Path to proving copyright infringement
•
1 like•69 views
To prove copyright infringement, one must prove ownership of the copyrighted work, that the alleged infringer had access to the work, and that the works are substantially similar, indicating that copying occurred. Access can be proven through direct evidence like acknowledgment, or circumstantial evidence like showing the work was widely available. Copying can also be proven directly or through circumstantial evidence like substantial similarity between the works from the perspective of an ordinary observer. Registration within 5 years of publication establishes a presumption of valid ownership.
Report
Share
Report
Share
Download to read offline
Recommended
Mbu 2520 spring 2020 chapter 10
This document discusses copyright infringement, including what constitutes infringement, how to prove infringement, and types of liability. It defines infringement as exercising any of the copyright owner's exclusive rights without permission. To prove infringement, a plaintiff must show ownership of a valid copyright and unauthorized copying. Copying can be proven directly or through circumstantial evidence of access and substantial similarity. There are two types of liability - direct liability for the direct infringer, and secondary liability for third parties who aid or benefit from the infringement, such as through contributory, vicarious, or inducement liability.
Mbu 2520 spring 2020 chapter 9
This document summarizes copyright formalities including registration, notice, and deposit. It discusses how registration provides evidence of ownership and allows for statutory damages and attorney fees. Registration can be done online or by mail and requires the proper application, work deposit, and fee. Notice of copyright is no longer required but is still recommended to provide notice of protected status. Deposit of the work is also required within 3 months of publication for the copyright office to maintain a copy.
Mbu 2520 spring 2020 chapter 8
The document summarizes copyright duration rules in the United States. It explains that under the 1909 Copyright Act, copyrights had an initial 28 year term that could be renewed for another 28 years. Many works fell into the public domain due to failure to renew. The 1976 Copyright Act replaced this system with a single copyright term based on the life of the author plus 70 years. The document provides details on determining copyright status and term length for works created before and after 1978. It also discusses some exceptions and amendments related to foreign and restored copyrights.
Mbu 2520 spring 2020 chapter 7
The document discusses copyright and performance rights. It begins by outlining the bundle of rights granted to creators under US copyright law, including reproduction, distribution, public performance, derivatives, display, and digital audio transmission. It then focuses on the public performance right, explaining that it applies to compositions but not sound recordings. It describes what constitutes a public performance and discusses limitations on the right. The document also outlines the roles of Performing Rights Organizations (PROs) like ASCAP, BMI, and SESAC, which issue licenses and collect/distribute fees. It provides information on how PROs monitor performances to determine royalty payments. Finally, it discusses various pieces of legislation impacting copyright like the Songwriter's Equity Act and
Mbu 2520 spring 2020 chapter 6
The document discusses copyright law and the bundle of rights it provides, including the derivative right and distribution right. It explains that the derivative right allows owners to adapt or revise a work, and provides examples of derivative works like translations, arrangements, and remixes/mashups. The distribution right allows owners to distribute and authorize distribution of copies. It discusses limitations like the first sale doctrine, and how piracy violates the reproduction and distribution rights.
Mbu 2520 spring 2020 chapter 5
The document discusses the bundle of exclusive rights granted to copyright owners under US law, including the rights of reproduction, distribution, public performance, derivative works, and public display. It focuses on the reproduction right and limitations on this right such as compulsory mechanical licenses and negotiated mechanical licenses. It describes agencies like Harry Fox that administer mechanical licenses and issues related to digital downloads and sampling sound recordings.
Mbu 2520 spring 2020 chapter 4
The document discusses copyright ownership and transfers, noting that copyright initially belongs to the author of a work but can be transferred through assignment or exclusive license. It also examines joint works, works made for hire, and exceptions where initial ownership vests in employers rather than authors. The document further analyzes termination of transfers, explaining the author's ability to reclaim copyright ownership after a specified period of time.
Mbu 2520 spring 2020 chapter 3
This document provides an overview of copyright law as it relates to musical works and sound recordings. It discusses the categories of copyrightable works, including literary works, musical works, sound recordings, and compilations. For musical works, it explains that copyright protects the original expression of melody, harmony, rhythm, and optionally lyrics, but not individual musical elements alone. It also discusses requirements for musical works to be protected, such as originality, expression, and fixation in a tangible medium. Case law examples illustrate what constitutes an original musical work. The document also defines sound recordings and notes they are separate from the underlying musical works. It concludes with a summary of the Feist Publications Supreme Court case establishing that facts are not copyrightable.
