New Frontiers for Creators in the Marketplace 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA www.copyrightsummit.com

Summit Guide Guide du Sommet Guía de la Cumbre Contents/Sommaire/Sumario

Page Welcome 1 Conference Programme 3 What’s happening around the Summit? 11 Additional Summit Information 12

Page Bienvenue 14 Programme des conférences 15 Autres événements autour du sommet ? 24 Informations supplémentaires du sommet 25

Página Bienvenidos 27 Programa de las Conferencias 28 ¿Lo que pasa alrededor del conferencia? 38 Información sobre el conferencia 39

Page Sponsor & Advisory Committee Profiles 41 Partner Organization Profiles 44 Media Partner Profiles 49 Speaker Biographies 53

9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Welcome

Welcome to the World Copyright Summit!

Two years on from our hugely successful inaugural event in Brussels it gives me great pleasure to welcome you all to the 2009 World Copyright Summit in Washington, DC. This year’s slogan for the Summit – “New Frontiers for Creators in the Marketplace” – illustrates perfectly what we aim to achieve here: remind to the world that creators’ contributions are fundamental for cultural, economic and social development but also that creators – and those who represent them – face several daunting challenges in this new digital economy. It is imperative that we bring to the forefront of political debate the creative industries’ future and where we, creators, fit into this new landscape. For this reason we have gathered, under the CISAC umbrella, all the stakeholders involved one way or another in the creation, production and dissemination of creative works. For my fellow creators from all the different disciplines, this is of the utmost importance that our voices be heard. We are in the capital of the world’s most powerful nation, one that sets the trends when it comes to copyright legislation; we have therefore invited several influential policy-makers from Capitol Hill or from the new administration. Their voice has clout – and we sincerely hope that creators will find in them ardent supporters. I am confident that during those two days together we will make many new friends through dialogue and open discussion and that, more importantly, we will have agreed on a shared vision, one that recognises creators as the primary force behind the new digital economy. Enjoy the next few days in DC.

Robin Gibb Singer/songwriter and President of CISAC

Lets’ discuss our future!

So here we are now, in Washington, DC for the second World Copyright Summit. The event has been designed for two main purposes: to give a forum to all involved in the business of creativity, most of all to creators who are the raison d’etre of CISAC’s members; and to paint a picture of the current state of play in our field, and try to draw some scenarios for the future. As we are in the midst of an economic situation unseen in a couple of generations, it is hard to have much visibility. But for the sector that matters to us at CISAC – author’s rights – the situation has been compounded by issues specific to our business, the most troublesome of all being the continuing erosion of the value of copyright. More creative content has been consumed around the world than ever before, and yet, never have the foundations of our creative economies been so shaky, impacting the livelihoods of many creators. Several keynotes and sessions will reflect this situation, and some will also point to new directions we could be looking at to compensate rights holders and, more crucially, continue to finance creativity. Similarly, our industries rely on proper copyright protection. For that to happen we need to have policy-makers from around the world who are aware of our situation and on board, hence the very high level of political representation at the Summit, especially from out host country. Additionally, I would like to take this opportunity to warmly thank all the individuals who took part in the Summit’s Advisory Committee, comprised of all of CISAC’s member societies in the US: in the musical field AMRA, ASCAP, BMI, NMPA and SESAC; audiovisual guilds DGA and WGA; visual arts societies ARS and VAGA; literary rights society The Author’s Registry. Not only have they been of invaluable help in advising us but they were also pivotal in reaching out to many key people you will have the privilege to hear during the Summit. When we left Brussels two years ago after a successful inaugural World Copyright Summit, we knew the stakes were high to try to replicate such an event. We have spared no effort to do even better, guided by the notion that we wanted to have an all-inclusive event where creators would be centre stage. We hope you will appreciate it and that you will head back home with new ideas and visions. Enjoy the conference! Eric Baptiste Director General of CISAC

www.copyrightsummit.com 1 Conference Programme New Frontiers for Creators in the Marketplace

4 major conference tracks:

New Visions for Creative Industries Challenges for Creators and Rights-Owners in the Digital Era Weather Forecast on Copyright Climate Valuing the Creative Eco-System

Tuesday 9 June 2009

8.00am-8.30am Morning Coffee and Networking

8.30am-8.40am Opening Speech (Location: Amphitheater)

8.40am-9.00am Keynote The US Copyright Agenda: The View from a Legislator Location: Amphitheater With several key bills to be discussed or passed by the US Senate and the House of Representatives, the US agenda for copyright and intellectual property issues promises to be intensely busy for all parties involved in the coming months. Senator Orrin G. Hatch, a senior member of the Senate Judiciary Committee, actively involved in a broad spectrum of issues affecting the American legal system, will provide the World Copyright Summit participants with insight into the American legislative agenda and discuss issues affecting rights owners.

Senator Orrin G. Hatch, Ranking Member of the Judiciary Committee’s Subcommittee on Antitrust, Competition Policy and Consumer Rights, United States Senate (USA)

9.00am-10.00am Discussion The US Agenda: With a New Administration and a New Congress in place-What Now? Location: Amphitheater As a new administration takes over the White House and a new Congress starts work, what is the country’s agenda in the fields of copyright and intellectual property? What are the expectations of rights owners and content users? And is this agenda in synch with the rest of the world? An opportunity to discuss topics such as orphan works, performers’ rights, Copyright Royalty Board’s decisions, among other issues…

Moderator: Hilary Rosen, Managing Partner, Brunswick (USA) Mitch Bainwol, Chairman and CEO, RIAA – Recording Industry Association of America (USA) Del Bryant, President and CEO, BMI (USA) Benjamin Ivins, Senior Associate General Counsel, NAB – National Association of Broadcasters (USA) Jonathan Potter, Executive Director, DiMA – Digital Media Association (USA) Patrick Ross, Executive Director, Copyright Alliance (USA) Gigi B. Sohn, President and Co-Founder, Public Knowledge (USA)

10.00am-10.20am Keynote The Internet, a favored means of delivery for the creative industries: the “Creation and Internet” Law and the French approach Location: Amphitheater With a vibrant cultural scene, France has a long tradition of supporting creators and the creative industries through funding, the legislation on authors’ rights and proactive policies in favor of independent production. Reflecting the same commitment to defending cultural diversity, France has become the first country in the West to adopt a law design tive industries and ISPs to introduce educational and graduated measures to dissuade and penalize pirates; secondly, by encouraging the development of legitimate offerings of creative content on the Internet which are more attractive to consumers. Christine Albanel, the French Government Minister of Culture and Communications, will reveal the foundations of the French approach and explain how the Creation and Internet Law forms part of a comprehensive vision for the future of the creative industries.

Christine Albanel, Minister of Culture and Communication (France)

10.30am-11.00am Networking Break

2 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Conference Programme

11.00am-11.20am Keynote New Visions for Creative industries: The Law and Economics Perspective Location: Amphitheater Private ownership usually creates wealth, but too much ownership has the opposite effect -- it creates gridlock. This free market paradox is at the center of US law professor Michael Heller’s new book, “The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives.” While gridlock can block cutting edge cultural innovation in art and music, the solution, according to Heller, lies in “well-designed collective rights management.” Expect a wide-ranging and intellectually-stimulating keynote from a legal scholar whose insight was described by former President Bill Clinton as key to understanding today’s economy.

Michael Heller, Lawrence A. Wien Professor, Columbia Law School / author of “The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives.” (USA)

11.20am-12.30pm Discussion Is Collective Licensing a Relevant System for the 21st Century? Location: Amphitheater With creative economies having to re-define their business models, and content users struggling to build sustainable businesses, can collective rights management organizations continue to help both sides achieve better efficiency with cost-effective licensing schemes?

