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.
It’s long been muttered at music-industry conferences – occasionally on-stage into a microphone – that if there’s one company best-placed to have built a ‘global repertoire database’ it’s YouTube, courtesy of the data inflow from official music-video uploads plus reference files for its Content ID technology.
The Australian government has passed amendments to the Copyright Act 1968 to provide fair use provisions for access to copyright material by those with a disability, along with protecting educational facilities, key cultural institutions, libraries, and archives from copyright infringement.
The value gap is an international phenomenon. Music Canada defines it as “the gross mismatch between the volume of music being enjoyed by consumers and the revenues being returned to the music community.” In fact, all cultural industries are experiencing a value gap, including publishing, film and television and journalism.
The amount that will come from blockchain tech in the coming years will be fantastic, and will do much to make the Internet a better place. So long as it’s a true distributed ledger (be aware of centralized apps slapping a Blockchain sticker on the box). Call it Internet 2.0, if you want.
Digital trade issues may produce some of the most important updates to NAFTA. Despite being one of the largest trade agreements in which the United States participates, it largely predates the transformation of the U.S. economy into a digital economy.
Spotify has officially confirmed that its platform’s audience is now made up of more than 140m monthly active users. The figure represents a 40m climb on the figure Daniel Ek announced this time last year – and is up by a very impressive 100m people compared to May 2014.
Spotify’s revenue grew more than 50 percent, to $3.3 billion last year. And in order to grow more, the music streaming company will pay music labels billions of dollars over the next two years. In financial filings released this morning, Spotify says it has agreed to pay more than $2 billion in minimum payments to record labels over the next two years.
In an age of instant reporting and speedy payments in digital, Holland says the sync business is still moving at an embarrassingly slow speed – and that for small acts working and living hand to mouth, this is unworkable.