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DE LA SOUL Memory Of…(US) DE LA SOUL Memory of…(US) Rebeka Valentová (1676037) Ilaria Martinetto (1677798) Stuart Wagner (1732832) Dohyun An (1732130) Minor Music Marketing and Management Music Accountancy and Rights Course Code: MC-MUSICACRIG-17 Lecturer: Kiwan Leung Date: 25/03/2018 1 TABLE OF CONTENTS INTRODUCTION 3 1. PICK A SONG AND ASSEMBLE POSSIBLE CREDITS AND RELEVANT INFO 3 CREDITS 3 INFOGRAPHICS 4 2. INVESTIGATE COLLECTING SOCIETIES 4 3. FLOWCHART 8 4. PUBLISHING ARGUMENTATION 10 6. CALCULATION CASE 19 7. RELEVANCE 20 8. EXPLOITATION 21 9. BIBLIOGRAPHY 22 2 INTRODUCTION The main objective of this assignment is to recognize the importance of rights in the music industry, as well as to gain a better understanding of the difference between the rights and cash flows of the author and the performing musician. Moreover, a clarification of the complex issues of music rights will be presented in terms of analysing the different perspectives that each party holds, i.e. the composer, the publishing company, or the co-publisher. 1. PICK A SONG AND ASSEMBLE POSSIBLE CREDITS AND RELEVANT INFO Song: Memory of… (US) Artist: De La Soul ft. Estelle & Pete Rock Record Label: A.O.I., Kobalt Release Date: August 26, 2016 Publisher: Publisher not found CREDITS Producer: Supa Dave West, Pete Rock & De La Soul Co-producer: De La Soul, Supa Dave West Composer, Arranger & Conductor (Strings): Maurice 'Pirahnahead' Herd Engineer & Mixer: Morgan Garcia Featuring Artists: Estelle & Pete Rock Recording: Drew Arndt, Eric Morgeson & Jezreel Santos Writers: Maseo (Vincent Mason), Posdnuos (Kelvin Mercer), Trugoy the Dove (David Jude Jolicoeur), Jae Mason, Estelle (Estelle Fanta Swaray) & Pete Rock (Peter O. Philips) Horns: Hypnotic Brass Ensemble Keyboards: Dejuan "DC" Mc Crimmon Trumpet: Jordan Katz Viola: John Madison, Leslie DeShazor & Scott Stefanko Violin: Andrew Wu, James Greer, Joe Deller, Marla Smith, Molly Hughes & Velda Kelly 3 Bass: Clark Suttle & James 'DOOK' Jones III Cello: Miriam Eckelhoefer & Sarah Cleveland INFOGRAPHICS 2. INVESTIGATE COLLECTING SOCIETIES Buma/Stemra (NL) These are two private organizations in the Netherlands, that operate as one single company that acts as the Dutch collecting society for composers (lyricists and authors) and music publishers. They ensure that when their creations are used they receive fair remuneration (Buma-Stemra, 2018, February 1). Buma/Stemra also covers the global music repertoire in the Netherlands and collects remuneration for use on behalf of foreign composers, lyricists and authors and transfers this to sister organizations. Buma/Stemra represents the interests of music authors, they help enforce copyright, on occasion alongside other organizations, in addition they set aside a reserve for financial support to their members and for promoting Dutch musical products. 4 GVL (Germany) They make sure that their members get a fair payment for their artistic performances. They have represented artists, producers and event organizers and managed their neighbouring rights since 1959 (GVL, 2018, January 12). Their role is to mediate between rights owners and rights users. If it wasn't for GVL acting as a collective management organization, radio and TV stations, each restaurant or discotheque intending to use music or audio-visual productions would have to reach an agreement with the very artists and producers involved in a production in order to obtain permission to use that production. ACTRA (Canada) ACTRA stands for Alliance of Canadian Cinema, Television and Radio Artists; it is a Canadian labour union representing performers in English-language media (ACTRA, 2017, December 22). The organization negotiates, safeguards, and promotes the professional rights of its members. It also works to increase work opportunities for its members and lobbies for policy changes at the municipal, provincial and federal levels (ACTRA National – Our Union, n.d.). They assemble actors, recording artists, comedians, announcers, stunt coordinators & performers, dancers, narrators, voice performers, hosts, choreographers, models, singers, background performers, puppeteers and more. ACTRA’s principal role is to negotiate, administer and enforce collective agreements to provide performers with equitable compensation as well as safe and reasonable working conditions. AFM/SAG-AFTRA (USA) The AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund is a not-for-profit organization. They provide musicians or singers who have performed on a recording entitled to a distribution and check the given funds to see if they have money for them (AFM/SAG-AFTRA - About us, n.d.). The Fund is an independent entity whose purpose is to collect and distribute royalties from various foreign territories and royalties established by