Recommended
Mbu 2520 spring 2020 chapter 10
This document discusses copyright infringement, including what constitutes infringement, how to prove infringement, and types of liability. It defines infringement as exercising any of the copyright owner's exclusive rights without permission. To prove infringement, a plaintiff must show ownership of a valid copyright and unauthorized copying. Copying can be proven directly or through circumstantial evidence of access and substantial similarity. There are two types of liability - direct liability for the direct infringer, and secondary liability for third parties who aid or benefit from the infringement, such as through contributory, vicarious, or inducement liability.
Mbu 2520 spring 2020 chapter 9
This document summarizes copyright formalities including registration, notice, and deposit. It discusses how registration provides evidence of ownership and allows for statutory damages and attorney fees. Registration can be done online or by mail and requires the proper application, work deposit, and fee. Notice of copyright is no longer required but is still recommended to provide notice of protected status. Deposit of the work is also required within 3 months of publication for the copyright office to maintain a copy.
Mbu 2520 spring 2020 chapter 8
The document summarizes copyright duration rules in the United States. It explains that under the 1909 Copyright Act, copyrights had an initial 28 year term that could be renewed for another 28 years. Many works fell into the public domain due to failure to renew. The 1976 Copyright Act replaced this system with a single copyright term based on the life of the author plus 70 years. The document provides details on determining copyright status and term length for works created before and after 1978. It also discusses some exceptions and amendments related to foreign and restored copyrights.
Mbu 2520 spring 2020 chapter 7
The document discusses copyright and performance rights. It begins by outlining the bundle of rights granted to creators under US copyright law, including reproduction, distribution, public performance, derivatives, display, and digital audio transmission. It then focuses on the public performance right, explaining that it applies to compositions but not sound recordings. It describes what constitutes a public performance and discusses limitations on the right. The document also outlines the roles of Performing Rights Organizations (PROs) like ASCAP, BMI, and SESAC, which issue licenses and collect/distribute fees. It provides information on how PROs monitor performances to determine royalty payments. Finally, it discusses various pieces of legislation impacting copyright like the Songwriter's Equity Act and
Mbu 2520 spring 2020 chapter 6
The document discusses copyright law and the bundle of rights it provides, including the derivative right and distribution right. It explains that the derivative right allows owners to adapt or revise a work, and provides examples of derivative works like translations, arrangements, and remixes/mashups. The distribution right allows owners to distribute and authorize distribution of copies. It discusses limitations like the first sale doctrine, and how piracy violates the reproduction and distribution rights.
Mbu 2520 spring 2020 chapter 5
The document discusses the bundle of exclusive rights granted to copyright owners under US law, including the rights of reproduction, distribution, public performance, derivative works, and public display. It focuses on the reproduction right and limitations on this right such as compulsory mechanical licenses and negotiated mechanical licenses. It describes agencies like Harry Fox that administer mechanical licenses and issues related to digital downloads and sampling sound recordings.
Mbu 2520 spring 2020 chapter 4
The document discusses copyright ownership and transfers, noting that copyright initially belongs to the author of a work but can be transferred through assignment or exclusive license. It also examines joint works, works made for hire, and exceptions where initial ownership vests in employers rather than authors. The document further analyzes termination of transfers, explaining the author's ability to reclaim copyright ownership after a specified period of time.
Mbu 2520 spring 2020 chapter 3
This document provides an overview of copyright law as it relates to musical works and sound recordings. It discusses the categories of copyrightable works, including literary works, musical works, sound recordings, and compilations. For musical works, it explains that copyright protects the original expression of melody, harmony, rhythm, and optionally lyrics, but not individual musical elements alone. It also discusses requirements for musical works to be protected, such as originality, expression, and fixation in a tangible medium. Case law examples illustrate what constitutes an original musical work. The document also defines sound recordings and notes they are separate from the underlying musical works. It concludes with a summary of the Feist Publications Supreme Court case establishing that facts are not copyrightable.
Mbu 2520 spring 2020 chapter 2
The document summarizes the history of copyright law from the Licensing Act of 1662 to modern US copyright law under the Copyright Act of 1976. It discusses several important acts and developments, including the Statute of Anne in 1710, the US Constitution giving Congress power to establish copyright, and US Copyright Acts of 1790, 1831, 1909, and 1976 that expanded copyright terms and protections. The Berne Convention of 1886 established international copyright standards that the US later joined in 1989.
