While the streamers and the rest of Hollywood have been writing nine-figure checks to top talent to attract viewers, a California privacy law going into effect Jan. 1 is shifting their focus to how much information they’ve collected from their users — and who they’re sharing it with. Everything from Warner Bros.’ online Harry Potter shop to ABC’s Freeform app will need to be in compliance.
When most people think about the potential legal issues around AI-created music, they tend to think about the output – the music itself, and questions like whether an AI-generated track can attract copyright protection. Sophie Goossens, counsel at law firm Reed Smith, thinks that just as much attention should be paid to the input.
Technology company ConsenSys and mechanical licensing administrator Harry Fox Agency have been selected to manage the matching of data uses to musical works on the database; distributing mechanical royalties; and onboarding songwriters, composers, lyricists and music publishers and their catalogs.
A group of major music publishing companies doesn’t want 23 copyright law professors to be heard in a piracy case. The scholars submitted a brief in the ongoing piracy liability lawsuit against ISP Charter, warning that a recent recommendation could harm both ISPs and consumers. However, the music groups suggest that not all profs are completely neutral.
The acquisitive company – which started trading on the London Stock Exchange (LSE) in July 2018 – is committed to undertaking a semi-annual valuation of its song portfolio, conducted by an independent valuer. According to that independent valuer, Hipgnosis’ unaudited Operative Net Asset Value (‘Operative NAV’) was 108.46 pence per Ordinary Share on September 30, 2019.
Sosa Entertainment claims that it has not been paid full royalties associated with over 550 million streams on Spotify. The tracks associated with these streams, says the company, were removed by SPOT in a process which began “in or about” May 2017, and were chopped from the service “without advance notice [and] without ever telling [Sosa and PMR] why their songs were removed”.
Impala, the European trade collective that represents both independent labels and publishers, announced today that it is “gearing up” to oppose Tencent’s buyout of a 10% stake of Universal Music Group, with an option to add a further 10%. The organization is also concerned about “who might buy the additional UMG stakes that are up for grabs.”
Over the past two decades, electronic books have taken off as a way to read on smartphones and e-readers like the Kindle. They’ve also found popularity in public library systems, where cardholders can download multiple e-books and audiobooks to their devices without leaving home. But, as with hardback library books, there can also be weeks-long waits and the inability to extend loan times for in-demand titles.
Media reports this week suggest that European football’s heavyweights are bracing themselves for a seismic shift in the way they generate revenue for their live rights, with OTT becoming an increasingly important alternative to pay TV. FT reports that general secretary Theodore Theodoridis may abandon selling rights to TV networks in some markets and provide matches via a streaming service instead.
The former CEO of PledgeMusic — the direct-to-fan music marketplace that filed for liquidation earlier this year, leaving thousands of musicians unpaid — has been accused of improper financial conduct by a member of the band Failure, one of the artists who are owed money by the company. The executive has denied the allegations and says he is exploring legal action.