Moderator: Jeremy Silver, Founder, Media Clarity (UK) Gary Churgin, President and CEO, HFA (USA) Bob Frank, President, E1 Music / Chairman, Merlin Nicolas Galibert, Managing Director, Sony/ATV (France) / Chairman, ICMP – International Confederation of Music Publishers Bendik Hofseth, Composer and saxophonist / Board Member, TONO (Norway) / Chair, CIAM – International Council of Music Composers Zahavah Levine, Chief Counsel, YouTube / Associate General Counsel, Google (USA) John LoFrumento, Chief Executive Officer, ASCAP (USA) Charles Slocum, Assistant Executive Director, WGA West (USA)

12.30pm–12.50pm Q&A Shaping the Future for Creative Industries: An Industry Leader Shares his Visions Location: Amphitheater If the future of creative industries is undeniably going to be digital, the route to get there is a challenging one for the creative sector. And few can express as well as Richard Sarnoff a vision for creative industries in today’s new technological age. As co-chair of Bertelsmann Inc. and president of Bertelsmann Digital Media Investments he is mapping the future at one of the world’s biggest media groups and as chairman of the Association of American Publishers (AAP) has been one of the architects of the recent settlement deal between Google, authors and book publishers. A must-attend keynote from one of the world’s most forward-thinking industry leaders.

Richard Sarnoff, President, Bertelsmann Digital Media Investments / Co-Chairman, Bertelsmann Inc. / Former chairman, AAP – Association of American Publishers (USA) Interviewed by Emmanuel Legrand, Editor, Impact (UK)

1.00pm-2.00pm Lunch break and keynote (Location: Pavilion, second floor)

1.15pm-1.35pm Keynote Global Cooperation on IP and Copyright Issues – The US Perspective Location: Pavilion, second floor The U.S. has been one of the driving forces in ensuring that IP and copyright protection and enforcement issues were at the forefront of the agenda on global trade policies. As the chief policy advisor to the United States Trade Representative and the Administration agencies on intellectual property and trade issues, Stanford McCoy’s role is crucial to all creative industries. In his position he is the lead U.S. trade negotiator on intellectual property and innovation and he is also in charge of overseeing if enforcement of intellectual property protection is applied around the world. Expect some strong messages from one of the key players in the US administration.

Stanford McCoy, Assistant U.S. Trade Representative for Intellectual Property and Innovation, Office of the U.S. Trade Representative (USA)

www.copyrightsummit.com 3 Conference Programme New Frontiers for Creators in the Marketplace

2.00pm-3.00pm Presentation & Debate Financing Creative Industries – Should Societies Pursue Equity? Location: Amphitheater With the erosion of traditional sources of revenues, how will the creative industries sustain their investment? Will Page (Chief Economist, PRS for Music) and David Touve (Vanderbilt University) follow up on their publication “Should Societies Pursue Equity” to present exclusively to the 2009 World Copyright Summit their latest work about the contentious issues of taking equity and licensing start-ups. Their research will provide participants with a catalyst for rights-owners, users and regulators to work through what that question would entail. Their analysis will be the foundation for a debate on new ways to finance creative industries.

Moderator: Pat Collins, President/COO, SESAC (USA) David A. Basskin, President, CMRRA (Canada) Will Page, Chief Economist, PRS for Music (UK) Paul Petrick, Product Manager/Lead Software Engineer, Project Playlist (USA) David Touve, Affiliated Researcher, Vanderbilt University (USA)

2.00pm-3.00pm Focus session The Re-Sale Right: a Universal Lesson Location: Hemisphere A In the European Union and some other territories, visual artists now benefit from the re-sale right, which gives them a share of the resale value of their works. As the European Commission prepares to evaluate the legislation’s impact, a panel of specialists from visual arts societies, art galleries, auction houses, arts foundations and creators debate the pros and cons of the re-sale right. The debate will be preceded by a report about the impact of the re-sale right in the UK.

Moderator: Jason Edward Kaufman, Chief U.S. Correspondent, The Art Newspaper (USA) Wendy Battleson, Vice President and Associate Counsel, Christie’s (USA) Joanna Cave, Chief Executive, VISCOPY (Australia) Theodore Feder, President, ARS (USA) Christiane Ramonbordes, Managing Director, ADAGP (France) Robert Scott, Director, William Scott Foundation & Archive (UK) Frank Stella, painter and sculptor (USA)

2.00pm-3.00pm Showcase Tracking Online and Offline Usage: Tools and Services to Better Serve Rights-Owners Location: Hemisphere B Performing Rights Organizations as well as private companies have made major investments in tracking systems for music, film and image that both feed into the copyright societies’ own royalty systems, but also serve third parties with sophisticated information about the use of IP in both analogue and digital media. Precise information on usage is crucial to compensate rights-owners and protect copyrights. This session will highlight services or systems that enable rights organizations and societies to work better and more efficiently in tracking the use of copyrighted works, both in the online and offline world.

Moderator: Sylvain Piat, International Information Network Director, CISAC David De Busk, Vice President Business Development, Landmark Digital Services (USA) Steven Lubin, CEO, Mediaguide (USA) Bob Kohn, co-founder, Chairman and CEO, RoyaltyShare (USA) Patrick F. Sullivan, President and CEO, Rightsflow (USA) John F. Utley, Vice President US, Civolution / Chairman, Digital Watermarking Alliance (USA)

3.00pm-3.30pm Networking break

3.30pm-3.50pm Q&A The Big Picture – Exploring the Global World of Music Publishing Location: Amphitheater In the new digital environment, what is the role of music publishers? Where will the new streams of revenue come from? How do publishers view their relationship with rights societies? A stimulating session with David Renzer representing the world’s leading music publisher.

David Renzer, Chairman and CEO, Universal Music Publishing Group (USA) Interviewed by Brett Cottle, CEO, APRA (Australia) / Chair of the Board of Directors, CISAC

4 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Conference Programme

3.50pm-4.10pm Q&A Creators in the 21st Century – The Case for Visual Artists Location: Amphitheater What would Michelangelo make of today’s art world? How would he feel about the digital reproduction of his works on the Internet? Visual artists are also experiencing changes in the way their works are reaching the public. While they share some of the concerns common to the creative community, they also have specific issues such as the re-sale right, the case for orphan works and the proliferation of images on the internet. Frank Stella, a world renowned American painter and sculptor, discusses the challenges faced by creators in the 21st Century in a keynote Q&A session.

Frank Stella, painter and sculptor (USA) Interviewed by Jason Edward Kaufman, Chief U.S. Correspondent, The Art Newspaper (USA)

4.10pm-5.30pm Discussion Creators: Talkin’ About a Digital Revolution... Location: Amphitheater Leading creators take part in a session in which they will discuss the latest developments in their creative worlds and how these are affecting them. Has digital technology changed the way they create? Has it affected the relationship with their professional environment (labels, authors’ societies, publishers, film studios, etc)? Has it empowered artists and given them more opportunities to take charge of their career and bypass the entertainment industry?

Moderator: Keith Harris, Head of Performers Affairs, PPL (UK) / Chair, MusicTank Hervé Di Rosa, visual artist and painter / Board Member, ADAGP (France) Lamont Dozier, songwriter, producer and performer / BMI icon (USA) Armando Manzanero, musician and composer / President, SACM (Mexico) Dinaw Mengestu, author (USA/Ethiopia) Fernando Trueba, screenwriter and film director (Spain) Paul Williams, songwriter, recording artist and actor / President and Chairman, ASCAP (USA)

6.30pm-9.00pm Cocktail and Special Musical Entertainment Location: Mellon Auditorium (situated on the National Mall and adjacent to the R. Reagan Center) All World Copyright Summit delegates are invited to cocktails and an all-star jazz concert on Tuesday, June 9th by American performing right organizations ASCAP, BMI and SESAC. Performing at the legendary Mellon Auditorium will be talented vibraphonist Stefon Harris, acclaimed vocalist Ann Hampton Callaway, and saxophone virtuoso Joe Lovano, accompanied by the renowned Smithsonian Jazz Masterworks Orchestra.

Presented and hosted by: ASCAP, BMI and SESAC

Wednesday 10 June 2009

8.00am-8.30am Morning Coffee and Networking

8.30am-8.40am Welcome Speech (Location: Amphitheater)

8.40am-9.00am Keynote US Copyright Policy: 50 States and Beyond… Location: Amphitheater With America’s lead in the creative economy sector, the state of US copyright and IP legislation is paramount and has implications far beyond the 50 States of the Union. Senator Patrick J. Leahy, one of America’s most senior legislators, will outline the importance of appropriate copyright protection and how the country can serve as a reference for the world in providing legislation that responds to the challenges of the digital era, and respects the protection of privacy rights, copyright protections and freedom of speech on the Internet.

