Primary Wave Music Publishing has finalized a multi-million dollar deal to acquire a majority stake in the pre-1964 music publishing catalog of soul music pioneer Ray Charles. Terms of the agreement with Charles’ heirs include a majority of the publishing and writer’s share, as well as all administration rights, for some of the iconic singer, songwriter and musician’s biggest hits, including “What’d I Say,” “Ain’t That Love,” and “I Got A Woman.”
“The MLC represents one of those changes that transforms the music business, once every generation or two,” Ahrend says. “You have to go back to the passage of the Digital Millennium Copyright Act to see the last kind of moment where our industry changed. Sound Exchange later came into being as an organization that helped to really transform an aspect of the business. The MLC will be similarly transformative.”
At times like this, when so many physical bookstores around the world are closed, when so many publishers’ and wholesalers’ warehouses are working reduced shifts or none, when the profit from selling printed books has diminished to zero or—like the West Texas Intermediate oil price moves dramatically into negative territory—the income from rights to intellectual property seems even more important.
In March, Indiana University had to close its physical libraries and stop material circulation in response to the pandemic. This created a new opportunity for the HathiTrust Digital Library. Its Emergency Temporary Access Service, or ETAS, permits special full-text access for member libraries that suffer an unexpected or involuntary temporary disruption to print collection circulation.
News organizations have long hoped that tech platforms would pay them for news. Now regulators abroad are moving to make that happen. A report by Australian regulators left little doubt about what they see as the cause of local journalism’s demise — the near monopolistic power of Google and Facebook. And it has set off a chain of events that could shift the balance of power between big tech and the news at a dire moment for journalism.
While theatrical is often thought of as the barometer of a film’s success, it is often the ancillary markets which drive profit or loss. Deals for EST, video, cable TV, PPV, airlines, etc. are based on box office revenue. If I’m one of these ancillary components and I know that a certain title has debuted on Disney+, you can rest assured I will be negotiating a lower rental fee than if it had grossed $750 million around the world.
The Bologna Children’s Book Fair hosted a virtual edition of the fair this week, from May 4–7, and attracted over 60,000 online visitors. Some 500 publishers offered 20,000 titles through a new virtual rights exchange. The online edition included exhibitions, conferences, numerous award ceremonies and even illustrator portfolio reviews, broadcast on various social media channels
In a recent Bookseller article, agent Peter Cox of Redhammer Management, stated that “the Corona virus might be the death knell of the physical book fair.” He went on to say that for years it hasn’t been necessary to “do the face-to-face.” Robert Gottlieb, chairman of the Trident Media Group, countered by saying that “the fair plays a central role in the rights business for us from hand selling to personal relationships, which we value and depend on when managing our clients careers.”
The National People’s Congress of the People’s Republic of China has recently released Copyright Law of the People’s Republic of China for comment. Of particular is the availability of punitive damages of up to five times actual damages. The draft also includes provisions for DRM. Renumbered articles 47 – 50 authorize the use of DRM for copyrighted materials and prohibits other from circumventing DRM or providing others with the tools to do so.
Pluto, the free, ad-supported service owned by ViacomCBS, has more than 20 million monthly viewers. Under the deal, it will have placement across Verizon’s wireless network, which is the largest in the U.S., as well as on its connected platforms like Stream TV and on its pay-TV service FiOS. Verizon has been emphasizing its 5G Ultra WIdeband network, which the telecom giant says will be a vital backbone for streaming over the coming years.