Björn Ulvaeus and ABBA’s Benny Andersson are one of the most successful songwriting duos of all time, and according to CISAC, Ulvaeus “brings a deep understanding of the creative industries and the systems that help authors get fair payment for their works”.
Last week the US Copyright Office released its long-awaited review on the DMCA’s safe harbor section. While far-reaching proposals such as pirate site blocking and upload filters were not recommended, some proposals have triggered criticism from digital rights groups, who fear that the interests of users are being ignored.
Labels are feeling the need to be protective of their resources during this uncertain and unprecedented period, and developing a new artist can appear quite risky given the current (and rather desolate) landscape. But veteran artists who are already signed need more material in their arsenal than ever in order to feed the digital beast and remain relevant. From a publisher’s perspective, fresh ideas from talented songwriters are currency right now.
How much knowledge is “enough” to require preemptive removal has been a key question at the heart of some of the most important and precedential litigation over the DMCA since its enactment, including UMG v. Veoh and Viacom v. YouTube. In those cases and others, courts have generally set the bar for red-flag knowledge quite high, much to the dismay of copyright owners. But in its report, the Copyright Office makes clear it thinks the courts have got it wrong and that Congress should “clarify” that it intended the bar to be lower.
Source: Seeing Red Over The DMCA
What do copyright and authorship mean in the crowdsourced realm known as the Omegaverse? The question has members of the Omegaverse community choosing sides between two writers — as will a federal judge in Virginia, who is considering whether the allegations, and the consequences, merit a payout of more than a million dollars.
First envisioned as a tool for publishers for trade shows has been adapted to the health-crisis needs of meeting arrangements to support rights deals. It’s another example of how publishers and other players in the value chain are working to establish a broader digital foundation on which more of the industry’s needs can be operated.
As covid-19 forces more and more classical musicians and organizations to shift operations to the Internet, they’re having to contend with an entirely different but equally faceless adversary: copyright bots. Or, more accurately, content identification algorithms dispatched across social media to scan content and detect illegal use of copyrighted recordings.
The U.S. Copyright Office offered recommendations to Congress for updating copyright law to clarify online publishers’ responsibilities and takedown processes for infringing materials posted by their users. The Copyright Office said “Congress’ original intended balance” of those competing interests “has been tilted askew.”
Rogan’s podcast, which is one of the most popular in the world, will arrive on the streaming giant on 1 September. It will then be housed there exclusively by the end of the year, and removed from all other platforms. “It will remain free, and it will be the exact same show,” said Rogan. “It’s just a licensing deal, so Spotify won’t have any creative control over the show.
Originally on the Sony Pictures theatrical calendar for Father’s Day weekend, the film instead will become the biggest feature film commitment made by Apple to premiere on Apple TV+. It is the latest in a growing indication that Apple is making its move, and becoming as aggressive as any streamer or studio in auctions for the acquisition of films and TV projects.