Senator Patrick J. Leahy, Chairman of the Judiciary Committee, United States Senate (USA)

9.00am-9.30am Debate Whose Right Is It? Location: Amphitheater Legislators always have to balance copyright protection with consumer access and fair use. As access is facilitated by the new digital technologies, are consumers’ rights getting in the way of creators/content holders’ rights? Can there be a common ground between the two parties? And can technology companies and rights owners find a joint interest in ensuring proper remuneration for the use of creative works? A one-to-one debate not to be missed between representatives of the manufacturers of electronic equipment, Gary Shapiro (Consumer Electronics Association), and of rights-owners David Israelite (National Music Publishers Association).

David Israelite, President and CEO, NMPA – National Music Publishers Association (USA) Gary Shapiro, President and CEO, CEA – Consumer Electronics Association (USA)

www.copyrightsummit.com 5 Conference Programme New Frontiers for Creators in the Marketplace

9.30am-9.45am Keynote The Global Climate for Copyright Harmonization and Protection Location: Amphitheater Ralph Oman, a prominent international IP law expert, outlines the state of copyright issues around the world as an introduction to the next session.

Ralph Oman, Professor of Intellectual Property and Patent Law, George Washington University (USA)

9.45am-10.45am Discussion Taking Copyright Issues Global Location: Amphitheater Copyright systems around the world function in disharmony due to varying legal philosophies and practices in place. How does this affect rights holders and does it have an impact on the development of legal services? And how can the world work in a more harmonious way? The panel of experts discusses whether the world is heading towards greater cooperation on copyright issues and harmonization of copyright legislation, and what would be the steps required to achieve these goals.

Moderator: Susan Butler, Executive Editor, Music Confidential (USA) Fritz E. Attaway, Executive Vice President, Special policy advisor, MPAA – Motion Picture Association of America (USA) Eduardo Bautista, President of the Management Board, SGAE (Spain) Michael Keplinger, Deputy Director General, WIPO (Switzerland) Susan Mann, Senior Director, Intellectual Property Policy, Microsoft Corporation (USA) Ralph Oman, Professor of Intellectual Property and Patent Law, George Washington University (USA) Marybeth Peters, US Register of Copyright, US Copyright Office (USA) Feargal Sharkey, CEO, UK Music (UK)

10.45am-11.15am Networking break

11.15am–11.35am Keynote Intellectual Property Rights as Drivers of Global Economic Growth Location: Amphitheater Washington, DC-based international organization The World Bank has recognized that IP policies can play an important role in fostering development, reducing poverty and contributing to global cultural, social and economic welfare. The World Bank’s Senior VP and Group General Counsel Anne-Marie Leroy will outline why IP and copyright policies as well as an appropriate legal framework and proper enforcement are key conditions for creative industries to thrive.

Anne-Marie Leroy, Senior Vice President and Group General Counsel, World Bank (USA)

11.35am-11.55pm Keynote Creators in the 21st Century – One Flew Over Filmmakers’ Rights Location: Amphitheater The art of making films may have not changed dramatically since the Lumiere Brothers over a century ago, but the environment in which movies are conceived, produced and reaching the public has been reshaped by the advent of digital technology. In a thought-provoking keynote, Miloš Forman, who directed such movies as “One Flew Over the Cuckoo’s Nest”, “Hair”, “Ragtime”, “Amadeus”, “Valmont” and “The People vs. Larry Flynt”, will address the challenges faced by filmmakers in the 21st Century. The Academy Award-winning filmmaker will talk about the importance of creators’ rights, the fight against piracy, the impact of free internet content, and the importance of respecting creative works.

Miloš Forman, film director (USA)

12.00pm-1.00pm Discussion Europe, the Borderless State? Progress in Multi‑territorial European Licensing Location: Amphitheater Two years after the inaugural Summit in Brussels, has the European landscape fundamentally changed? What are the new schemes in place and has pan-European licensing been simplified at all? How does it impact upon creators, publishers, authors’ societies and content users, and with cultural, financial and traditional barriers in place, will it ever become a reality? The discussion will be preceded by a state of play in the EU by a legal expert...

Moderator and Introduction: Tom Frederikse, Solicitor & Attorney, Clintons (UK) Jane Dyball, Senior VP, International Legal and Business Affairs, Warner/Chappell Music (UK) Roger Faxon, Chairman and CEO, EMI Music Publishing (USA) Guy Henderson, Senior Vice President International, Sony/ATV Music Publishing (UK) Bernard Miyet, CEO and Chairman of the Management Board, SACEM (France) / President, GESAC – European Grouping of Societies of Authors and Composers Kenth Muldin, Chief Executive Officer, STIM (Sweden) / Chair of CISAC European Committee Sami Valkonen, Global Director, Music Business Affairs, Nokia (USA)

6 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Conference Programme

12.00pm-1.00pm Focus session Promoting the Values of Copyright – A Win-Win Situation for All? Location: Hemisphere A Various schemes and programs have been set up to inform the public as well as policy-makers, legislators and judiciary about IP issues around the world. There are also advocates of other systems such as Creative Commons who believe creators and consumers can be empowered. Experts outline the value of such experiences, raising awareness about the value of copyright.

Moderator: Serona Elton, Assistant Professor – Music Business and Entertainment Industries, Frost School of Music – University of Miami (USA) Scott A. Bearby, Managing Director of Legal Affairs/ Associate General Counsel, NCAA – National Collegiate Athletic Association (USA) Allison Demas, Chief Executive Officer, COTT (Trinidad and Tobago) Lizha James, singer-songwriter/ Board member, SOMAS (Mozambique) Marcus Johnson, composer, jazz pianist and producer / President and CEO, Three Keys Music (USA) Bruce Lehman, Chairman, IIPI – International Intellectual Property Institute (USA) Katri Sipilä, CEO, Teosto (Finland)

12.00pm-1.00pm Focus session Can Smarter Metadata Benefit your Business? Location: Hemisphere B Can modern rights management information systems improve business conditions for media, content service providers, rights owners and copyright societies? This session will explain why RMI architecture, proper monitoring tools, authoritative worldwide databases and interoperability of identifiers are crucial to the digital business.

Moderator and Introduction: FX Nuttall, Technology Intelligence Consultant, CISAC Gloria Braga, Executive Director, ECAD (Brazil) Albert Pastore, Senior Legal Counsel – Music, Nokia (UK) Dan Pifer, Executive Vice President Operations & Technology, The Orchard (USA) Jeff Sedlik, President and CEO, PLUS Coalition (USA) Andy Weissberg, General Manager of identifiers Services, Bowker (USA) Satoshi Watanabe, International Relations Department Manager, JASRAC (Japan)

1.00pm-2.00pm Lunch break and Keynote (Location: Pavilion, second floor)

1.15pm-1.35pm Keynote What Copyright Legislation for the Digital Age? Location: Pavilion, second floor With so many industries dependent on copyright protection, US policy-makers have been receptive to the need for proper legislation that would enable these industries to prosper. With the new digital age and the erosion of the value of copyright, appropriate legislation is more important than ever. Hear from Congressman John Conyers, Jr., one of the country’s leading legislators, in the fields of copyright, patent and trademark law and information technology.

Congressman John Conyers, Jr., Chairman of the Judiciary Committee, United States House of Representatives (USA)

2.00pm-2.15pm Presentation Exclusive Report: Financing Creative Industries – In Search for a New Approach Location: Amphitheater The exclusive report commissioned by CISAC for the World Copyright Summit will identify new streams of revenue for the future of the creative industries.

Presented by Frédéric Patissier, Business Intelligence Consultant, CISAC

www.copyrightsummit.com 7 Conference Programme New Frontiers for Creators in the Marketplace

2.15pm-2.35pm Keynote Driving the Digital Future – Is South Korea Leading the Way? Location: Amphitheater Al Gore may have dreamt of “information superhighways” in 1994, but South Korea’s done it. In just a few decades, the Republic of Korea has gone from one of countries with the lowest telephone penetration rate in the world to become a leader in Information and Communication Technology (ICT). Its broadband network is the most developed in the world, while mobile phone has an estimated penetration rate of 93.4%. Yong-Kyung Lee, one of the architects of what was described as “the Korea miracle” when he was the former head of Korea Telecom – and now a respected legislator in his country –, will deliver a glimpse of what tomorrow may look like if the world follows Korea’s way.

