DJing requires actually possessing the music, and is usually collected in bulk, as even those DJs who are also producers rely heavily on tracks made by other people. Unfortunately though, widespread piracy means that many digital DJs aren’t paying for their music, and even when they do, it doesn’t generate much revenue for artists and labels – especially when online music stores generally keep at least 30% of the purchase price for themselves.
The future of music lies beyond the constraints of its current formats, says top industry analyst Mark Mulligan. Answers to questions like the relevancy of the album format, how streaming informs music creation and the internet’s ability to blur the line between recorded and live music will fundamentally change music as we now know it.
As in many corners of the music industry, the data surrounding live music is a bit of a mess. But it’s a mess which the startup Vibrate is hoping to fix by creating a standardized system for the entire global ecosystem of live music. Similar to IMDb, the company would utilize a mix of crowdsourcing, curation, and blockchain to pull together the necessary assets and information to populate its database.
In an age where instant beats and music rights have become easily accessible on the internet, an East Bay rapper claims that YBN Cordae, who recently released his solo debut album “The Lost Boy,” stole a song from him. Concord artist Klebber Machado, known as Klebb, took to Instagram with allegations that YBN Cordae copied from his single “Dennise,” which was released in Oct. 2018.
Source: Stolen or borrowed?
The annual Goldman Sachs Communacopia Conference gives representatives from major companies the opportunity to present to the investment community, and Paul Vogel, Spotify’s VP and head of financial planning & analysis, treasury and investor relations, spoke on the streaming giant’s behalf on Tuesday morning.
The National Music Publishers’ Association (NMPA) and its major publisher constituency have argued for the right to shuttle catalogs towards a PRO of their choosing, without the consent of writers. But even more forcefully, publishers have argued that partial withdrawals for specific digital licensing should be allowed.
The Mechanical Licensing Collective, which must be able to administer the new U.S. blanket licensing system for mechanical rights by its legislated start-up date of Jan. 1, 2021, estimates that it will need $37.25 million to build and then have a first year operating budget of $29 million.
Speakers at the AIPPI World Congress in London discussed whether photos taken on a smartphone of a museum collection can be protected under copyright law. Christian Zimmerman, CEO at DACS, a UK-based non-profit visual artists’ rights management organisation, explained that under UK copyright law, photos would be protected but the new EU directive might call this into question.
Artificial intelligence is everywhere: It can drive a car, chat with customers, or help patients with neuronal damage to recover their potential. But if data-assisted moviemaking can help predict a movie’s outcome, what room is there left for artistic freedom?
The European Union’s highest court will have another opportunity to consider the issue of the liability of online platforms for copyright infringing content uploaded and shared by users. The two referrals by the Austrian and German national courts raise a further set of questions concerning the power of the courts to issue injunctions against intermediaries.