A tech unicorn and the National Music Publishers Association aren’t in sync when it comes to the thousands of songs streamed to workout warriors. According to the defendant, Peloton has been working proactively to secure licenses, but the National Music Publishers Association “has instigated a coordinated effort” with some of its members “to fix prices and to engage in a concerted refusal to deal with Peloton.”
Source: Peloton Hits Back at Music Publishers With Antitrust Countersuit
Canada launched a review of its own copyright policies in 2017, but has yet to take steps as stringent as the EU or even reveal its findings. However, experts are suggesting Canada likely won’t be playing copycat to the EU’s copyright policies, although it may experience the effects of its counterparts’ regulations.
Source: Canada likely won’t copycat EU copyright rules, experts say. So what’s next? | The Star
A new blockchain-powered social media network aims to take sharing digital artwork beyond the typical “like” button. On Tuesday, April 30, Editional launched on Apple’s App Store as a platform for sharing and claiming limited edition digital collectibles, like photography and graphic design. The social platform allows artists to share digital artwork, while fans can snap up limited editions of the work.
Source: Editional Meshes Art With Blockchain on New Social Network | Digital Trends
The money that artists receive when their tracks get played has just hit a record high. In 2018 £746 million was paid out – a rise of 4% on 2017. But according to singer-songwriter Ruth-Anne Cunningham, “a lot of songwriters are making less than minimum wage”.
Source: Music royalties reach record high but songwriters ‘on minimum wage’
It’s one of the most oft-cited stats in the modern music business: little over a year ago, Spotify confirmed that it was adding circa 20,000 tracks a day to its service. Today, an eyebrow-raising update: Spotify founder Daniel Ek told investors this morning (April 29), that “close to 40,000” tracks are now being uploaded to the Spotify platform daily.
Source: Nearly 40,000 tracks are now being added to Spotify every single day
How to fairly compensate creators as consumption becomes dominated by streaming is the subject of vigorous debate. But a new model dubbed ‘creator support’ is gaining traction because it will pay many artists more with minimal impact on the wider royalty pool, says MIDiA’s Mark Mulligan.
Source: Creator Support: A New Way To Pay Artists For Streaming {Mark Mulligan]
The Copyright Directive is far-reaching and has widespread — and sharply different — implications for different sections of the entertainment industry, as well as online platforms and ordinary users. One of the most radical changes is outlined in Article 17 of the directive. It reverses current law, making online platforms, and not their users, legally liable for copyright-protected songs, films, TV series or other content uploaded to their sites.
Source: How Europe’s War on Social Media Could Impact Hollywood: “This Is a Complete Paradigm Shift”
The gaming industry is ready for new transitions in how transactions are made and the power players have over their currencies in the game. The upsurge in blockchain technology provides the gaming industry with possible solutions as it will provide a more transparent and decentralized way for games to engage with games and in-game assets.
PRS for Music boss Robert Ashcroft hailed the recent passage of the new European copyright directive, including its Article 17 (formerly 13) element covering online platforms. He suggested that one impact will be on large online-multiplayer games like Fortnite who are using music – in that game’s case, for a recent Marshmello concert and a Weezer album preview.
UK music licensing company PRS for Music collected a record £746m on behalf of its members in 2018. This represents a year-on-year increase of 4.4%, or £31.6m on a constant currency basis, and after costs and other income, results in net distributable revenue of £648.4m.
Source: PRS for Music sees record £746m revenue in 2018, but costs top £97m