Assemblyman Dr. Yong-Kyung Lee, Ranking member of the Committee on Culture, Sports, Tourism, Broadcasting, and Telecommunications, National Assembly of Korea / former President and CEO, Korea Telecom (South Korea)

2.35pm-3.40pm Discussion ISPs/telcos: Part of the Problem or the Solution? Location: Amphitheater Voices in many countries are asking for ISPs and telcos to be more pro-active, alongside rights owners, to find a solution to the vast amount of uncontrolled illegitimate material available through the net. There are also those who believe that ISPs should accept that content contributes to the success and the value of their services, and that they should therefore share some of this success with the creative community. Executives from both sides will offer their views and discuss scenarios for the future relationship between rights owners and ISPs.

Moderator: Bill Werde, Editorial Director, Billboard (USA) Jim Griffin, Founder, Choruss (USA) Martin C. Lafferty, CEO, DCIA – Distributed Computing Industry Association (USA) Nicholas Motsatse, Chief Executive Officer, SAMRO (South Africa) Shira Perlmutter, Executive Vice-President, Global Legal Policy, IFPI (UK) Paul Sanders, Co-Founder/Strategic Director, PlayLouder MSP (UK)

3.30pm-4.00pm Networking break

4.10pm-4.30pm Keynote Google and the Creative Industries – A New Form of Partnership Location: Amphitheater David C. Drummond, a senior Google executive, outlines the ways in which the company plans to work in partnership with the creative industries, as illustrated by the recent agreement between Google, book publishers and authors in the US.

David C. Drummond, Senior Vice President, Corporate Development and Chief Legal Officer, Google (USA)

4.30pm-5.30pm Discussion Digital Mayhem or Salvation: Can Rights-Owners and Content users Find a New Way to Move Forward? Location: Amphitheater All creative industries -- music, film, TV, books and visual arts -- are re-writing the rulebooks as their works are accessed and disseminated on the internet. What are their options? What can they learn from each other’s experiences so far? Can they follow in the footsteps of the book industry and its groundbreaking deal made with Google at the end of 2008? Is the Google/book publishers/authors agreement the template for the future?

Ralph Simon, Chairman Emeritus & Founder, Mobile Entertainment Forum – Americas / CEO, The Mobilium International Advisory Group Warren Adler, Associate National Executive Director, DGA (USA) Sandra Aistars, Assistant General Counsel, IP, Time Warner (USA) Jeremy Fabinyi, Managing Director of Mechanicals, PRS for Music (UK) Dr. Harald Heker, CEO, GEMA (Germany) Cecily Mak, Senior Counsel, Director of Music Licensing, Real Networks (USA) Ralph Peer, Chairman and CEO, peermusic (USA)

5.30pm-5.45pm Closing Speech Creators and Authors’ Societies as Key Players in the 21st Century Location: Amphitheater Robin Gibb, legendary singer and songwriter of the Bee Gees and President of CISAC, wraps up the Summit.

8 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA What’s happening around

New Frontiers for Creators in the Marketplace the Summit?

Monday 8 June 2009 Opening cocktail party of the World Copyright Summit

Time: from 6:30pm to 8:30pm What better way to start proceedings than with a Venue: Pavilion, Second Floor, Ronald drink at the official Summit Opening Cocktail Party, Reagan Center allowing quality networking to take place before the Directions: Entrance to the Ronald Reagan conference in a relaxed and informal atmosphere. Center from the Woodrow Wilson Plaza, CISAC’s President Robin Gibb will officially open next to Aria Restaurant and directly off the Summit and welcome you. All Summit delegates Pennsylvania Avenue and 13th Street are invited to attend the opening party reception Access: Upon presentation of a photo ID/ passport to enter the Ronald Reagan Centre. on Monday, June 8th, hosted Collect your World Copyright Summit badge by the US right societies and at the pre-registration, Pavilion pre-function guilds members of CISAC. area. Sponsored by:

Ronald Reagan Center

Tuesday 9 June 2009 Cocktail and all-star jazz concert

Time: Cocktails at 6:30pm / Concert from All World Copyright Summit delegates are invited 7:30pm to 8:30pm to cocktails and an all-star jazz concert on Tuesday, Venue: Mellon Auditorium, 1301 Constitution June 9th by American performing right organizations Ave NW- Washington, DC 20240 ASCAP, BMI and SESAC. Directions: On the National Mall, just adjacent to the Ronald Reagan Center Performing at the legendary Mellon Auditorium Access: Upon presentation of your World will be talented vibraphonist Stefon Harris, Copyright Summit badge and/or your acclaimed vocalist Ann Hampton Callaway, invitation and saxophone virtuoso Joe Lovano, accompanied Organized and hosted by: by the renowned Smithsonian Jazz Masterworks Orchestra.

Mellon Auditorium

www.copyrightsummit.com 9 Additional Summit Information New Frontiers for Creators in the Marketplace

Acknowledgements CISAC would like to warmly thank all the individuals who took part in the Summit’s Advisory Committee, comprised of all of CISAC’s member societies in the US: in the musical field AMRA, ASCAP, BMI, NMPA and SESAC; audiovisual guilds DGA and WGA; visual arts societies ARS and VAGA; literary rights society The Author’s Registry. They have been of invaluable help in advising CISAC and were pivotal in reaching out to many key people you will have the privilege to hear during the Summit. We want to tell them our gratitude for all the time, effort and support they have provided us with.

Networking breaks and lunch A buffet lunch will be provided for all World Copyright Summit delegates on the 9th and 10th June in the Pavilion Room, located on the second floor. Networking breaks will be served in the Amphitheatre Foyer on the concourse level.

Access videos, pictures and presentations online Summit delegates are informed that all sessions of the World Copyright Summit will be filmed and available online. During the event, pictures for press are available at the press office. All speeches, pictures and videos of the World Copyright Summit will be available on the CISAC and Summit website in the weeks following the event: www.cisac.org www.copyrightsummit.org

Health & Safety The fire alarm for the building: is a one stage alarm. In areas requiring immediate evacuation you will hear a continuous siren. If you discover a fire, raise the alarm by: operating the nearest pull station. The assembly point is located: The Plaza 14th Street or Freedom Plaza 13th Street and Pennsylvania Ave.

Liability CISAC and Informa will not accept any liability for loss, theft, damage or delay resulting from the loss or theft of any item of property belonging to participants or authors or third party, and the authors and participants and third party agree that it is their responsibility to have in place adequate insurance to cover all such eventualities. Notwithstanding the provisions of the above paragraph, in the event that such items are taken into the custody of CISAC or its representatives, CISAC and Informa will exercise reasonable care but their liability for any such item for loss, theft, damage or delay whilst in the care of CISAC or its representatives will not exceed the value of any item or USD1,600, whichever is the lower. CISAC and Informa may make a reasonable charge for the return of lost or unclaimed property to the participant or author or third party depending upon: 1. the type of article; and 2. the period during which Informa has held the article before it is claimed

10 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Songwriters Guild of America

We make the worst days better and the best days last forever.

Join us.

Hound Dog - It Had To Be You - What A Wonderful World - It Was A Very Good Year - Silver Bells - Whatever Lola Wants, Lola Gets - Green Acres - The Way We Were - When Sunny Gets Blue - Travelin' Man - Johnny B. Goode - All Shook Up - Be My Baby - Long Neck Bottle - A Home - The Cowboy Rides Away - Stand By Me - Dream A Little Dream Of Me - Good Morning Heartache - The Lion Sleeps Tonight - Que Sera, Sera - The Pajama Game - Scarlett Ribbons - The Cheap Seats - Tequila - Roll Over, Beethoven - Great Balls Of Fire - Chapel Of Love - Hangin' Around - Only Game In Town - Jail House Rock - Rickety Rickshaw Man - Can't Help Falling In Love - Mona Lisa - Yes Sir, That's My Baby - Damn Yankees - Same Time Next Year - No Particular Place To Go - Show And Tell - Ain't No Way To Treat A Lady - Can't Even Get The Blues No More - Don't Be Cruel - Fever - Soon - On Broadway - Buttons and Bows - Ain't We got Fun - The Addams Family - Hail Hail Rock N' Roll - Copacabana- Return To Sender - River Deep, Mountain High - Tico Tico - Love Potion No. 9 - Makin' Whoopee - Anyone Who Isn't Me Tonight - Then What - Da Doo Ron Ron - Leader Of The Pack - I'll See You In My Dreams - Sabrina - Brown Eyed Handsome Man - And Then He Kissed Me - Treat Me Nice - Side By Side - C'est La Vie (You Never Can Tell) - Don't Cry Out Loud - Kansas City - Toot Toot Tootsiewww .s- Maybelleneongwritersg -u Hernando'sild.com Hideaway - I Believe - Bienvenue

Bienvenue au Sommet mondial du droit d’auteur !