Mbu 2520 spring 2020 chapter 1
This document provides an overview of copyright including:
- Copyright gives creators control and profits from their creative works by granting exclusive rights.
- The bundle of rights includes reproduction, distribution, performance, derivatives, and display.
- Copyright duration is typically life of author plus 70 years or 95/120 years for works made for hire.
- Philosophies of copyright include author's rights, user's rights, and economic rights, with the US following an economic approach.
Mbu 1100 fall 2019 lecture 9 groups eg
This document discusses key provisions for record deals involving musical groups. It notes that group contracts often include key member clauses, giving the record label rights over any member that leaves or breaches the agreement. The document also recommends that musical groups establish band agreements to determine ownership of their name and brand, financial splits between members, rules for adding or removing members, and what will happen if the group dissolves. Finally, it stresses the importance of establishing a formal business entity like an LLC or corporation to manage the group's affairs and avoid legal issues.
Mbu 1100 fall 2019 lecture 8 getting started eg
This document provides a checklist for new artists to get started in the music business. It recommends that artists register their copyrights, keep records of ownership, draft agreements between band members, trademark their name and logo, form necessary business entities, register with performing rights organizations, arrange for distribution of music and merchandise, embed metadata, register websites and social media, consider booking agents and publicists, and look into relevant industry organizations. The checklist covers important legal and business steps for artists to protect their work and maximize revenue opportunities.
Mbu 1110 fall 2019 touring and merch
The document discusses several topics related to touring and merchandising for musical artists. It provides guidance on matching an artist's image to appropriate venues and genres. It also outlines responsibilities of agents in areas like ticket sales, sponsorship deals, and financial accounting. New artists are advised to either play small venues on their own or open for established artists to gain exposure. The document also discusses strategies for merchandising, including different types of tour and retail merchandising deals.
GRIFFIN COPYRIGHT MBU 2520 REVISED FALL 2019 chapter 14
This document summarizes key aspects of copyright and digital technology, including benefits and challenges of digital music distribution, the reproduction and performance rights, legislation regarding radio performance royalties, and arguments for and against the Music Modernization Act. The Music Modernization Act aims to help ensure songwriters are paid for music streaming by creating a mechanical licensing collective to collect and distribute royalties, but some argue it favors major publishers and retroactively limits liability for services.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 THE FUTURE
Marc Geiger warned that music labels and publishers will have to adapt to digital technology and embrace change, or they will disappear within 5 years. The document also outlines recommendations to update copyright law for the digital age, including establishing a "Creator's Bill of Rights" that guarantees fair compensation and transparency for music creators. It proposes using blockchain technology and cryptocurrencies to better manage online payments to creators.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 15
MP3.com launched a service that allowed users to access music collections online from any location by copying music from commercial CDs onto its servers. The court found this copying to not be fair use and awarded $53 million to UMG, as MP3.com was duplicating entire CDs for commercial purposes without authorization from copyright holders. While users had to prove CD ownership, MP3.com still engaged in unauthorized copying of the music files.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 12
This document discusses remedies for copyright infringement, including coercive remedies like injunctions, impoundment, and destruction to prevent further infringement. It also discusses compensatory remedies like actual damages and profits as well as statutory damages to compensate copyright owners. Criminal remedies are also outlined, including increased penalties for willful infringement, pre-release piracy, and circumventing copyright protection systems.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 11
The document discusses defenses to copyright infringement claims, including the statute of limitations defense, abandonment defense, and fair use defense. It provides explanations of these defenses and examples to illustrate them. It also discusses the four factors courts consider when determining whether a use of a copyrighted work constitutes fair use. These factors are: (1) the purpose and character of the use, (2) the nature of the copyrighted work, (3) the amount and substantiality of the portion used, and (4) the effect of the use on the potential market.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 10
This document discusses copyright infringement. It defines infringement as exercising any of the copyright owner's exclusive rights without permission. A single act can violate multiple rights. Examples of infringement include recording a song without permission or distributing a recording without permission. To prove infringement, a plaintiff must prove they own a valid copyright and that the defendant copied the copyrighted work without permission. This can be shown through access to the work and substantial similarity between the works. Fragmented copying of important elements can also constitute infringement. Federal court is where infringement lawsuits are typically brought.
MBU 1110 FALL 2019 Groups
This document discusses key provisions for group record deals and band agreements. It outlines clauses like the key member clause, rights to leaving members, ownership of the band name, splitting percentages and finances, controlling voting and decision making, adding or removing members, contributions, amending agreements, and what happens in cases of death, disability or dissolution of the band. It also reviews different types of business entities bands can form like sole proprietorships, partnerships, LLCs and corporations to establish ownership and liability structures.
