJ in Japan, BPI in the UK and RIAA in the US. Although recognised as an "affiliated group", the RIAA on its own website specifically notes that IFPI administers programs "for a number of countries, excluding the United States". Record labels can be members of both their local industry body and IFPI.

History

Phonogram performance rights

The IFPI was formed as the phonographic industry, invited by "Confederazione Generale Fascista dell'Industria Italiana", held their first international congress in Rome, 10–14 November 1933 and registered its head office in Zurich, Switzerland. They would represent "the interests of the recording industry worldwide in all fora" by promoting legislation and copyrights "to protect the largely British-based recording industry" by promoting a global performance right in gramophone sound recordings.

Phonogram copyrights

The IFPI heavily lobbied at the Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organisations of 1961, which established an international standard for the protection of sound recordings, live performances & broadcasts. This Convention was opposed by trade groups representing authors and composers, who were concerned that establishing such "neighbouring rights" would undermine their own control over how their works were used and would result in prohibitively expensive licensing. Pressure from broadcasters who didn't want to license the records they broadcast, among other factors, kept the U.S. from signing the Convention; the U.S. did not recognise a separate sound recording copyright until 1971.

Phonogram anti-piracy

The IFPI then began a campaign against piracy. In 1971 it succeeded in advocating and obtaining the Convention for the Protection of Producers of Phonograms Against Unauthorised Duplication of Their Phonograms (the Geneva Phonograms Convention), which 72 countries signed.

In 1986, the ISO established the International Standard Recording Code (ISRC) standard, ISO 3901. In 1989, the IFPI was designated the registration authority for ISRC codes. ISRC codes "enable the use of copyright protected recordings and works to be controlled; facilitate the distribution and collection of royalties (performances, private copying); and assist in the fight against piracy."

In 1994, in an effort to combat piracy, the IFPI and the compact disc manufacturing industry introduced Source Identification (SID) codes, which are markings on CD parts that identify the manufacturers, equipment, and master discs that were used to create each disc.

SID codes are formatted as the letters "IFPI" followed by 4 or 5 hexadecimal digits. A SID-marked disc typically bears at least two codes, each imprinted on different physical components. A number prefaced with "L" is a "mastering code," a serial number taken from a pool assigned by Philips to the manufacturer. It identifies the Laser Beam Recorder (LBR) signal processor or mold that produced a particular stamper or a glass master disc from which molds are produced. Non-"L" numbers are "mold codes", the first 2 or 3 digits of which are assigned by Philips to the operator of the manufacturing or mastering plant, which might not be the same plant that manufactured the stamper or glass master; and the remaining digits are a serial number assigned by that plant to its molds.

The Pirate Bay incidents

In mid-October 2007, after the IFPI let the ifpi.com domain registration lapse, ownership of the ifpi.com domain was transferred to The Pirate Bay, a group which claimed it received the domain from an anonymous donor. The group set up a Website under the domain titled "International Federation of Pirates Interests," a replacement backronym for IFPI. Ownership of the domain was returned to the IFPI in late November, when a WIPO arbitration panel concluded that "the Disputed Domain Name is identical or confusingly similar to a trademark in which the [IFPI] has rights" and that the Pirate Bay's representative "registered and [was] using the Disputed Domain Name in bad faith" and failed to adequately rebut the IFPI's contention that he "has no rights or a legitimate interest in the Disputed Domain Name." The organisation's website www.ifpi.org was unaffected during the dispute.

In a separate incident, on the 18th February 2009, the Swedish ifpi.se domain was hacked by The Pirate Bay sympathiser(s). This occurred on the third day of the trial of the Pirate Bay founders in Sweden. The site was replaced with a short message directed at the Prosecutor Håkan Roswall and plaintiffs ("Warner Brothers etc"). It was signed "The New Generation". Peter Sunde of Pirate Bay made an appeal on Twitter requesting that the hackers stop this defacement.

On 19 April 2009, after the announcement of an unfavorable Swedish court decision against The Pirate Bay, the ifpi.org and ifpi.se domains were reportedly subjected to a DDoS attack. The newspaper The Register and the BitTorrent community site TorrentFreak speculated that the attacks were perpetrated by Pirate Bay supporters.