Deux ans après l’immense succès du premier Sommet à Bruxelles, j’ai l’immense plaisir de vous souhaiter à tous la bienvenue au Sommet mondial du droit d’auteur 2009 de Washington DC. Le slogan de cette édition du Sommet, « Créateurs et industries culturelles, les nouveaux défis », illustre à la perfection nos ambitions : rappeler tout d’abord au monde que la contribution des créateurs est essentielle au développement culturel, économique et social, mais aussi que les créateurs - et ceux qui les représentent - font face à des défis inimaginables au sein de cette nouvelle économie numérique. Nous devons impérativement placer au cœur du débat politique l’avenir des industries culturelles et le rôle que nous, créateurs, devons occuper au sein de ce nouveau paysage. C’est pourquoi nous avons réuni sous l’égide de la CISAC tous les acteurs du secteur impliqués, d’une façon ou d’une autre, dans la création, la production et la diffusion des œuvres créatives. Pour mes confrères créateurs, quelle que soit la discipline dans laquelle ils évoluent, il est de la plus haute importance de se faire entendre. Nous nous trouvons dans la capitale de la nation la plus puissante du monde, une nation toujours à l’avant-garde en matière de législation sur le droit d’auteur. Nous avons donc invité plusieurs décideurs politiques du Congrès ou de la nouvelle administration, et nous espérons sincèrement que les créateurs trouveront en eux de fervents supporters. J’ai la conviction qu’au cours des deux journées que nous allons passer ensemble, nous allons pouvoir débattre librement, forger de nouvelles alliances, et surtout que nous parviendrons à une vision commune, une vision où les créateurs joueront un rôle de premier plan au cœur de la nouvelle économie numérique. Je vous souhaite à tous et à toutes un excellent séjour à Washington DC. Robin Gibb Auteur-interprète et Président de la CISAC

Parlons de notre avenir !

Nous voici donc réunis à Washington DC pour le second Sommet mondial du droit d’auteur. Cet événement répond à deux objectifs principaux : offrir à tous les acteurs de l’industrie culturelle, et surtout à tous les créateurs – qui sont la raison d’être des sociétés d’auteurs membres de la CISAC –, un véritable forum ; et dresser un état des lieux de notre secteur pour tenter d’élaborer des scénarii pour l’avenir. Nous nous trouvons dans une situation économique que nous n’avions pas connue depuis plusieurs générations et il est difficile de prendre du recul. Mais pour ce qui est du droit d’auteur, domaine qui constitue notre cheval de bataille à la CISAC, nous sommes confrontés à des problématiques propres à notre industrie, la plus préoccupante de toutes étant l’érosion continue de la valeur du droit d’auteur. Jamais les œuvres culturelles n’ont connu un tel succès auprès du public et pourtant, jamais les bases de nos économies créatives n’ont été aussi instables, affectant directement le gagne-pain de nombreux créateurs. Au cours de ce Sommet, nous évoqueront ces difficultés mais nous débattront aussi de nouvelles possibilités de rémunérer les ayants-droits et de contribuer au financement de la création. Nos industries reposent sur une protection efficace du droit d’auteur. Pour cela, les décideurs politiques du monde entier doivent être conscients de notre situation et s’engager à nos côtés. C’est dans ce but que nous avons invité au Sommet des représentants politiques de haut niveau, notamment américains. Enfin, j’aimerais profiter de l’occasion pour remercier chaleureusement l’ensemble des participants au Comité Consultatif du Sommet, composé de toutes les sociétés membres de la CISAC aux États-Unis. Dans le domaine musical : AMRA, ASCAP, BMI, NMPA et SESAC ; les guildes audiovisuelles DGA et WGA ; les sociétés d’arts graphiques et plastiques ARS et VAGA ; et la société de droits littéraires The Author’s Registry. Tous nous ont non seulement été d’une aide précieuse en nous prodiguant leurs conseils, mais ils ont également joué un rôle essentiel en assurant la présence de nombreux orateurs que vous aurez le privilège d’écouter au cours du Sommet. En quittant Bruxelles, il y a deux ans, forts du succès recueilli par le premier Sommet mondial du droit d’auteur, nous savions que nous avions placé la barre très haut pour la seconde édition. Nous n’avons pas ménagé nos efforts pour faire encore mieux, mus par notre ambition de vous offrir un Sommet où les créateurs de tous les répertoires artistiques seront sur le devant de la scène. Nous espérons que ce Sommet répondra à vos attentes et que vous rentrerez chez vous riches de nouvelles idées et visions. Excellent Sommet à tous ! Eric Baptiste Directeur général de la CISAC

12 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Programme des conférences

4 grands thèmes de discussions: Scénarii d’avenir pour les industries culturelles Créateurs et ayants-droit à l’ère du numérique Prévisions climatiques pour le droit d’auteur Valoriser l’écosystème de la création Mardi 9 juin 2009

8h00-8h30 Café et networking

8h30-8h40 Discours d’ouverture (Lieu : Amphithéâtre)

8h40-9h00 Keynote L’agenda américain dans le domaine du droit d’auteur : Le point de vue d’un législateur Lieu : Amphithéâtre Alors que plusieurs projets de loi essentiels sont sur le point d’être débattus ou votés par le Sénat et la Chambre des représentants des États-Unis, l’agenda des prochains mois sur les questions de droit d’auteur et de propriété intellectuelle promet d’être très chargé pour toutes les parties concernées. Le Sénateur Orrin G. Hatch, membre éminent de la Commission judiciaire du Sénat et très actif sur un large éventail de sujets relatifs au système juridique américain, livrera son point de vue à l’intention des participants du Sommet mondial du droit d’auteur sur l’agenda législatif américain et les questions concernant les ayants-droit.

Senateur Orrin G. Hatch, Ranking Member of the Judiciary Committee’s Subcommittee on Antitrust, Competition Policy and Consumer Rights, Sénat des États-Unis (USA)

9h00-10h00 Discussion L’agenda américain : nouvelle administration, nouveau Congrès – Et maintenant ? Lieu : Amphithéâtre Alors qu’une nouvelle administration a été investie à la Maison Blanche et qu’un nouveau Congrès à commencé son activité, quel est le programme des États-Unis dans les domaines du droit d’auteur et de la propriété intellectuelle ? Quelles sont les attentes des ayants-droit et des utilisateurs de contenus ? Ce programme est-il à l’unisson avec le reste du monde ? Une session où seront abordés des sujets tels que les œuvres orphelines, les droits des artistes-interprètes, ou les décisions du Copyright Royalty Board.

Modérateur : Hilary Rosen, Managing Partner, Brunswick (USA) Mitch Bainwol, Chairman and CEO, RIAA – Recording Industry Association of America (USA) Del Bryant, President and CEO, BMI (USA) Benjamin Ivins, Senior Associate General Counsel, NAB – National Association of Broadcasters (USA) Jonathan Potter, Executive Director, DiMA – Digital Media Association (USA) Patrick Ross, Executive Director, Copyright Alliance (USA) Gigi B. Sohn, President and Co-Founder, Public Knowledge (USA)

10h00-10h20 Keynote Internet, vecteur de diffusion privilégié pour les industries culturelles : la loi « Création et Internet » et l’approche française Lieu : Amphithéâtre Pouvant compter sur une scène culturelle dynamique, la France a toujours soutenu les créateurs et les industries culturelles à travers le financement, la législation sur le droit d’auteur et des politiques proactives en faveur des productions indépendantes. C’est dans cette perspective de défense de la diversité culturelle que la France a été le premier pays en Occident à adopter une loi destinée à lutter contre le piratage des œuvres culturelles sur Internet de façon globale : d’une part, en organisant la coopération des industries culturelles et des FAI pour mettre en place des mesures pédagogiques et graduées de dissuasion et de sanction des pirates, d’autre part, en incitant au développement d’une offre légale de contenus culturels sur Internet plus attractive pour les consommateurs. Christine Albanel, Ministre de la Culture et de la Communication du gouvernement français, dévoilera les fondements de l’approche française et expliquera comment la loi Création et Internet s’intègre dans une vision globale d’avenir pour les industries culturelles.

