[…]“Most of the focus is going to be on the internet,” said Casey Rae, co-executive director of the Future of Music Coalition, of the Congressional review and possible legislative push. “A lot of this will have to do with the economics of digital distribution” of music and video, and the status of so-called orphan works (copyrighted material whose owners cannot be located or have passed away) he said in an interview. The non-profit coalition represents performing artists. read more
Well, this week, a New York City federal court passed (partial) summary judgement against ReDigi [PDF], ruling that the service is liable for infringement. In doing so, the court strongly rejected ReDigi’s claims that their activities are covered under “fair use,” as well as the aforementioned first sale doctrine.
What does this matter to musicians? Well, first off, musicians are also music consumers. Second, creator compensation looks different in a used marketplace (typically nonexistent). ReDigi did supposedly hold a percentage of revenue from “used” sales in “escrow,” but it’s a bit fuzzy how this money would get to artists.
In this post, we’ll look at some of the legal factors involved in the court decision. You can tell us what you think in the comments.
A week after the Grammy Awards celebrations, the music industry is hunkering down for what could be an intense yearlong fight over corporate consolidation.
The ownership landscape of the major music companies has shifted significantly in the last year. In May, the Warner Music Group was sold to Access Industries, a conglomerate controlled by the Russian-born billionaire Len Blavatnik, and in November Citigroup reached deals to split EMI — home to the catalogs of the Beatles, Coldplay and Katy Perry — between Sony and the Universal Music Group. read more
On February 15, 2012, Future of Music Coalition sent a letter to the Federal Trade Commission voicing concerns about the propsed aquisition of EMI Music by Universal Music Group (UMG). In it, we describe how competition allows for more innovation and opportunities for artists, and that the sheer market power of a post-acquisition UMG would inhibit the growth of the legitimate digital music marketplace.
February 15, 2012
Mr. Richard Feinstein, Esq., Director
Mr. Norman Armstrong, Esq., Deputy Director
Office of Policy and Coordination
Bureau of Competition, H-374
Federal Trade Commission
600 Pennsylvania Avenue, NW
Washington, DC 20580
Neil Young simply ran away with the news cycle this week. You’d think he was Kim Dotcom, what with all the hullabaloo.
By now, you’ve probably heard the comments from Mr. Young — the occasionally affable and always Canadian singer-songwriter — about how “piracy is the new radio.” His remarks came during AllThingsD’s Dive Into Media Conference on January 31, and have been bouncing around the interwebs at incredible velocity ever since. read more
The impending Stop Online Piracy Act and Protect IP Act have the Internet in a tizzy, but Congress has a lot more to think about on the technology front than just intellectual property. Even digging below the surface of the SOPA debate, you see that the issues at play — such as defining Internet borders and squelching innovation on the web — have broad effects that span everything from the digital divide to international commerce. read more
Although the Stop Online Piracy Act and Protect IP Act have been shelved, their staunchest congressional supporters are still criticizing the opposition, claiming the bills would save thousands of jobs. However, these claims look like little more than empty rhetoric.
The entertainment industry — profit-hungry and change-averse — is already its own worst enemy. Meanwhile, the Internet economy that bills such as SOPA and PIPA threaten to derail is a potential job creator the likes of which Hollywood could ever be… read more
Regular readers have probably seen us post about “termination rights,” which is a fancy way of saying that authors of copyrightable works — including musicians and songwriters — are eligible under federal law to have their rights return to them after a period of 35 years. Some of the companies to whom those copyrights were originally granted (like publishers and labels), aren’t keen to give them up. read more