MBU 1100 Fall 2019 - Getting Started
The document provides an extensive checklist for artists getting started in the music business. It recommends registering copyrights, tracking ownership of intellectual property, drafting agreements between band members, trademarking names and logos, forming companies, registering with performing rights organizations, digital distributors, and SoundExchange. It also suggests embedding metadata, securing websites and social profiles, utilizing video, booking agents, publicists, attending conferences, and obtaining insurance. The overall message is to take legal protections seriously, work hard to create and promote music, and enjoy the creative process.
Mbu 1110 fall 2019 touring and merch
The document discusses several key aspects of touring for artists:
1. The image and genre of the artist should match the tour venues to attract their core audience. A small, full room is preferable to a large, empty arena.
2. Agents are responsible for collecting deposits from promoters, usually 50% of the guarantee in advance, to ensure the promoter pays what is owed. If a promoter does not pay the deposit, they may not pay the rest.
3. New artists will likely lose money on early tours due to poor conditions and small audiences waiting for the headliner. They can play small venues independently or open for an established artist.
MBU 1110 Fall 2019 - Record Companies & Deals - Lecture #5
The document discusses independent and major record labels. It states that in 2016-2017, independent labels collectively had a larger market share than any single major label. It also provides information on RIAA certification levels, royalty calculations for a gold album, and how much money an artist could expect to make from a gold album after costs are deducted (around $170,000, though they would not receive the full amount at once due to reserves held for returns).
MBU 1110 Fall 2019 Unions & Guilds - Lecture
This document discusses various unions and guilds relevant to musicians, including the American Federation of Musicians (AFM), SAG-AFTRA, American Guild of Musical Artists (AGMA), American Guild of Variety Artists (AGVA), and Actors' Equity Association (AEA). It describes how unions and guilds function as collective bargaining organizations for employees and independent contractors. Key details covered include typical provisions in union contracts, membership benefits, and the roles of different unions in representing musicians, singers, actors, and other performers.
Mbu 1110 fall 2019 publishing lecture
A publisher promotes and administers songwriting by finding users for songs, issuing licenses to collect money, and paying writers. Traditionally, publishers split income 50/50 with writers and provide advances. Major publishers are affiliated with record companies, while independents handle their own administration. Publishers employ administrators, song pluggers, and creative directors to carry out these roles. Controlled composition clauses in recording contracts limit how much record labels must pay writers for use of their songs. Legislation around 100% licensing and updating sections 114 and 115 of the Copyright Act aim to ensure fair compensation for songwriters from digital streaming.
Mbu 1110 fall 2019 the song section 3
This document discusses various aspects of the music industry for songwriters. It begins by noting that new songs fuel the music business, but only a fraction of songwriters find acceptance and even fewer build sustainable careers. Success requires talent as well as a willingness to work hard in an oversaturated market. A hit song depends not just on a good song itself, but also on appealing initial performances, record label promotion, and suiting current tastes. Songwriters must treat their work as a business by promoting their songs and exploiting various income sources such as mechanical royalties, performance royalties, and synchronization fees. Publishing deals with labels or independent publishers are options, and songwriters should network extensively to break into the industry.
Pptx lecture 2 copyright fall 2019
Copyright seeks to balance author and public interests by protecting the expression of ideas but not the underlying ideas themselves. Copyright protects works that are fixed in a tangible medium and provides authors with a bundle of exclusive rights including reproduction, distribution, public performance, creation of derivatives, and digital audio transmission. Copyright duration for individual works is the life of the author plus 70 years. Mechanical royalties from streaming services are typically a fraction of a penny per stream and must meet certain thresholds to earn substantial amounts. Fair use is an exception that allows limited unauthorized use of copyrighted works for purposes like education or commentary.
Survey of the Music Business - Griffin - Lecture 1 Fall 2019
This document provides an overview of the music business and the state of the industry. It discusses that the music business involves both art and commerce. It then outlines some of the key issues facing different parts of the industry, including independent artists who face challenges standing out but can make a living, the recorded music industry which has lost 50% of business since 1998 but streaming is growing, music publishing dealing with new media licensing draining resources, and the touring business where attendance is down due to economic factors. The document traces the historical development of the music industry from physical to digital formats and how the industry has adapted to digital changes by exploring new models.