Christine Albanel, Ministre de la Culture et de la Communication (France)

10h30-11h00 Pause café et networking www.copyrightsummit.com 13 Programme des conférences

11h00-11h20 Keynote Scénarii d’avenir pour les industries culturelles : Un point de vue juridique et économique Lieu : Amphithéâtre La propriété privée créé généralement de la richesse mais trop de propriété entraîne l’effet inverse et créé un blocage. Ce paradoxe de l’économie libérale est au centre du nouvel ouvrage du Professeur de droit américain, Michael Heller, intitulé « The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives » (L’économie verrouillée : comment trop de propriété étouffe les marchés, stoppe l’innovation et coûte des vies). Tandis que les verrous peuvent bloquer l’innovation avant-gardiste en art et en musique, la solution, selon Heller, réside dans une « gestion collective des droits bien conçue. ». Attendez-vous à un discours touchant à tous les fondements de l’économie et intellectuellement stimulant de la part d’un juriste dont le point de vue a été décrit par l’ancien Président Bill Clinton comme essentiel pour comprendre l’économie d’aujourd’hui.

Michael Heller, Lawrence A. Wien Professor, Columbia Law School / auteur de “The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives” (USA)

11h20-12h30 Discussion Le système de la gestion collective est-il adapté au 21ème siècle? Lieu : Amphithéâtre Alors que les industries culturelles doivent redéfinir leurs modèles économiques et que les fournisseurs de contenus s’efforcent de développer des entreprises viables, les sociétés de gestion collective des droits peuvent-elles toujours aider au développement de ces deux secteurs en proposant des systèmes de licence efficaces ?

Modérateur : Jeremy Silver, Founder, Media Clarity (Royaume-Uni) Gary Churgin, President and CEO, HFA (USA) Bob Frank, President, E1 Music / Chairman, Merlin Nicolas Galibert, Directeur général, Sony/ATV (France) / Président, ICMP – Confédération Internationale des Éditeurs de Musique Bendik Hofseth, Compositeur et saxophoniste / Membre du Board, TONO (Norvège) / Président, Conseil International des Créateurs de Musique Zahavah Levine, Chief Counsel, YouTube / Associate General Counsel, Google (USA) John LoFrumento, Chief Executive Officer, ASCAP (USA) Charles Slocum, Assistant Executive Director, WGA West (USA)

12h30-12h50 Questions-réponses Quel avenir pour les industries culturelles ? Le point de vue d’un leader de l’industrie Lieu : Amphithéâtre Si l’avenir des industries culturelles va indéniablement devenir numérique, le chemin pour y parvenir n’en demeure pas moins semé d’embuches pour le domaine de la création. Peu nombreux sont ceux capable d’avoir une vision aussi claire que Richard Sarnoff sur la place des industries culturelles dans le nouvel environnement numérique actuel. En tant que co-président de Bertelsmann Inc. et président de Bertelsmann Digital Media Investments, Sarnoff planifie l’avenir de ces industries dans l’un des groupes de médias les plus importants au monde. Et, en tant que président de l’Association américaine des éditeurs (AAP), il a été l’un des architectes de l’accord historique signé récemment entre Google, les auteurs et les éditeurs de livres. Préparez-vous pour un discours visionnaire de l’un des leaders des industries de la création.

Richard Sarnoff, President, Bertelsmann Digital Media Investments / Co-Chairman, Bertelsmann Inc. / Former chairman, AAP – Association of American Publishers (USA) Interviewé par Emmanuel Legrand, Rédacteur en chef, Impact (Royaume-Uni)

13h00-14h00 Déjeuner et Keynote (Lieu : Pavillon, deuxième étage)

13h15-13h35 Keynote Coopération mondiale en matière de propriété intellectuelle et de droit d’auteur – Le point de vue américain Lieu : Pavillon, deuxième étage Les États-Unis ont été l’un des moteurs permettant d’assurer que les questions liées à la protection et au respect de la propriété intellectuelle et du droit d’auteur figurent au premier plan du programme sur les politiques commerciales internationales. En tant que conseiller politique principal auprès du Représentant des États-Unis pour les questions commerciales et des agences gouvernementales spécialisées dans les questions liées à la propriété intellectuelle et au commerce, le rôle de Stanford McCoy est crucial pour toutes les industries culturelles. Il est le négociateur commercial le plus éminent des États-Unis en matière de propriété intellectuelle et d’innovation et il est également responsable de vérifier si le respect de la protection de la propriété intellectuelle est appliqué à travers le monde. Attendez-vous à des messages forts de la part de l’un des acteurs clés de l’administration américaine.

Stanford McCoy, Assistant U.S. Trade Representative for Intellectual Property and Innovation, Office of the U.S. Trade Representative (USA )

14 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Programme des conférences

14h00-15h00 Présentation & Discussion Le financement des industries culturelles – Les sociétés d’auteurs devraient-elles prendre des participations dans les services numériques ? Lieu : Amphithéâtre Avec l’érosion des sources traditionnelles de revenus, comment les industries culturelles maintiendront-elles leur investissement ? Will Page (Economiste en chef de la société Britannique PRS for Music) et David Touve (Vanderbilt University) s’appuient sur la publication de leur rapport « Should Societies Pursue Equity » (Les sociétés d’auteurs devraient-elles prendre des participations ?) pour présenter en exclusivité lors du Sommet mondial du droit d’auteur 2009 leur dernier ouvrage sur les questions épineuses de la prise de participation et l’octroi de licences aux start-up. Leur recherche servira de catalyseur aux ayants-droit, utilisateurs et régulateurs pour réfléchir sur les conséquences d’une telle innovation. Leur analyse constituera le point de départ d’un débat axé sur les nouveaux moyens de financement des industries culturelles.

Modérateur: Pat Collins, President/COO, SESAC (USA) David A. Basskin, President, CMRRA (Canada) Will Page, Chief Economist, PRS for Music (Royaume-Uni) Paul Petrick, Product Manager/Lead Software Engineer, Project Playlist (USA) David Touve, Affiliated Researcher, Vanderbilt University (USA)

14h00-15h00 Session spéciale Le droit de suite : une leçon universelle Lieu : Hémisphère A Dans l’Union européenne et certains autres pays, les artistes visuels bénéficient désormais du droit de suite, ce qui leur permet de toucher un pourcentage de la valeur de revente de leurs œuvres. Alors que la Commission européenne se prépare à évaluer l’impact de cette législation, un groupe d’experts issus de sociétés d’auteurs gérant les arts visuels, de galeries d’art, de commissaires-priseurs, de fondations d’art, et des créateurs débattent des avantages et des inconvénients du droit de suite. Le débat sera précédé de la présentation d’un rapport sur l’impact du droit de suite au Royaume-Uni.

Modérateur : Jason Edward Kaufman, Chief U.S. Correspondent, The Art Newspaper (USA) Wendy Battleson, Vice President and Associate Counsel, Christie’s (USA) Joanna Cave, Chief Executive, VISCOPY (Australie) Theodore Feder, President, ARS (USA) Christiane Ramonbordes, Directrice générale, ADAGP (France) Robert Scott, Directeur, William Scott Foundation & Archive (Royaume-Uni) Frank Stella, peintre et sculpteur (USA)

14h00-15h00 Présentation Contrôler l’utilisation en ligne et hors ligne des œuvres: outils et services pour mieux répondre aux besoins des ayants-droit Lieu : Hémisphère B Sociétés d’auteurs et entreprises privées ont investi dans des systèmes permettant le suivi de la musique, des films et des images. Ces systèmes qui fournissent des informations précises relatives à l’utilisation des œuvres dans les médias analogiques et numériques sont cruciaux pour rémunérer les ayants-droit et protéger les droits d’auteur. Cette session se concentrera sur les services ou les systèmes qui permettent aux organismes et aux sociétés de gestion de droits de mieux travailler et de contrôler plus efficacement l’utilisation des œuvres protégées par le droit d’auteur, à la fois dans l’environnement en ligne et hors ligne.

