@jonesjourno: SONGWRITERS FIGHT APPLE, SPOTIFY, GOOGLE, AMAZON AND PANDORA OVER STREAMING RATES

Over 2,000 songwriters have signed a petition demanding better mechanical royalties for interactive streaming from Google, Apple, Amazon, Spotify and Pandora.

The campaign has launched ahead of a court hearing in Washington today (March 8) where the Copyright Royalty Board (CRB) will determine rates for the next five years.

The tech giants are expected to argue to reduce the amount they pay, while the National Music Publisher’s Association and the Nashville Songwriters Association International will lobby for an increase.

Read the post on MusicBusinessWorldwide

@danacimilluca: Sullivan & Cromwell Hires Former Justice Department Antitrust Head Renata Hesse [aka Songwriter Enemy #1] as Partner in D.C.

Remember the ex-Googler Renata Hesse who managed to get both herself and the Department of Justice sued by SONA over Hesse’s grotesque mishandling of 100% licensing?  Like a good little bureaucrat, she leaves the songwriters to clean up her mess while she skips out to the big money.  Don’t let the revolving door hit you.

And good job avoiding a confirmation hearing…that won’t happen again.

Sullivan & Cromwell LLP is hiring Renata Hesse, formerly head of the antitrust division at the Justice Department, as the law firm prepares for a continued wave of complex, cross-border mergers and other deals.

Ms. Hesse, 52 years old, will join Sullivan & Cromwell as a partner in Washington, D.C., the firm plans to announce Monday. The move is noteworthy not just because of Ms. Hesse’s stature in legal circles, but also because it is rare for Sullivan & Cromwell and other elite law firms to bring in partners from the outside. Until January, Ms. Hesse was acting assistant attorney general in charge of the antitrust division at the Justice Department, a position she has held twice.

Read the post on the Wall Street Journal

@RobertBLevine_: ‘YouTube Can Do Better’: Cee Lo, Evanescence, Rush Among Artists Calling for DMCA Action

Comments for the U.S. Copyright Office study of the “safe harbors” of the Digital Millennium Copyright Act (DMCA) were due February 21, and dozens of media and technology companies and organizations dutifully submitted filings. In what may be a first, however, a few dozen musicians also signed a video message that was submitted to the government on their behalf.

Unlike most such filings, which tend to consist of pages of anecdotes and arguments, the video — titled “YouTube Can Do Better” — couldn’t be much simpler. Over a half-minute of silence, white letters against a black background spell out “Dear U.S. Copyright Office,” then the names of the few dozen acts who endorsed the message, then “YouTube Can Do Better.” It doesn’t directly mention the Copyright Office’s study of the DMCA safe harbors. The list of acts is wide-ranging, including The Black KeysCee Lo GreenEvanescenceJohn MellencampRushT Bone Burnett, and many more.

Read the post on Billboard

T-Bone Burnett’s Comments on Reform of the DMCA Safe Harbor

The U.S. Copyright Office has invited the public to comment on potential reforms of the DMCA “safe harbors” and the incomparable T-Bone Burnett delivered this video version of his insightful comments on DMCA abuse. (See also Billboard article on T-Bone’s comment and my 2006 post on MTP, The DMCA is Not An Alibi.) It is important […]

via T-Bone Burnett’s Comments on Reform of the DMCA Safe Harbor — MUSIC • TECHNOLOGY • POLICY

@neilturkewitz: Fair Use, Fairness and the Public Interest

In honor of Fair Use Week, let’s begin by unmasking the false premise underlying much of the celebration of fair use — that is, that the basic objective of the copyright system is to achieve a balance between the “public interest” on the one hand, and the interest of private copyright owners on the other. In this formulation, the “public” interest is exclusively defined as the ability to get copyrighted materials as cheaply as possible, with free obviously being the best (since it is the cheapest) option.

Many of the organizations celebrating fair use would have you believe that copyright protection and the public interest are diametrically opposed. This is merely a rhetorical device, and is a complete fallacy. Groups like EFF, Public Knowledge and re:Create employ emotive rhetoric in an attempt to demonize copyright, and to suggest that “copyright” protection is somehow a “special interest.”

Read the post on Medium.

@davidclowery: Don’t You Have More Important Things to Do? DOJ Should Drop the 100% Licensing Push

Now that most of the DOJ lawyers who pushed the 100% licensing rule on songwriters are gone, who’s gonna deal with all those feral cats that former Acting Assistant Attorney General Renata Hesse was feeding? Last year, in what can only be described as an elaborate Kabuki, a small group of DOJ lawyers led by […]

via Don’t You Have More Important Things to Do? DOJ Should Drop the 100% Licensing Push — The Trichordist

@iom: Defending Copyright in the Context of Trump

Well, here we go.  I’ve been waiting for this shoe to drop, and it looks like Josh Tabish, campaigns director for Vancouver-based OpenMedia, has decided to be among the first to throw a loafer. In an editorial for Wired, he warns that “the copyright barons” are coming now that Trump is in the White House.

It has a been a challenge, to say the least, to try to disabuse people of the notion that contemporary copyright enforcement really can coexist with a free and open internet and not stifle free speech. And that was while Obama was president—a left-of-center moderate who was very close with Google. But ever since Trump won, I’ve been waiting for the same anti-copyright narrative to dial the volume up to eleven because now we have a ballgame.  Stand by for a litany of articles and blogs under the theme:  See! All it takes is a draconian, right-wing president, and the copyright industry will get what they want and destroy the freedom-loving internet!!!!

Read David Newhoff’s post on The Illusion of More