How to Predict Vendor Bill Product in Odoo 17
This slide will guide us through the process of predicting vendor bill products based on previous purchases from the vendor in Odoo 17.
Lifelines of National Economy chapter for Class 10 STUDY MATERIAL PDF
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
More Related Content
More from Eric Griffin
Mbu 2520 spring 2020 chapter 2
The document summarizes the history of copyright law from the Licensing Act of 1662 to modern US copyright law under the Copyright Act of 1976. It discusses several important acts and developments, including the Statute of Anne in 1710, the US Constitution giving Congress power to establish copyright, and US Copyright Acts of 1790, 1831, 1909, and 1976 that expanded copyright terms and protections. The Berne Convention of 1886 established international copyright standards that the US later joined in 1989.
Mbu 2520 spring 2020 chapter 1
This document provides an overview of copyright including:
- Copyright gives creators control and profits from their creative works by granting exclusive rights.
- The bundle of rights includes reproduction, distribution, performance, derivatives, and display.
- Copyright duration is typically life of author plus 70 years or 95/120 years for works made for hire.
- Philosophies of copyright include author's rights, user's rights, and economic rights, with the US following an economic approach.
Mbu 1100 fall 2019 lecture 9 groups eg
This document discusses key provisions for record deals involving musical groups. It notes that group contracts often include key member clauses, giving the record label rights over any member that leaves or breaches the agreement. The document also recommends that musical groups establish band agreements to determine ownership of their name and brand, financial splits between members, rules for adding or removing members, and what will happen if the group dissolves. Finally, it stresses the importance of establishing a formal business entity like an LLC or corporation to manage the group's affairs and avoid legal issues.
Mbu 1100 fall 2019 lecture 8 getting started eg
This document provides a checklist for new artists to get started in the music business. It recommends that artists register their copyrights, keep records of ownership, draft agreements between band members, trademark their name and logo, form necessary business entities, register with performing rights organizations, arrange for distribution of music and merchandise, embed metadata, register websites and social media, consider booking agents and publicists, and look into relevant industry organizations. The checklist covers important legal and business steps for artists to protect their work and maximize revenue opportunities.
Mbu 1110 fall 2019 touring and merch
The document discusses several topics related to touring and merchandising for musical artists. It provides guidance on matching an artist's image to appropriate venues and genres. It also outlines responsibilities of agents in areas like ticket sales, sponsorship deals, and financial accounting. New artists are advised to either play small venues on their own or open for established artists to gain exposure. The document also discusses strategies for merchandising, including different types of tour and retail merchandising deals.
GRIFFIN COPYRIGHT MBU 2520 REVISED FALL 2019 chapter 14
This document summarizes key aspects of copyright and digital technology, including benefits and challenges of digital music distribution, the reproduction and performance rights, legislation regarding radio performance royalties, and arguments for and against the Music Modernization Act. The Music Modernization Act aims to help ensure songwriters are paid for music streaming by creating a mechanical licensing collective to collect and distribute royalties, but some argue it favors major publishers and retroactively limits liability for services.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 THE FUTURE
Marc Geiger warned that music labels and publishers will have to adapt to digital technology and embrace change, or they will disappear within 5 years. The document also outlines recommendations to update copyright law for the digital age, including establishing a "Creator's Bill of Rights" that guarantees fair compensation and transparency for music creators. It proposes using blockchain technology and cryptocurrencies to better manage online payments to creators.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 15
MP3.com launched a service that allowed users to access music collections online from any location by copying music from commercial CDs onto its servers. The court found this copying to not be fair use and awarded $53 million to UMG, as MP3.com was duplicating entire CDs for commercial purposes without authorization from copyright holders. While users had to prove CD ownership, MP3.com still engaged in unauthorized copying of the music files.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 12
This document discusses remedies for copyright infringement, including coercive remedies like injunctions, impoundment, and destruction to prevent further infringement. It also discusses compensatory remedies like actual damages and profits as well as statutory damages to compensate copyright owners. Criminal remedies are also outlined, including increased penalties for willful infringement, pre-release piracy, and circumventing copyright protection systems.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 11
The document discusses defenses to copyright infringement claims, including the statute of limitations defense, abandonment defense, and fair use defense. It provides explanations of these defenses and examples to illustrate them. It also discusses the four factors courts consider when determining whether a use of a copyrighted work constitutes fair use. These factors are: (1) the purpose and character of the use, (2) the nature of the copyrighted work, (3) the amount and substantiality of the portion used, and (4) the effect of the use on the potential market.