government statute under U.S. Copyright Law. It distributes U.S. royalties to entitled singers and musicians without regard to union membership. However, many of the foreign royalties (pursuant to the rules and regulations of their governments) do require membership in the AFM or SAG- AFTRA in order to receive royalties from the Fund. GRAMEX (Finland/Denmark) GRAMEX is a non-profit copyright society, governed by the representatives of artists' and producers' organizations, which promotes and administers the rights, prescribed in the Copyright Act, of performing artists whose performances have been recorded on phonograms and of producers of phonograms, it was 5 established in Finland in 1967 (Gramex, 2017, November 28). The most important function of GRAMEX is to collect remunerations for the use of phonograms and to distribute the collected remunerations to those entitled to them (GRMEX, n.d.). GRAMEX also promotes the general conditions of Finnish performing music and phonogram production. To fulfil its purpose, GRAMEX keeps abreast of both national and international developments in copyright legislation, and participates in this development work. ADAMI (France) ADAMI is a society for the collective administration of performers’ rights. It operates on a not-for-profit basis. For over fifty-eight years, it has been collecting and individually distributing the sums due to actors, singers, musicians, conductors and dancers for the use of their recorded works (ADAMI, n.d.). ADAMI collects and pays performers’ remuneration within three legal frameworks: legal licenses, which are exceptions to the exclusive right to grant or refuse permission: equitable remuneration and private copying remuneration; additional remuneration due to performers under specific collective agreements concluded in the audiovisual field; representation agreements concluded with similar organizations abroad. The collection and distribution of remuneration are specific to each legal license. ADAMI attempts to make the distribution of the collected remuneration more effective and more transparent. Jasrac (Giappone) The Japanese Society for Rights of Authors, Composers and Publishers is a copyright collection society. It was founded in 1939 as a non-profit making organization, and is the largest musical copyright administration society in Japan (JASRAC, n.d.). Its principal activity is to act as fiduciary of copyright rights such as recording and performing rights for songwriters, lyricists, and music publishers. It manages licensing to music users, collects license fees, and distributes the same to the rights holders. It also supervises copyright infringements and prosecutes infringers. Harry Fox Agency (USA) HFA has long been America’s premiere licensing agent for securing mechanical licenses, working with publishers, artists, labels, and increasingly with new music services, products, and platforms (Harry Fox Agency - About us, n.d.). We are the best in the business, now part of the first US Music Rights Organization, SESAC Inc, along with SESAC and Rumblefish (micro-licensing, deal administration, and data support). Together, they are creating a streamlined, one-stop shop for music licensing and royalty generation. PRS (UK) 6 PRS (Performing Right Society) and MCPS (Mechanical Copyright Protection Society) are two separate collection societies with PRS running its own operations, providing services to MCPS under the name PRS for Music (PRS for Music, 2017, December 05). It represents their songwriter, composer and music publisher members’ performing rights, and collects royalties on their behalf whenever their music is played or performed publicly. They pay royalties to their members when their work is performed, broadcast, streamed, downloaded, reproduced, played in public or used in film and TV. ASCAP (USA) The American Society of Composers, Authors, and Publishers is an American not-for-profit performance- rights organization (PRO) that protects its members' musical copyrights by monitoring public performances of their music, whether via a broadcast or live performance and compensating them accordingly (About ASCAP, n.d.). KOMCA (Korea) The Korea Music Copyright Association is a South Korean non-profit copyright collective for musical works, administering public performance and broadcasting rights, and mechanical recording and reproduction rights. Founded in 1964 (Korea Music Copyright Association, 2017, November 28), it is the second collective rights management organization for musical works in Asia, after JASRAC in Japan. Copyright owners include authors, composers, arrangers, and music publishers (Korea Music Copyright Association, 2018, January 25). BMI (USA) Broadcast Music, Inc. is one of three United States performing rights organizations, along
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