See also

Music industry

Record label

Related rights

Peer-to-peer file sharing

References

External links

Official website

Category:Music industry associations Category:Industry trade groups based in the United Kingdom Category:Organisations based in Westminster Category:Organizations established in 1933

Landscape	no
Background	solo_singer
Birth name	Adriana da Cunha Calcanhotto
Born	October 03, 1965Porto Alegre, Rio Grande do Sul, Brazil
Instrument	Vocals, guitar
Genre	MPB
Occupation	Singer-songwriter, composer
Years active	1984–present
Url	http://www.adrianacalcanhotto.com

Adriana Calcanhotto (born on October 3, 1965 in Porto Alegre) is a Brazilian singer/composer. Her melancholic songs are most often categorized as belonging to the MPB genre. She started her professional career in 1984 and released her first studio album in 1990.

Career

Adriana's first album, called Enguiço, was released in 1990 and consisted mostly of covers of well known MPB (Brazilian pop) songs, part of the repertoire she used to perform as a singer in restaurants and bars in Porto Alegre. It included only one original composition, the title track. It spawned her first hit, a cover of Caetano Veloso's Naquela Estação, which became successful thanks to it being included in the soundtrack of the primetime soap Rainha da Sucata, one of the most watched in history of Brazilian television.

1992 saw the release of "Senhas", which included the hits Mentiras and Esquadros and was followed by a successful national tour. In 1994, Adriana, sporting a new look (short black hair as opposed to the slightly longer bright blond haircut she'd had since the beginning of her career) released A Fábrica do Poema, considered by many to be her most poetic album. She collaborated with lyricists like Wally Salomão and António Cícero (brother and constant musical partner of fellow singer Marina Lima) and included the hits Metade and Inverno. This was followed by Maritmo (a combination of the words mar (sea) and ritmo (rhythm)), a concept album intended as the first part of a trilogy having water as a main theme.

At the turn of the millennium, Adriana experienced the peak of her career with the release of the album Público in 2000. Her first live album/dvd, Público was recorded in a voz-e-violão (voice and guitar) style, meaning there was no band, only the singer playing her acoustic guitar, an instrument which has followed her through her entire career. The album included a cover of the staple torch song Devolva-me, made famous by the duo Lilian & Renato back in the 1960s. This album was followed by her first greatest hits compilation, Perfil (the success of this album prompted her record company to make it a series, releasing compilations of the same title by such artists as Cassia Eller, Zelia Duncan and Djavan). Another album of new material wouldn't be released until 2002, when the singer released "Cantada". In the meantime, Adriana toured Europe and Japan (as she has done many times since).

After the release of that album, Adriana took on the persona of Adriana Partimpim, an alias the singer claims to have used as a child. Adriana Partimpim released her self-titled "debut" in 2004, an album of covers featuring essentially traditional children's songs, but which also included familiar pop songs made to resemble children's songs. Examples of such songs are the covers of Paula Toller's Oito Anos (a song Toller wrote for her own son, Gabriel) and Claudinho & Buchecha's Fico Assim Sem Você, which became a hit on adult radios. A live cd/dvd combo of the show was also released the following year.

Her most recent album, Maré, was released in early 2008 and features a guest appearance by the singer's personal friend, Marisa Monte as well as a cover of Marina Lima's song Três. She toured Brazil to promote the record, as well as once again touring Europe, Japan and the United States. Adriana has chronicled her adventures on tour in the book Saga Lusa (Portuguese Saga), in which she shares her memoirs of the Portuguese leg of her most recent tour. The book was released on October 28 in Rio de Janeiro.

On October 23, 2009, Adriana performed in front of an adoring crowd at the Museum of Civilization in Gatineau, Quebec, Canada in a free performance presented by the Embassy of Brazil.

Discography

Enguiço (1990)

Senhas (1992)

A Fábrica do Poema (1994)

Maritmo (1998)

Público (2000)

Cantada (2002)

Adriana Partimpim (2004)

Maré (2008)

Adriana Partimpim Dois (2009)

External links

Adriana Calcanhotto's official website (in Portuguese)

"Musica Popular Brasileira e mais"

Category:1965 births Category:Living people Category:Brazilian female composers Category:Brazilian female singers Category:Brazilian people of Italian descent Category:Música Popular Brasileira singers Category:Latin Grammy Award winners Category:People from Porto Alegre