Traditionally, in areas where there are many creators and users of copyrighted works, collective licensing bodies or collective management organisations (“CMOs”) have managed the copyrighted works for the creators. This is because it is impractical for a creator to negotiate and license the use of his or her works to numerous users individually.
Comments closedCategory: Royalties
Among the options proposed in consultation paper for reform to the copyright board of Canada it could be outlined some of them with regard to collective rights management and tariff setting procedure, including the practice of individual agreements or the analogue of interim license in USA.
Comments closedThe Office believes that an interpretation of the consent decrees that would require these PROs to engage in 100-percent licensing presents a host of legal and policy concerns. Such an approach would seemingly vitiate important principles of copyright law, interfere with creative collaborations among songwriters, negate private contracts, and impermissibly expand the reach of the consent decrees. It could also severely undermine the efficacy of ASCAP and BMI, which today are able to grant blanket licenses covering the vast majority of performances of musical works – a practice that is considered highly efficient by copyright owners and users alike.
Comments closedRussian Association uniting participants of art-industry marketplace (AURA) and National union of folk art-craft (NSHP) have proposed to Russian ministry of trade (MinTorg) to register graphical elements, typical to Russian folk craft, as trademarks. These two professional organisations along with MinTorg consider and discuss opportunity to protect traditional Russian pattern in Russian marketplace.
Comments closedThe four points on which SGA lends its full support to the PROs are: (1) the need to shift performance royalty rate-setting from rate court judges to private arbitrators; (2) the imperative for recognition of an evidentiary presumption that direct, arms-length licenses (the terms of which are fully disclosed) voluntarily negotiated by copyright holders who have withdrawn rights from a PRO provide the best evidence of reasonable market rates; (3) the related Congressional adoption of the “willing-buyer/willing seller” standard in rate setting for musical compositions, and; (4) the extension to PROs of the ability to license bundled rights beyond the singular right of public performance to new media services.
Comments closedSid Bernstein, who died in 2013 at the age of95 after a long career, was a promoter and producer of performances by many rock groups, musicians, and performers, including The Beatles. The case concerns Bernstein’s involvement in The Beatles’ historic concert at Shea Stadium.
Comments closedThe network of reciprocal representation agreements developed by CISAC and signed by its members ensures that author’s rights are protected and administered around the world and that each CMO is in a position to offer licensing solutions that cover broad repertoire. This system also ensures that royalties flow to authors wherever they are in the world.
Comments closedRumble operates an open video platform that sources, validates, provides clearance management, distribution and monetization for video content. It is a content-creator-centric platform, whose main goal and core business model has always been to help video creators increase distribution and monetize their videos. Rumble allows video creators to host, share, monetize and distribute their video content from one centralized account.
Comments closedPublic comment by National Music Publishers Association on collective rights management rules review
NMPA believes the consent decrees have become a significant impediment to a well-functioning market for licencing the performances of musical works, resulting in inefficient licencing and failing to provide fair market-based compensation for songwriters and music publishers.
Comments closedThis appeal concerns a dispute between the United States and Broadcast Music about the meaning of a longstanding antitrust consent decree governing BMI’s aggregation and collective licensing of the right of public performance of copyrighted musical works.
Comments closed