![]() This is logical, but like so many things in the drafting of Title I, the drafting is glitchy, which is what you call it if you’re in a good mood. We are going to discuss Title I musical works database today from a very simple threshold question: Who owns it? Static lists of dynamic things necessarily are out of date the moment they are fixed. (Caulk cracks.)įor those of us who sweep up behind the elephants in the circus of life, I fear that the musical works database of other people’s things is an 11th Century solution to a 21st Century problem–a list of things that will be very difficult to get right and even more difficult to keep right, not unlike William the Conqueror’s Domesday Book. This in turn has an affect on other copyright provisions such as the termination right for songwriters which is now having to get solved–maybe–through the caulking of regulations to cover sloppy workmanship. A lot of my issues have to do with what I perceive as sloppy drafting and a mad rush to “get a bill” at all costs which has led to a strong need to “fix” a lot of “glitches” in Title I itself (such as the failure to dovetail the major change in the compulsory mechanical from a per-song basis to a blanket basis. I supported Title II and Title III, but I have lots of bones to pick with Title I, not the least of which has to do with the musical works database. Title III which gives producers a statutory basis for SoundExchange royalties, another truly meaningful change.Title II which provides meaningful relief and largely fixes the pre-72 loophole that the Turtles sued over (formerly the CLASSICS Act) and.Title I-1/2 which gives certain small benefits to ASCAP and BMI.Title I which establishes the blanket license, a willing-buyer willing-seller standard for mechanical royalty rate setting, the Mechanical Licensing Collective (called the “MLC”), the all-important safe harbor for Big Tech’s massive infringement of songs, and authorized the creation of the “musical works database” which is the subject of this post.The “MMA” comes in three parts (or as I say three and one-half): ![]() Copyright Act styled the “ Music Modernization Act,” you will remember that America now has a blanket license for the mechanical reproduction of songs (or will have as of 1/1/21). ![]() If you’ve been following the evolution of the “aircraft carrier” revision of the U.S. Digital Services: Crunch Digital Sandbox.Streaming platforms… on Streaming Remuneration: …Ĭontrolled Compositi… on How to deal with the “co…ĪFL-CIO joins fight… on AFL-CIO Backs Artist Play for… Juan antonio salvio… on What to do with the MLC’… Silicon Valley Bank Shuts Down–Crash or Comeuppance?.Unrealized Losses and the Black Box Investment Policy.Subduing without fighting: Avoiding Hyperinflation Rot in Statutory Royalties.The Longer Table: The UK Government Working Group for Fair Pay for Creators.Should the Compulsory License be Re-Upped?.Contact us to learn how you can benefit from IoT predictive maintenance solutions, asset performance management software, predictive maintenance software, reservoir modeling, artificial intelligence in pharmaand data analytics for utilities, solving power plant maintenance and equipment lifecycle challenges.Enter your email address to follow MusicTech.Solutions and receive notifications of new posts by email plus the MusicTechPolicy Monthly email Newsletter Predictive analytics for industrial data helps us deliver downtime reduction for the connected enterprise. AspenTech's innovative industrial AI, plant digitalization, and digital twin technology support digital mining solutions and advanced manufacturing in pharma and other asset-intensive industries. Our software for sustainability assists with emission control, carbon capture, and sustainability manufacturing. We help reduce downtime, making your sustainability future a reality. AspenTech is a global asset management software leader, providing enterprise asset performance management, asset performance monitoring, and asset optimization solutions, making industrial digital transformation possible.
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