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
Lawmakers who back legislation that would crack down on piracy and counterfeiting on foreign websites pushed back Wednesday against critics who say that the measures could undermine the growth of new technologies and services on the Internet.
A group of artists held a competing news conference on Wednesday to voice their fears about collateral damage that the bills might cause. Supporters of the piracy legislation tried to allay their fears. … read more
Future of Music Coalition respects intellectual property and copyright. We believe that musicians and songwriters must have the ability to be compensated for their work, regardless of where or how that work is used or accessed.
We also recognize that creators are not a monolithic group, and may have a variety of perspectives on issues at the intersection of copyright and technology. That’s why we think it is so important that the artist perspective is represented in debates about intellectual property in the information age. read more
You are a musician who has released music across a variety of legal digital platforms. Your fans can purchase your latest album on your own online store or at their favorite digital retailer for a reasonable price. Increasingly, though, you’re hearing that your fans are picking up copies from third party sites that aren’t licensed to carry your content. You blast off an angry email to that site telling them to cease and desist; they ignore your emails and continue selling your music, handling the payments through major payment processors. read more
Intellectual property theft on the internet is as rampant as it is difficult to effectively curtail. Musicians are among those who earn a living — at least in part — from their copyrights, which is why Future of Music Coalition is generally supportive of efforts to protect artists’ rights online. read more
[…] McLeod and DiCola believe that people, not corporate entities define society and that even wonderfully radical art or technology is still beholden to that society. They supplement this sentiment with a proposal to reform sample clearance laws, under which artists are free to sample within reason, and rights holders can pay a fee to a third, possibly governmental, party to stop the sampling artist. It’s an interesting idea that requires all parties to create a shared perspective on the new digital reality. But given the political dimension of our society’s inability to be proactive about anything, their proposal is largely an academic exercise. read more
It’s hard to believe we’re getting so close to the 2011 Future of Music Policy Summit (Oct. 3-4, Georgetown University, Washington, DC). If you aren’t alrady registered, don’t wait — space fills up fast, and we’d love to have you be a part of the conversation.
In the last thirty years, technology has transformed the conversation between past and present musicians: it is now possible to quote a previous work not only note for note, but byte for byte. The turntable and the sampler are the hip-hop artist’s quintessential instruments. The culture of hip-hop bricolage, coupled with intense commercial pressures in the recording industry and an inevitable proliferation of rip-off artists, has created difficult challenges for copyright law and for the concept of licensing. Several cultures must adapt to each other, and often they are doing so in the courtroom. read more
New York has made the cover of plenty of albums, from The Freewheelin’ Bob Dylan (161 W. Fourth St.) to Led Zeppelin’s Physical Graffiti (96 St. Mark’s Place) to the first New York Dolls album (131 Second Ave.). The corner of Rivington and Ludlow is home to another: Paul’s Boutique, the landmark 1989 album by the Beastie Boys.