The music industry reacted favorably to the Copyright Royalty Board’s release Thursday of new mechanical royalty rates. The CRB left unchanged the per-song rate of 9.1 cents for physical product, set for the first time a statutory rate for permanent downloads of 9.1 cents (the same as the prevailing industry standard rate) and established a 24 cent rate for mastertone ringtones (mastertone royalty rates were previously negotiated and typically equaled about 10% of the retail price).
A statement from Future of Music Coalition:
“Future of Music Coalition is encouraged that the parties involved in the proceedings seem pleased with the decision, and looks forward to reading the entire CRB decision when it is made public.
Technology makes interesting bedfellows, and the headline above twists my brain just a bit. But Sidney Chen, artistic administrator of the Kronos Quartet, singer, and blogger, has quite a bit to say about why net neutrality is important to the future of new music. He talks about net neutrality in a podcast at the Future of Music Coalition’s blog.
Lincoln Square?s Old Town School of Folk Music will host the Future of Music Coalition?s ?What?s the Future for Musicians?? seminar Monday, Sept. 22, bringing together experts from all sides of the music business to discuss the changing landscape of the industry.
According to its website, the Washington, D.C.-based Future of Music Coalition is national non-profit advocacy organization that works to interpret the issues at the intersection of music, law, technology and policy. Casey Rae-Hunter, the organization?s communications director, explained that the goal of the seminar is to educate Chicago musicians, label representatives, and even fans about legal and logistical influences that will affect their careers in the music industry.
The Future of Music Coalition, a national non-profit “education, research and advocacy organization that identifies, examines, interprets and translates the challenging issues at the intersection of music, law, technology and policy,” is holding a workshop titled “What’s the Future for Musicians?” at the Old Town School of Folk Music on September 22, from noon to 7pm.
It?s no secret that Girl Talk albums are a legal minefield. Each one has, like, a gazillion samples ? none of them cleared and few if any sanctioned by the original artists.
As a recent FMC blog post points out, Girl Talk and his label Illegal Art believe his work is legal under the ?fair use principle,? a term in copyright law that recognizes that a copyrighted work can be used for ?purposes such as criticism, comment, news reporting, teaching, scholarship or research? without being considered infringing.
We all know Greg Gillis’s invocation of the fair use principle in justifying the use of samples in Girl Talk’s Feed The Animals is dubious at best.
In an exorbitantly detailed, carefully argued blog post, The Future of Music Coalition has broken down the legal precedents of sampling in relation to Girl Talk. The post argues that though Feed The Animals is difficult to justify legally, it would be virtually impossible to produce through means sanctioned by law:
As of July 27, 2008, 929 bands and 184 labels have pledged their support for the campaign. Rock the Net?s sales will benefit the Future of Music Coalition?s campaign for net neutrality - it?s an excellent way to contribute to a worthy cause, considering that the album?s worth the price regardless.
Wilco, Bright Eyes, They Might Be Giants, Aimee Mann, DJ Spooky, Guster and others have contributed songs to benefit the Future Of Music Coalition’s Rock the Net campaign to save net neutrality. According to the organization, “the current structure of the web lets the biggest companies and the smallest bedroom recording artist exist on an equal technological playing field.