Music History
History
Faith Hahn and
Music History
The decision created a new form of liability known as “inducement”: the technology companies, the court ruled, had seduced the users — the teens, the kids, the fans, the pirates — into infringing copyright. It didn’t matter that these services never hosted any files or made a central index.
The year of the music licensing legal wars
A month earlier, according to Music Business Worldwide, UMG acquired the remaining 51% of PIAS, Europe’s largest independent music company. These acquisitions illustrate Universal’s recognition that this is where the revenue growth in the music industry is happening.
Kristin Westcott Grant • Catalogs, Indies, And Emerging Markets: The Strategic Acquisitions Of 2024
In 1926, the year before The Jazz Singer popularized pre-recorded sound to cinema, theater pits employed 22,000 musicians in the United States; by 1934, there were only 4,100. Fewer musicians’ salaries meant lower ticket prices and more daily showings, and attendance almost doubled. New York City’s Local 802 organized picket lines outside theaters... See more
Worker’s Song | Franz Nicolay
And in the court’s strenuous efforts to walk that fine line between the iPod and the RIAA, it shamelessly made up an entire copyright law doctrine without batting an eye, a theory of liability that hadn’t existed up until that point in time.
The year of the music licensing legal wars
Grokster and StreamCast are dead. Even the iPod is no longer in production. They are buried and gone, like the Betamax and the Betamax “substantial non-infringing uses” standard — all relics of a bygone era, the ephemera of 2004. Copyright law barely made sense then. As you might suspect, 20 years later, it makes even less sense now.
The year of the music licensing legal wars
“Many variations of wording can be found in both versions of ‘Auld Lang Syne’ as they have been set down over the years. In fact, surviving manuscript copies in Burns’s own hand are not identically worded.”
New technologies may be disruptive to the existing population of working musicians, but even more irresistible to the general public than new technology are new forms of music, which may introduce new classes of musicians who don’t fit neatly into the existing professional categories. Take the rise of rock and roll.
Worker’s Song | Franz Nicolay
“Built on a foundation of artist-centric principles, Streaming 2.0 will represent a new age of innovation, consumer segmentation, geographic expansion, greater consumer value and ARPU growth,” writes Grainge in today’s letter.