GRIFFIN COPYRIGHT MBU 2520 FALL 2019 chapter 10
This document discusses copyright infringement. It defines infringement as exercising any of the copyright owner's exclusive rights without permission. A single act can violate multiple rights. Examples of infringement include recording a song without permission or distributing a recording without permission. To prove infringement, a plaintiff must prove they own a valid copyright and that the defendant copied the copyrighted work without permission. This can be shown through access to the work and substantial similarity between the works. Fragmented copying of important elements can also constitute infringement. Federal court is where infringement lawsuits are typically brought.
MBU 1110 FALL 2019 Groups
This document discusses key provisions for group record deals and band agreements. It outlines clauses like the key member clause, rights to leaving members, ownership of the band name, splitting percentages and finances, controlling voting and decision making, adding or removing members, contributions, amending agreements, and what happens in cases of death, disability or dissolution of the band. It also reviews different types of business entities bands can form like sole proprietorships, partnerships, LLCs and corporations to establish ownership and liability structures.
MBU 1100 Fall 2019 - Getting Started
The document provides an extensive checklist for artists getting started in the music business. It recommends registering copyrights, tracking ownership of intellectual property, drafting agreements between band members, trademarking names and logos, forming companies, registering with performing rights organizations, digital distributors, and SoundExchange. It also suggests embedding metadata, securing websites and social profiles, utilizing video, booking agents, publicists, attending conferences, and obtaining insurance. The overall message is to take legal protections seriously, work hard to create and promote music, and enjoy the creative process.
Mbu 1110 fall 2019 touring and merch
The document discusses several key aspects of touring for artists:
1. The image and genre of the artist should match the tour venues to attract their core audience. A small, full room is preferable to a large, empty arena.
2. Agents are responsible for collecting deposits from promoters, usually 50% of the guarantee in advance, to ensure the promoter pays what is owed. If a promoter does not pay the deposit, they may not pay the rest.
3. New artists will likely lose money on early tours due to poor conditions and small audiences waiting for the headliner. They can play small venues independently or open for an established artist.
MBU 1110 Fall 2019 - Record Companies & Deals - Lecture #5
The document discusses independent and major record labels. It states that in 2016-2017, independent labels collectively had a larger market share than any single major label. It also provides information on RIAA certification levels, royalty calculations for a gold album, and how much money an artist could expect to make from a gold album after costs are deducted (around $170,000, though they would not receive the full amount at once due to reserves held for returns).
MBU 1110 Fall 2019 Unions & Guilds - Lecture
This document discusses various unions and guilds relevant to musicians, including the American Federation of Musicians (AFM), SAG-AFTRA, American Guild of Musical Artists (AGMA), American Guild of Variety Artists (AGVA), and Actors' Equity Association (AEA). It describes how unions and guilds function as collective bargaining organizations for employees and independent contractors. Key details covered include typical provisions in union contracts, membership benefits, and the roles of different unions in representing musicians, singers, actors, and other performers.
Mbu 1110 fall 2019 publishing lecture
A publisher promotes and administers songwriting by finding users for songs, issuing licenses to collect money, and paying writers. Traditionally, publishers split income 50/50 with writers and provide advances. Major publishers are affiliated with record companies, while independents handle their own administration. Publishers employ administrators, song pluggers, and creative directors to carry out these roles. Controlled composition clauses in recording contracts limit how much record labels must pay writers for use of their songs. Legislation around 100% licensing and updating sections 114 and 115 of the Copyright Act aim to ensure fair compensation for songwriters from digital streaming.
Mbu 1110 fall 2019 the song section 3
This document discusses various aspects of the music industry for songwriters. It begins by noting that new songs fuel the music business, but only a fraction of songwriters find acceptance and even fewer build sustainable careers. Success requires talent as well as a willingness to work hard in an oversaturated market. A hit song depends not just on a good song itself, but also on appealing initial performances, record label promotion, and suiting current tastes. Songwriters must treat their work as a business by promoting their songs and exploiting various income sources such as mechanical royalties, performance royalties, and synchronization fees. Publishing deals with labels or independent publishers are options, and songwriters should network extensively to break into the industry.
Pptx lecture 2 copyright fall 2019
Copyright seeks to balance author and public interests by protecting the expression of ideas but not the underlying ideas themselves. Copyright protects works that are fixed in a tangible medium and provides authors with a bundle of exclusive rights including reproduction, distribution, public performance, creation of derivatives, and digital audio transmission. Copyright duration for individual works is the life of the author plus 70 years. Mechanical royalties from streaming services are typically a fraction of a penny per stream and must meet certain thresholds to earn substantial amounts. Fair use is an exception that allows limited unauthorized use of copyrighted works for purposes like education or commentary.
