Music publishing is perhaps the most complex and little understood sectors in the music business. Most folks grasp that record labels own so-called “master recordings,” but many don’t realize there’s a whole ‘nother copyright in music. read more
Over the years, the major labels have their fair share of critics; FMC has certainly been among them. You’ve probably heard the stories: artists arguing with their labels over issues of creative control, withheld royalty payments, shady accounting practices, payola, anticompetive activity and other shenanigans that rankle musicians and fans alike. These problems are well documented and still occur. This has resulted in a well-perpetuated meme that circles: that labels can do no right. And unfortunately, this narrative has become so fashionable that it’s frequently advanced at the expense of factual accuracy.
Take, for instance, the recent story about YouTube’s massive cuts to the view counts on both Sony Music Entertainment and Universal Music Group’s channels. The majority of the press coverage following SocialBlade’s initial report on the 2 billion view count cut jumped to the conclusion that Sony and Universal had artificially inflated their numbers… because that’s what a good-for-nothing company would do, right?
Ever find yourself in a situation where a hot court decision drops but you have precious little time for a proper analysis? That was exactly the case this week, when your steadfast FMC’ers found ourselves with an appeals ruling in Viacom’s high-profile case against YouTube. The decision just dropped yesterday, but dammit, we like to be first in analysis! (OK, maybe second; Public Knowledge is pretty quick on the draw.)
The following is the gist of the case and the April 5, 2012 decision by the 2nd Circuit Court of appeals. read more
File sharing site MegaUpload has recently been in the sights of both the RIAA and MPAA for hosting copyrighted content. In an ironic (and immensely satisfying) twist, a new video surfaced today from artists whom the RIAA claim to represent that sings the praises of MegaUpload.
The video was commissioned by MegaUpload founder Kim Dotcom and features the likes of P. Diddy, Kanye West, Will.i.am, Snoop Dogg, Alicia Keys, Jamie Foxx, Lil John, and more. read more
[This post was authored by FMC intern Danny Weiss]
In a December 9 blog post, YouTube Product Manager David King announced Google’s acquisition of licensing and royalty service provider, RightsFlow. YouTube, a subsidiary of Google, will combine “RightsFlow’s expertise and technology with YouTube’s platform (and) hope to more rapidly license music on YouTube…” read more
Since its birth in 2005, the nature of YouTube as a platform for (just) homegrown video has undergone some seismic shifts. The site is now home to more media than almost any online streaming platform. Cute kittens and The Beatles (OK, little kids singing The Beatles) are now only a single click away. read more
Today’s post was co-authored by Shane Wagman, a 2009 Google Policy Fellow at Future of Music Coalition. She is currently a law student at the Benjamin N. Cardozo School of Law and a Howard M. Squadron Media Fellow / legal intern at the Electronic Frontier Foundation. The views and opinions in this post are wholly her own and do not reflect the views of any other organization.read more
At SXSW last week, YouTube unveiled a new opportunity for indie bands called Musicians Wanted. According to a recent YouTube post that provides some details about this program (the pitch is made by the members of Pomplamoose), "If you're a musician, and you want to make a living and do nothing but play music. . . either get signed or stick with YouTube."
In 2006, OK Go’s video for “Here It Goes Again” — also affectionately known as “the treadmill video” — became a web sensation. By decade’s end, it had been viewed approximately 50 million times — no small feat for a homemade clip. Although the video made its biggest splash on sites like YouTube, many fans embedded it on their personal pages and social networks. At which point “Here It Goes Again” went viral, increasing the band’s exposure on a global scale and boosting the band’s record sales (and the bottom line of their major label, EMI). read more