The interests of EMI’s publishing arm may not necessarily be those of the songwriters it represents. As it is now, ASCAP takes a fee from payments it collects, then distributes the rest of the money equally between songwriter and publisher. Casey Rae-Hunter, of the nonprofit advocacy group Future of Music Coalition, says the big music publishers don’t have the same obligations to songwriters that ASCAP does to those same people, its members.
“What is EMI’s responsibility to the songwriters who are part of their publishing empire, and can we trust that this company is going to honor the 50-50 split that songwriters have worked out and honored over the years?” Hunter asks.
Future of Music Coalition filed these comments with the Copyright Office in their Notice of Proposed Rulemaking on the “Gap in Termination Provisions” in the Copyright Act.
The Copyright Office released an analysis acknowledging the “gap” in the termination clause of the 1976 Copyright Act, which foreclosed individuals from dissolving grants made before Jan. 1, 1978 of copyrighted works not created until after that date. The comment also applauds the Copyright Office’s proposal to limit their new “gap” closing regulation, that grants will be read from the date of creation of the copyrighted work, to apply only to works that fell in the “gap.”
On November 19, 2010, FMC submitted comments to the United States Patent and Trademark Office (USPTO) and the National Telecommunications and Information Association (NTIA) in their Notice of Inquiry on Copyright Policy, Creativity and Innovation in the Internet Economy.
The comments describe the need to recognize musicians as stakeholders, particularly independents, who faced tremendous barriers to entry in the original music industry. We describe how the goal of protecting intellectual property must be balanced with a legitimate digital music marketplace built on artist access to online platforms.
We also examine current legal, technological and market-oriented efforts around copyright in the digital realm and the pros and cons of each. Given the global demand for music, the non-geographic nature of the internet and individual nations’ sovereign copyright laws, there are tremendous difficulties in implementing potential solutions. Nonetheless, there are compelling reasons to consider frameworks that streamline licensing and improve mechanisms for artist compensation.
Let's get out our time machine and set the coordinates for 2013. Why that date? Because that's when a lot of creators will see copyrights that they signed away in 1978 revert back to them.
This is a big deal for musicians and songwriters who decades ago assigned their rights to a label or a publisher. With their songs back under their control, artists could license them directly to TV and movies, re-release albums on their own imprints, or even re-transfer their stuff to a label or publisher in a more lucrative deal. read more
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
[…] “We’re setting up a friction that doesn’t exist between consumer rights and copyright, so how do we encourage dissemination and access to all of these works that are being created? We need to rewrite the copyright laws,” said panelist Ann Chaitovitz, former executive director at the Future of Music Coalition and a copyright attorney-advisor to the U.S. Patent and Trademark Office.
Happy almost-spring from FMC! First up we want to say thanks to everyone who helped make this year’s D.C. Policy Day our best yet. If you were there, you know what we’re talking about; if not, you’ll be psyched to know that archived audio and video from Policy Day ‘09 is now on the event website. Read on for details on all this and more.