Survey of the Music Business - Griffin - Lecture 1 Fall 2019
This document provides an overview of the music business and the state of the industry. It discusses that the music business involves both art and commerce. It then outlines some of the key issues facing different parts of the industry, including independent artists who face challenges standing out but can make a living, the recorded music industry which has lost 50% of business since 1998 but streaming is growing, music publishing dealing with new media licensing draining resources, and the touring business where attendance is down due to economic factors. The document traces the historical development of the music industry from physical to digital formats and how the industry has adapted to digital changes by exploring new models.
More from Eric Griffin (20)
GRIFFIN COPYRIGHT MBU 2520 REVISED FALL 2019 chapter 14
GRIFFIN COPYRIGHT MBU 2520 REVISED FALL 2019 chapter 14
MBU 1110 Fall 2019 - Record Companies & Deals - Lecture #5
MBU 1110 Fall 2019 - Record Companies & Deals - Lecture #5
Survey of the Music Business - Griffin - Lecture 1 Fall 2019
Survey of the Music Business - Griffin - Lecture 1 Fall 2019
Recently uploaded
How to Predict Vendor Bill Product in Odoo 17
This slide will guide us through the process of predicting vendor bill products based on previous purchases from the vendor in Odoo 17.
Lifelines of National Economy chapter for Class 10 STUDY MATERIAL PDF
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
How to Setup Warehouse & Location in Odoo 17 Inventory
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
What is Digital Literacy? A guest blog from Andy McLaughlin, University of Ab...
What is Digital Literacy? A guest blog from Andy McLaughlin, University of Aberdeen
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.ppt
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
BÀI TẬP DẠY THÊM TIẾNG ANH LỚP 7 CẢ NĂM FRIENDS PLUS SÁCH CHÂN TRỜI SÁNG TẠO ...
BÀI TẬP DẠY THÊM TIẾNG ANH LỚP 7 CẢ NĂM FRIENDS PLUS SÁCH CHÂN TRỜI SÁNG TẠO ...Nguyen Thanh Tu Collection
https://app.box.com/s/qhtvq32h4ybf9t49ku85x0n3xl4jhr15skeleton System.pdf (skeleton system wow)
🔥🔥🔥🔥🔥🔥🔥🔥🔥
إضغ بين إيديكم من أقوى الملازم التي صممتها
ملزمة تشريح الجهاز الهيكلي (نظري 3)
💀💀💀💀💀💀💀💀💀💀
تتميز هذهِ الملزمة بعِدة مُميزات :
1- مُترجمة ترجمة تُناسب جميع المستويات
2- تحتوي على 78 رسم توضيحي لكل كلمة موجودة بالملزمة (لكل كلمة !!!!)
#فهم_ماكو_درخ
3- دقة الكتابة والصور عالية جداً جداً جداً
4- هُنالك بعض المعلومات تم توضيحها بشكل تفصيلي جداً (تُعتبر لدى الطالب أو الطالبة بإنها معلومات مُبهمة ومع ذلك تم توضيح هذهِ المعلومات المُبهمة بشكل تفصيلي جداً
5- الملزمة تشرح نفسها ب نفسها بس تكلك تعال اقراني
6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
واخيراً هذهِ الملزمة حلالٌ عليكم وإتمنى منكم إن تدعولي بالخير والصحة والعافية فقط
كل التوفيق زملائي وزميلاتي ، زميلكم محمد الذهبي 💊💊
🔥🔥🔥🔥🔥🔥🔥🔥🔥
BIOLOGY NATIONAL EXAMINATION COUNCIL (NECO) 2024 PRACTICAL MANUAL.pptx
Practical manual for National Examination Council, Nigeria.
Contains guides on answering questions on the specimens provided
Stack Memory Organization of 8086 Microprocessor
The stack memory organization of 8086 microprocessor.
Traditional Musical Instruments of Arunachal Pradesh and Uttar Pradesh - RAYH...
Traditional Musical Instruments of Arunachal Pradesh and Uttar Pradesh
Benner "Expanding Pathways to Publishing Careers"
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Educational Technology in the Health Sciences
Plenary presentation at the NTTC Inter-university Workshop, 18 June 2024, Manila Prince Hotel.