Modérateur : Sylvain Piat, Directeur Réseaux d’Informations Internationaux, CISAC David De Busk, Vice President Business Development, Landmark Digital Services (USA) Steven Lubin, CEO, Mediaguide (USA) Bob Kohn, co-founder, Chairman and CEO, RoyaltyShare (USA) Patrick F. Sullivan, President and CEO, Rightsflow (USA) John F. Utley, Vice President US, Civolution / Chairman, Digital Watermarking Alliance (USA)

15h00-15h30 Pause café et Networking

15h30-15h50 Questions-réponses Gros plan – L’édition musicale à l’échelle internationale Lieu : Amphithéâtre Dans le nouvel environnement numérique, quel est le rôle des éditeurs de musique ? D’où proviendront les nouveaux flux de revenus ? Comment les éditeurs considèrent-ils leur relation avec les sociétés d’auteur ? De nombreux sujets de débats pour David Renzer, représentant le leader mondial de l’édition musicale.

David Renzer, Chairman and CEO, Universal Music Publishing Group (USA) Interviewé par Brett Cottle, CEO, APRA (Australie) / Président du Conseil d’administration, CISAC

www.copyrightsummit.com 15 Programme des conférences

15h50-16h10 Questions-réponses Les créateurs au 21ème siècle – Le cas des artistes visuels Lieu : Amphithéâtre Quelle serait la place de Michel-Ange dans le monde de l’art d’aujourd’hui ? Comment réagirait-il à la reproduction numérique de ses œuvres sur Internet ? Les artistes visuels sont actuellement confrontés à de profonds bouleversements du mode de diffusion de leurs œuvres. Certaines de leurs préoccupations sont communes à l’ensemble des créateurs mais ils sont également confrontés à des questions spécifiques telles que le droit de suite ou les œuvres orphelines. Frank Stella, peintre et sculpteur américain de renommée mondiale, abordera dans une session de questions-réponses les défis auxquels sont confrontés les créateurs au 21ème siècle.

Frank Stella, peintre et sculpteur (USA) Interviewé par Jason Edward Kaufman, Chief U.S. Correspondent, The Art Newspaper (USA)

16h10-17h30 Discussion Créateurs : vous avez dit révolution numérique ? Lieu : Amphithéâtre Des créateurs de renoms discutent des derniers développements survenus dans leurs univers créatifs et leurs répercussions sur leur art. Les technologies numériques ont-elles modifié la façon dont ils créent ? Modifient-elles leurs relations professionnelles (labels, sociétés d’auteurs, éditeurs, studios de cinéma, etc.) ? Ont-elles permis aux artistes et créateurs de s’affranchir et de prendre en charge leur carrière en passer outre les structures existantes des industries culturelles ?

Modérateur : Keith Harris, Head of Performers Affairs, PPL (Royaume-Uni) / Chair, MusicTank Hervé Di Rosa, artiste peintre / Board Member, ADAGP (France) Lamont Dozier, auteur-compositeur, producteur et artiste-interprète / BMI icone (USA) Armando Manzanero, musicien et compositeur / President, SACM (Mexique) Dinaw Mengestu, écrivain (USA/Ethiopie) Fernando Trueba, scénariste et réalisateur (Espagne) Paul Williams, auteur-compositeur, interprète et acteur / President and Chairman, ASCAP (USA)

18h30-21h00 Cocktail et concert exceptionnel Lieu : Mellon Auditorium (situé dans le National Mall et adjacent au Ronald Reagan Center) Tous les délégués du Sommet mondial du droit d’auteur sont conviés au cocktail et au grand concert de jazz organisés le mardi 9 juin par les sociétés d’auteurs américaines ASCAP, BMI et SESAC. Le légendaire Auditorium Mellon accueillera le grand vibraphoniste Stefon Harris, la célèbre chanteuse Ann Hampton Callaway et le virtuose du saxophone Joe Lovano, qui seront accompagnés du fameux Smithsonian Jazz Masterworks Orchestra.

Sponsorisé par : ASCAP, BMI et SESAC

Mercredi 10 juin 2009

8h00-8h30 Café et networking

8h30-8h40 Discours de bienvenue (Lieu : Amphithéâtre)

8h40-9h00 Keynote La politique américaine en matière de droit d’auteur : 50 États et au-delà… Lieu : Amphithéâtre Les États-Unis tenant une place centrale dans l’économie culturelle, l’état de la législation américaine en matière de droit d’auteur et de propriété intellectuelle est d’une importance capitale et a des incidences bien au-delà des 50 États de l’Union. Le Sénateur Patrick J. Leahy, l’un des plus éminents législateurs des Etats-Unis, parlera de l’importance de protéger la propriété intellectuelle et expliquera comment son pays peut continuer à être une référence pour le reste du monde en mettant en place une législation adaptée aux défis de l’ère du numérique tout en respectant les droits à la vie privée, la protection des droits d’auteur et la liberté d’expression sur Internet.

Senateur Patrick J. Leahy, Chairman of the Judiciary Committee, Sénat des États-Unis (USA)

16 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Programme des conférences

9h00-9h30 Débat À qui de droit ? Lieu : Amphithéâtre Les législateurs doivent trouver un équilibre entre la protection du droit d’auteur et l’accès aux œuvres par les consommateurs. Cet accès étant facilité par les technologies numériques, les droits des consommateurs entravent- ils les droits des créateurs et ayants-droit ? Peut-il y avoir un terrain d’entente entre les deux parties ? Industriels de l’électronique grand public et ayants-droit peuvent-ils trouver un intérêt commun à garantir une rémunération équitable pour les utilisations des œuvres créatives ? Un face à face à ne pas manquer entre Gary Shapiro, représentant de l’industrie de l’électronique grand public (Consumer Electronics Association), et David Israelite, représentant les ayants-droit (National Music Publishers Association).

David Israelite, Président et CEO, NMPA – National Music Publishers Association (USA) Gary Shapiro, Président et CEO, CEA – Consumer Electronics Association (USA)

9h30-9h45 Keynote Harmonisation et protection du droit d’auteur à l’échelle internationale Lieu : Amphithéâtre Ralph Oman, expert juridique international et spécialiste de la propriété intellectuelle, dresse, en guise d’introduction à la session suivante, un tableau des questions actuelles liées au droit d’auteur à l’échelle internationale.

Ralph Oman, Professor of Intellectual Property and Patent Law, George Washington University (USA)

9h45-10h45 Discussion Le droit d’auteur à l’échelle internationale – Vers une vision globale Lieu : Amphithéâtre Les systèmes de droit d’auteur à travers le monde ne sont pas en harmonie en raison des différentes philosophies et pratiques juridiques en place. Quel impact cela a-t-il sur les ayants-droit et le développement de plateformes légales ? Comment le monde culturel peut-il fonctionner de façon plus harmonieuse ? Un groupe d’experts tentera de déterminer si le monde s’oriente vers une plus grande coopération en matière de propriété intellectuelle et comment parvenir à une harmonisation de la législation du droit d’auteur.

Modérateur: Susan Butler, Executive Editor, Music Confidential (USA) Fritz E. Attaway, Executive Vice President, Special policy advisor, MPAA – Motion Picture Association of America (USA) Eduardo Bautista, President of the Management Board, SGAE (Espagne) Michael Keplinger, Deputy Director General, OMPI (Suisse) Susan Mann, Senior Director, Intellectual Property Policy, Microsoft Corporation (USA) Ralph Oman, Professor of Intellectual Property and Patent Law, George Washington University (USA) Marybeth Peters, US Register of Copyright, US Copyright Office (USA) Feargal Sharkey, CEO, UK Music (Royaume-Uni)

10h45-11h15 Pause café et networking

11h15-11h35 Keynote Propriété intellectuelle et droit d’auteur comme moteurs de la croissance économique mondiale Lieu : Amphithéâtre La Banque mondiale, organisation internationale basée à Washington, a depuis longtemps reconnu que la propriété intellectuelle contribue de façon significative au développement, à la réduction de la pauvreté et au bien-être culturel, social et économique à l’échelle mondiale. Anne-Marie Leroy, Première vice-présidente et Conseillère juridique principale de la Banque mondiale, expliquera pourquoi les politiques en faveur de la propriété intellectuelle et des droit d’auteur, ainsi qu’un cadre juridique adapté et une application effective, sont des conditions essentielles au développement des industries culturelles.

