The digital performance right has only existed since 1995. “It’s a new right, and if you were the songwriter and the performer and the sound copyright owner, you’d get the full revenue stream,” says Casey Rae-Hunter, communications director for the Future of Music Coalition. More specifically, digital performance royalties are split like this: 50 percent to the owner of the sound recording, 45 percent to the featured performer, and 5 percent to backup musicians….read more
Dozens of groups have voiced opposition to the merger between the second-largest mobile carrier in the U.S. and the fourth-largest. The merger would reduce competition in the mobile market and likely drive up prices, said critics including Public Knowledge, the Rural Telecommunications Group and the NoChokePoints Coalition, a coalition of telecom customers, consumer groups and small carriers concerned with mobile backhaul rates.
The merged company would be “contrary to the express policies of Congress and the Commission to rely on competition rather than regulation to protect consumers and spur deployment of new services,” Public Knowledge and the Future of Music Coalition wrote in a May 31 filing to the FCC.
At first glance, you might think that Creative License: The Law and Culture of Digital Sampling is only for certain types of musicians, or for attorneys specializing in copyright and intellectual property law. You might also think, based on the title and the fact that digital sampling has been a part of popular music for several decades now, that the book is a little late to the game. Fortunately, neither of these impressions is accurate. read more
Do you ever listen to records like the Beastie Boys’ Paul’s Boutique or Public Enemy’s Fear of a Black Planet and wonder why they sound so different from today’s hip-hop? It turns out one of the biggest reasons may be copyright law, a topic explored by Kembrew McLeod (no relation) and Peter DiCola inCreative License: The Law and Culture of Digital Sampling (March, Duke University Press).
Duke University Press has released Creative License: The Law of Culture and Digital Sampling, a compelling new book that explores the complexities and contradictions in how music samples are licensed within the current copyright landscape. Including interviews with more than 100 stakeholders in the sampling community - from David Byrne, Cee-Lo Green, George Clinton, De La Soul, DJ Premier, DJ Qbert, Eclectic Method, El-P, Girl Talk, Matmos, Mix Master Mike, Negativland, Public Enemy, RZA, Clyde Stubblefield and T.S.
You may not know Clyde Stubblefield’s name, but you’ve probably heard his drumming. In fact, you’ve probably heard it on many, many songs. Stubblefield was a session drummer for James Brown in the 1960s, and his work on two songs in particular, “Funky Drummer” and “Cold Sweat,” have been sampled by dozens of hip-hop artists. But Stubblefield hasn’t seen a penny for all those times other musicians have used his creation. Kembrew McLeod and Peter DiCola write about his experience in their new book Creative License: The Law and Culture of Digital Sampling.
CHICAGO – The late 1980s and early 1990s represented the “Golden Age of Sampling” in the music industry. Hip-hop groups such as De La Soul, the Beastie Boys and Public Enemy made music with snippets of existing music without many creative restrictions or copyright worries.
But that is far from the case today according to Peter DiCola, assistant professor of law at Northwestern University School of Law and co-author of a new book, “Creative License: The Law and Culture of Digital Sampling” (Duke University Press, March 2011).
The most important piece of furniture in the living room of my cabin in western Massachusetts isn’t a comfy chair or functional table, it’s a vintage radio and record player from the early 1920’s. Almost as big as a modern refrigerator, it’s a monument to a time when music had a physical presence that was hard to ignore. Next to it, you’ll find my laptop and smart phone charging, taking a brief rest from their daily toil of communication, commerce, and yes, entertainment. Seeing them side-by-side reminds me that, while the core of what we love about music has remained constant through the years, the way we interact with it and its creators has changed dramatically. read more
Occasionally in Washington D.C., individual lawmakers will stake out a particular issue that is important to them and make it their own. Sometimes lawmakers’ careers are even defined by their commitment to certain issues. Think of the late Senator Edward Kennedy’s relationship to healthcare reform, for example.read more