In letters last week to the Office of the U.S. Trade Representative, the entertainment industry’s wish list also included some bold intellectual property reforms, including curtailing safe harbors that protect Internet service providers from intermediary liability.
One intriguing, unspoken pattern emerges from the report: all of the top six companies by global market capitalization in 2017—Apple, Google, Amazon, Facebook, Tencent and Alibaba, a combined market value of over US$3 trillion—are making aggressive investments in music.
As expert advice is progressively harder to find, people are learning to adapt to the current system and innovate new methods of legitimising art. The lack of legal precedent on this issue allows for mishaps to happen without repercussions. Seemingly, the only other conceivable solution is to develop a tool that authenticates artwork from its inception by the artist.
The world of online publishing is in for an overhaul as the blockchain technology makes its way to it. DECENT Network, a digital content distribution platform, aims to reshape the online publishing industry. The platform, being based on Blockchain technology, is aiming to make the online publishing space more cost-effective, transparent and secure.
Blockchain startup Ujo Music first came to our attention when it worked with musician Imogen Heap in 2015 on the release of her ‘Tiny Human’ song. Since then, it’s been preparing to launch as a fully-fledged blockchain platform for musicians, with the company providing an update on Friday on its plans for an artist portal.
US-based online music rights marketplace Royalty Exchange has closed a $6.4 million convertible note to fund its growth. The company enables artists and rights-holders to raise money by selling separate assets – including mechanical, performing and sync rights – via online auctions.
When it comes to making books more discoverable through metadata, one size does not necessarily fit all. That is to say: metadata associated with a particular title is unlikely to perfectly fit every channel through which that title is marketed and sold.
Source: IPG | Flexing the metadata
We should stop thinking that Google or Apple are our enemies. They are not our enemies. The people behind these platforms are big music fans. But [their companies] grew at such a crazy speed that they didn’t even realise what the situation could be.
It took a while, but the U.S. Supreme Court has finally decided that it won’t review Stephanie Lenz v. Universal Music Corp, a case examining the circumstances by which copyright holders can get into trouble when issuing takedown notices.
Primephonic’s streaming service launches today in the UK and US, with a catalogue of more than 100k tracks, and licensing deals with Warner Classics and Sony Classical that will swell that total in the coming months.