A music archive regarded as one of the most important collections from the golden age of rock – thousands of tapes and videos featuring such artists as Pink Floyd, the Rolling Stones, the Grateful Dead, Led Zeppelin, Jimi Hendrix and Fleetwood Mac – is at the centre of a legal dispute in which Keith Richards and Pete Townshend could be called to testify in a Manhattan courtroom.
The dispute focuses on Wolfgang’s Vault, a concert-streaming service and memorabilia marketplace that owns the archives of Bill Graham, a rock promoter without whom the 60s music scene in San Francisco and New York might have looked very different.
Read Article: The Guardian
Japan’s biggest music entertainment firm, Avex Group, and leading Chinese digital music platform, NetEase Cloud Music, announced the signing of an agreement forming a strategic partnership that grants the Chinese platform an exclusive license to Japanese music copyrights in mainland China. Both parties have said that they are committed to the introduction and promotion of a legal framework for the protection of the copyright of Japanese music in the mainland China market.
With the signing of the agreement, Avex has granted NetEase Cloud Music the exclusive license in mainland China to the copyright of the entire inventory of songs of artists that have signed with Avex, placing NetEase Cloud Music in the position of being the platform with the largest collection of Japanese music with proper copyright protection in mainland China. At the same time, the Chinese platform will become the exclusive management agent for the copyrights of these songs in mainland China, in terms of promotion, sales and distribution of the music as well as administration of the copyright, in a move to help Avex expand in the market. Continue reading Avex, NetEase Cloud Music to Deliver Copyright-protected Japanese Music to Chinese Audiences
IBM and Sacem announced today a 10-year strategic alliance to develop URights, a world-class copyright platform on IBM Cloud designed to track and capture the value of online music for both creators and publishers. Electronic distribution of music and advances in the streaming market have led to rapid growth in the amount of creative content being consumed around the world. Last year, Sacem tracked nearly 982.5 billion download and streaming transactions – almost twice the 2015 total.
To handle the exponential volume of music transactions online, URights the innovative rights collection and distribution services platform – co-developed by Sacem and IBM – will help to more effectively identify online rights. The platform will allow Sacem to provide additional value to rights owners with increased data analysis allowing more transparency and a more efficient identification of online works to help ensure they are compensated fairly. In 2015, Sacem distributed royalties to 293,000 creators and publishers in France and around the world, to credit two million works.
URights is open by design to allow other partners to integrate, such as other collective management organizations across the world, ensuring to save cost duplications and enhanced data-driven decision making. It will also provide customized services tailored to the specific nature of their local markets. Continue reading IBM, Sacem to Deliver New Global Online Music Copyright Management Platform
One of the biggest problems the music industry faces today is knowing which labels and publishers, performers, songwriters and producers own the rights to songs and recordings, and what their split of the royalties might be. Many believe that record keeping with Blockchain technology can help. Advocates of Blockchain foresee a music industry where every time a song is sold or streamed, payments on royalty splits would be clearer and quicker.
Read Article: Music Business Journal
Invite-only torrent site What.CD, a favorite destination for audiophiles for its vast trove of hard-to-find releases and high-quality files, has terminated operations immediately. A terse statement found on its website mentions “recent events” as the reason for the shut-down. “We are not likely to return any time soon in our current form,” the message reads. “All site and user data has been destroyed. So long, and thanks for all the fish.”
Prince’s estate has sued Jay Z’s Roc Nation for copyright infringement over Tidal’s claim of having exclusive streaming rights for Prince’s music, The Star Tribune reports. The complaint, obtained by Pitchfork, asserts that Tidal was only granted a 90-day period of streaming exclusivity for Prince’s 2015 album HITNRUN Phase One.
NPG Records claims that no other agreements were made and that Tidal “is exploiting many copyrighted Prince works.” One cited example of infringement is a July 2016 report about Tidal adding 15 Prince albums to its service. It’s also stated that Tidal did not attempt to communicate with Prince’s estate after his death.
One thing has become obvious over the last couple of years — on-demand streaming has won. Pandora did well for a number of years with its personalized radio experience but after a certain point, it arguably just created demand for a truly personalized service where users could control exactly what they wanted to listen to.
Apparently, having an algorithm guess at what you might like to hear next is not quite as good as allowing the user to make more granular decisions. In addition, Pandora benefited from the unique royalty model in the US but that also made it hard to export its business model elsewhere.
Meanwhile, Spotify has eclipsed Pandora’s user numbers and, adding in Apple Music, Deezer, Rhapsody and others, makes clear which way the wind is blowing – Pandora’s model has stalled, while on-demand streaming is the future. Hence, Pandora’s acquisition of Rdio and the pursuit of rights for on-demand streaming.