If you create an orginal piece of creative work your investment in its creation can be protected by law, and traded or assigned to a third party, usually for money.Discover more
Performers are also protected by the law and will usually get an upfront fee for their services. However, mechanisms for royalties payments differ between countries.Discover more
In some countries, creators have a "moral right" over their work - allowing them to control aspects of a work's use and the effect upon the creator's reputation.Discover more
Consent is required when a third party wants to use either a copyright work or a performance. Consent takes the form of a licence. Copyrighted work can be carved up in a multitude of ways providing numerous, but specific, licences of a single work or performance at any one time.Discover more
Online streaming to mass audiences seemed like a great way of creating popular demand. Until creators realised that digital service providers were failing to pay reasonable rates for content. What's more, the talent has to rely on the streaming industry to provide acurate data to match downloads to artists/performers. The reality is digital has decimated the livelihoods of thousands of artists/performers.Discover more
These international organisations assist the talent in the management and collection of royalty payments and are set up to navigate the differing local royalty regimes.Discover more
It's been 40 years since the band Spinal Tap was formed
and 34 years since "This is Spinal Tap” (TIST) the feature film was released.
Yet we, the creators, have been told that global music sales from the soundtrack album total just US$98.
We’re also, apparently, only entitled to share US$81 (between us) from global merchandising sales.
This shocks us, given Tap’s enduring popularity.
So we are suing Vivendi and UMG, the TIST rights owners. We want the giant rights conglomerates to show us how exactly they are exploiting our creative work and to pay us, the creators, a fair share.
The truth behind remuneration imbalances.
On May 25th the European Union’s Council’s permanent representatives committee (Coreper) agreed the Final text of the European Draft Directive on Copyright in the Digital Single Market. This text which readers can find here will form the basis for negotiations with the European Parliament under the aegis of the new EU Council Presidency (which is … Continue reading "Final Text of European Draft Directive on Copyright in the Digital Single Market has been agreed"Discover more
It’s no secret European music organizations are staunchly opposed to Sony’s proposed acquisition of EMI Music Publishing. According to Helen Smith, chief executive of IMPALA, the Japanese conglomerate would pose a serious threat to local artists and industry. Read more: https://www.digitalmusicnews.com/2018/10/16/latest-impala-sony-emi-music-charts-control/Discover more
Keynote: Harry Shearer Thanks very much. I’m honored to have been asked to speak you today. As a humble laborer in the twisted vineyards of comedy, there’s nothing really new I can tell you. So, I invite you to enjoy a few minutes not so much of enlightenment, but more of a slightly dyspeptic … Continue reading "Harry Shearer’s Keynote Speech at the W&DW conference in Venice on November 2017"Discover more