NBC dialed back the rights it is claiming for applicants to Adam Levine‘s new songwriting competition, “Songland,” in the wake of a Wrap story that pointed out overreaching with potential contestants.
The words “if I am selected to be a participant on the Program” were added to the submission application signed by songwriters vying to be on the show after TheWrap published a story on Saturday pointing out that the network was claiming royalty rights for all submissions, whether or not they became contestants.
Source: The Wrap
If a picture paints a thousand words, then a well-placed soundtrack can bring those visuals to life and create a lasting emotional connection.
Think of the use of The Velvet Underground’s malevolent Venus in Furs in a Dunlop TV spot for tyres. At the other end of the musical spectrum, soft and gentle cover versions by Lily Allen and Aurora are likely to become forever synonymous with Christmas, gifts and John Lewis.
However, if music appears to be an easy win for advertisers, this overlooks the complexities of what goes on beneath the surface, where the music rights business can often jeopardise the creative ambitions of even the best marketers.
Many brand teams fall in love with one song, for example, and are held to ransom on commercial terms. That or a they’re forced to accept restrictive licences that lack the permissions needed for the rollout of their global campaign.
From my experience brokering deals for brands, this disconnect is frequently the result of poor planning and leaving the licensing process to the last minute. However, it need not be a nightmare.
Source: The Guardian
Digital artwork, from digital music to fine art, has been a growing area for a while now.
If a work is infinitely reproducible at no cost, however, how can a collector establish that they have an original or one of an edition? Monegraph takes advantage of the bitcoin database, the block chain, to log each transfer of a work (just as the database does for bitcoin), so that it really is set in stone who owns a digital piece at each moment.“It’s not about stopping piracy.
It’s about facilitating legitimate commerce,” Kevin McCoy, co-founder and CEO of Monegraph, told the Observer in an interview before the night’s presentations. He pointed to iTunes as an example of a marketplace for digital music.
He said people might have their complaints about how Apple did it, but it was a way for people to know they were purchasing authorized work. There hadn’t been a good way to do that before.
Once there was, people did it.
The music business has traditionally taken a hard-line approach to online music pirates.
Once upon a time, of course, it sued them directly – but that didn’t work out too well for anyone. These days, the general consensus at rights-holders is that a stern but educative series of warnings from a user’s ISP is the best route to stopping individual infringers – whilst simultaneously forcing broadband providers to block torrent sites in the courts.
But could there be another, kinder approach? Is the music business missing out on revenues by trying to warn, rather than directly convert, torrent site users online?
Content protection and data-analytics solutions specialist MUSO believes so.
Source: Music Business Worldwide
Last week, the movie industry, as represented by the Motion Picture Association of America (MPAA), announced an agreement with Donuts, operator of the .MOVIE, .THEATRE and .COMPANY domain names, among others, “to help ensure that websites using Donuts-operated top-level domains (TLDs) are not engaged in large-scale piracy.” This agreement is significant in two respects.
First, it aims at perhaps the most important target in terms of combating online copyright infringement: domain names engaged in large-scale piracy. And, second, it illustrates the potential for the increased competition that has developed over the last few years among new entrants into the domain name space to yield innovative new services.