Jemison, MacLaughlin, and Majumder "Broadening Pathways for Editors and Authors"
Jemison, MacLaughlin, and Majumder "Broadening Pathways for Editors and Authors"National Information Standards Organization (NISO)
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
-------------------------------------------------------------------------------
Find out more about ISO training and certification services
Training: ISO/IEC 27001 Information Security Management System - EN | PECB
ISO/IEC 42001 Artificial Intelligence Management System - EN | PECB
General Data Protection Regulation (GDPR) - Training Courses - EN | PECB
Webinars: https://pecb.com/webinars
Article: https://pecb.com/article
-------------------------------------------------------------------------------
For more information about PECB:
Website: https://pecb.com/
LinkedIn: https://www.linkedin.com/company/pecb/
Facebook: https://www.facebook.com/PECBInternational/
Slideshare: http://www.slideshare.net/PECBCERTIFICATION
Pengantar Penggunaan Flutter - Dart programming language1.pptx
Pengantar Penggunaan Flutter - Dart programming language1.pptx
Temple of Asclepius in Thrace. Excavation results
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Walmart Business+ and Spark Good for Nonprofits.pdf
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
Recently uploaded (20)
Lifelines of National Economy chapter for Class 10 STUDY MATERIAL PDF
Lifelines of National Economy chapter for Class 10 STUDY MATERIAL PDF
How to Setup Warehouse & Location in Odoo 17 Inventory
How to Setup Warehouse & Location in Odoo 17 Inventory
What is Digital Literacy? A guest blog from Andy McLaughlin, University of Ab...
What is Digital Literacy? A guest blog from Andy McLaughlin, University of Ab...
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.ppt
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.ppt
BÀI TẬP DẠY THÊM TIẾNG ANH LỚP 7 CẢ NĂM FRIENDS PLUS SÁCH CHÂN TRỜI SÁNG TẠO ...
BÀI TẬP DẠY THÊM TIẾNG ANH LỚP 7 CẢ NĂM FRIENDS PLUS SÁCH CHÂN TRỜI SÁNG TẠO ...
BIOLOGY NATIONAL EXAMINATION COUNCIL (NECO) 2024 PRACTICAL MANUAL.pptx
BIOLOGY NATIONAL EXAMINATION COUNCIL (NECO) 2024 PRACTICAL MANUAL.pptx
Traditional Musical Instruments of Arunachal Pradesh and Uttar Pradesh - RAYH...
Traditional Musical Instruments of Arunachal Pradesh and Uttar Pradesh - RAYH...
Jemison, MacLaughlin, and Majumder "Broadening Pathways for Editors and Authors"
Jemison, MacLaughlin, and Majumder "Broadening Pathways for Editors and Authors"
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...
Pengantar Penggunaan Flutter - Dart programming language1.pptx
Pengantar Penggunaan Flutter - Dart programming language1.pptx
Walmart Business+ and Spark Good for Nonprofits.pdf
Walmart Business+ and Spark Good for Nonprofits.pdf
Path to proving copyright infringement
- 1. © 2015 The Primacy Firm PLLC OWNERSHIP Must prove that you are the owner of the work that is infringed. How do you prove ACCESS? The Path to Proving COPYRIGHT INFRINGEMENT ACCESS How do you prove ACCESS by CIRCUMSTANTIAL Evidence? ….. OR …. ….. OR …. COPYING Must prove that there was an unauthorized copying of a copyrighted work Work was well known and widely available to the public ….. AND …. ….. OR ….Direct Evidence of ACCESS (alleged infringer acknowledges that he had access to the copyrighted work; not the same as admitting that he copied though) Circumstantial Evidence of ACCESS ….. AND …. You must prove How do you prove COPYING? If the work was NOT registered w/in 5 years of initial publication, plaintiff will have to offer some other type of proof of ownership, such as testimony If the work was registered w/in 5 years of initial publication, court will presume that the information contained in the copyright registration is valid. ….. OR …. How do you prove OWNERSHIP? SUBSTANTIAL SIMILARITY No bright line / # of notes / # of bar Imprecise concept—substantial is not defined in the Copyright Act, thus apply the “Ordinary Observer” or lay listener test Either or both parties may hire an expert witness / musicologist Work was available to the alleged infringer (Proven through testimony) Direct Evidence of COPYING The alleged infringer acknowledges that he or she copied the work How do you prove COPYING by CIRCUMSTANTIAL Evidence? Circumstantial Evidence of COPYING