This problem not only frustrates artists and rights holders. It frustrates technology firms and others that might build a business that could compete in a growing streaming music marketplace. According to a study done by Berklee ICE, even with unlimited resources, it takes at least 18 months to obtain all the licenses necessary for a streaming music service that will have all the songs consumers expect.
Casey Rae, the interim director of the Future of Music Coalition, told an audience Friday that adding more transparency and improving outcomes for rights holders as well as for businesses was “impossible without top-shelf data management.” read more
Event hosted by the United States Copyright Office and the World Intellectual Property Organization
Tuesday, May 13, 2014
My name is Casey Rae and I’m the VP of policy and education for Future of Music Coalition, a Washington, DC-based national nonprofit organization for musicians. Future of Music works in three areas: research, education and advocacy. We came together back in 2000, right around the time of the initial digital disruption. Over the last 14 years, we have analyzed and documented trends in the music sector, translated complex policy and legal issues for our musician and composer constituency, and produced original research on everything from artists’ access to healthcare to commercial radio consolidation to our most recent study on artist revenue streams. read more
On March 6, 2013, Future of Music Coalition submitted reply comments to the United States Copyright Office Notice of Inquiry Concerning Orphan Works and Mass Digitization. All reply comments can be viewed here.
When Jarrod Bramson of the indie-folk band The Solvents discovered that someone named Aron Lyrd was passing off Solvents songs as his own and selling them on iTunes, CDBaby and Amazon, he was understandably frustrated. As Bramson explained on his website:
“I joined a website called sonicbids.com because I wanted to submit an application to Bumbershoot. I was looking around the site, checking out other services they had to offer. I came across this company that helps artists submit their music to television and movie producers. I was interested so I started looking a little deeper. I noticed that at the bottom of their page, there are comments from artists that have submitted. For some reason or another, I noticed this guy, Aron Lyrd. His profile picture was him in a ninja suit with some nunchucks!
…..he just made me laugh for some reason. I had to check out his music…
…so I click on the featured song “orange ambition” on his E.P.K.(electronic press kit) and… MYSONGCAMEON!!!”
Upon further investigation, Bramson realized this nunchaku-bearing, big-talking musician was an amalgam of no less than five fairly distinct and acclaimed bands; all of the music Lyrd was selling appeared to be other people’s sound recordings with the song titles and artist data changed. Bramson contacted the digital retailers to try to have his appropriated songs removed from Lyrd’s catalog with mixed success. As of this week, CDBaby and iTunes have both yanked the infringing tracks, but they remain available for purchase at Amazon.
If you follow our work, then you probably know that we think there’s a lot to be done to make today’s music marketplace more efficient. The growth of the internet as a global musical delivery device has strained our copyright architecture, likely necessitating new ways of doing business. Which is why you often hear talk about the difficulties of music licensing in today’s networked environment. read more