Anne-Marie Leroy, Senior Vice President and Group General Counsel, Banque mondiale (USA)

11h35-11h55 Keynote Les créateurs au 21ème siècle – Vol au-dessus des droits des cinéastes Lieu : Amphithéâtre Si l’art de concevoir des films n’a pas drastiquement évolué depuis l’invention des frères Lumière il y a un siècle, l’environnement dans lequel les films sont conçus, produits et diffusés a été considérablement remodelé par l’avènement des technologies numériques. Dans un discours engagé, Miloš Forman, qui a entre autres réalisé « Vol au dessus d’un nid de coucou », « Hair », « Ragtime », « Amadeus », « Valmont », et « Larry Flynt », parlera des défis auxquels sont confrontés les créateurs au 21ème siècle. Ce cinéaste plusieurs fois primé aux Oscars discutera notamment de l’importance des droits des créateurs, de la lutte contre le piratage, de l’impact des contenus gratuit sur Internet, et de l’importance du respect des œuvres de l’esprit.

Miloš Forman, réalisateur (USA) www.copyrightsummit.com 17 Programme des conférences

12h00- 13h00 Discussion Une Europe sans frontières ? Qu’en est-il des licences paneuropéennes? Lieu : Amphithéâtre Deux ans après le premier Sommet du droit d’auteur à Bruxelles, le paysage européen a-t-il fondamentalement changé ? Quels sont les nouveaux systèmes mis en place et les licences paneuropéennes ont-elles été simplifiées ? Cela a-t-il un impact sur les créateurs, les éditeurs, les sociétés d’auteurs et les utilisateurs de contenus ? Et avec l’existence de barrières culturelles et financières traditionnelles, ces licences deviendront-elles un jour réalité ? La discussion sera précédée d’un état des lieux de l’Union européenne présenté par un expert juridique.

Modérateur et introduction : Tom Frederikse, Solicitor & Attorney, Clintons (Royaume-Uni) Jane Dyball, Senior Vice President, International Legal and Business Affairs, Warner/Chappell Music (Royaume-Uni) Roger Faxon, Chairman et CEO, EMI Music Publishing (USA) Guy Henderson, Senior Vice President International, Sony/ATV Music Publishing (Royaume-Uni) Bernard Miyet, Président du directoire, SACEM (France) / Président, GESAC – Groupement européen des sociétés d’auteurs et compositeurs Kenth Muldin, Chief Executive Officer, STIM (Suède) / Président Comité Européen, CISAC Sami Valkonen, Global Director, Music Business Affairs, Nokia (USA)

12h00-13h00 Session spéciale Promouvoir la valeur du droit d’auteur – Tout le monde y trouve-t-il son compte ? Lieu : Hémisphère A Divers dispositifs et programmes ont été mis en place à travers le monde pour informer le public, les décideurs politiques, les législateurs et le pouvoir judiciaire des questions de propriété intellectuelle. Il existe également des défenseurs d’autres systèmes qui pensent que les créateurs et les consommateurs devraient décider de leurs droits. Une session spéciale pour mettre en avant ces différentes expériences et sensibiliser les participants à la valeur du droit d’auteur.

Modérateur: Serona Elton, Assistant Professor – Music Business and Entertainment Industries, Frost School of Music – University of Miami (USA) Scott A. Bearby, Managing Director of Legal Affairs/ Associate General Counsel, NCAA – National Collegiate Athletic Association (USA) Allison Demas, Chief Executive Officer, COTT (Trinité-et-Tobago) Lizha James, singer-songwriter/ Board member, SOMAS (Mozambique) Marcus Johnson, compositeur, pianiste de jazz et producteur / Président et CEO, Three Keys Music (USA) Bruce Lehman, Chairman, IIPI – International Intellectual Property Institute (USA) Katri Sipilä, CEO, Teosto (Finlande)

12h00-13h00 Session spéciale Des métadonnées plus intelligentes peuvent-elles profiter à votre entreprise? Lieu : Hémisphère B Quels bénéfices des systèmes modernes de gestion des droits peuvent-ils apporter aux médias, aux fournisseurs de contenus, aux ayants-droit et aux sociétés d’auteurs ? Cette session expliquera pourquoi l’industrie numérique a besoin de se construire sur la base d’une architecture complète d’identifiants interopérables, de bases de données mondiales de référence et d’outils de suivi d’utilisation des œuvres.

Modérateur et introduction: FX Nuttall, Technology Intelligence Consultant, CISAC Gloria Braga, Executive Director, ECAD (Brésil) Jeff Sedlik, President et CEO, PLUS Coalition (USA) Albert Pastore, Senior Legal Counsel – Music, Nokia (Royaume-Uni) Dan Pifer, Executive Vice President Operations & Technology, The Orchard (USA) Andy Weissberg, General Manager of identifiers Services, Bowker (USA) Satoshi Watanabe, International Relations Department Manager, JASRAC (Japon)

13h00-14h00 Déjeuner et Keynote (Lieu : Pavillon, deuxième étage)

18 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Programme des conférences

13h15-13h45 Keynote Quelle législation pour le droit d’auteur à l’ère numérique ? Lieu : Pavillon, deuxième étage De nombreuses industries dépendant de la protection de la propriété intellectuelle et des droits d’auteur, les décideurs politiques américains sont conscients de la nécessité de disposer d’une législation appropriée permettant à ces industries de prospérer. À l’ère du numérique et avec l’érosion de la valeur du droit d’auteur, cette armature juridique est plus importante que jamais. Congressman John Conyers, un des plus éminents législateurs des États-Unis dans les domaines du droit d’auteur, du droit des brevets et des marques, et des technologies de l’information, nous fera part de ses vues sur ces sujets.

Congressman John Conyers, Jr., Chairman of the Judiciary Committee, Chambre des représentants des États-Unis (USA)

14h00-14h15 Présentation Rapport exclusif : Réflexions sur de nouveaux modes de financement des industries culturelles Lieu : Amphithéâtre Un rapport exclusif de la CISAC pour le Sommet mondial du droit d’auteur identifiera les nouvelles sources de revenus des industries culturelles.

Frédéric Patissier, Consultant en Etudes Stratégiques, CISAC

14h15-14h35 Keynote L’avenir du numérique – La Corée du Sud est-elle en pole position ? Lieu : Amphithéâtre Al Gore a pu rêver de la construction d’ « autoroutes de l’information » en 1994 mais la Corée du Sud l’a fait. En quelques décennies, la République de Corée, après avoir été l’un des pays avec le taux de pénétration le plus faible au monde dans le domaine de la téléphonie, est devenue un leader dans le secteur des Technologies de l’information et de la communication (TIC). Son réseau haut débit est le plus développé au monde, tandis que le taux de pénétration de la téléphonie mobile est estimé à 93,4%. Yong-Kyung Lee, l’un des architectes de ce qui a été décrit comme le « miracle coréen » lorsqu’il dirigeait Korean Telecom, devenu aujourd’hui un législateur respecté dans son pays, livrera un aperçu de l’avenir du numérique si le monde suit l’exemple de la Corée.

Assemblyman Dr. Yong-Kyung Lee, Assemblée Nationale de Corée (Membre de la Commission de la culture, du sport, du tourisme, de la diffusion et des télécommunications) / ancien Président et Directeur général de Korean Telecom (Corée du Sud)

14h35-15h40 Discussion Les FAI/opérateurs de télécommunications : partie du problème ou de la solution ? Lieu : Amphithéâtre Dans de nombreux pays, des voix s’élèvent pour que les FAI et les opérateurs de télécommunications agissent, aux côtés des ayants-droit, pour trouver une solution au volume considérable d’œuvres illégalement disponibles sur Internet. Il y aussi ceux qui estiment que les FAI devraient reconnaitre que les œuvres de création contribuent au succès et à la valeur de leurs services et qu’ils devraient donc à ce titre partager une partie de ce succès avec la communauté créative. Représentants des ayants-droit, des FAI et des opérateurs de télécommunications débattront des scénarii possibles de leurs futures relations.

Modérateur: Bill Werde, Editorial Director, Billboard (USA) Jim Griffin, Founder, Choruss (USA) Martin C. Lafferty, CEO, DCIA – Distributed Computing Industry Association (USA) Nicholas Motsatse, Chief Executive Officer, SAMRO (Afrique du Sud) Shira Perlmutter, Executive Vice-President, Global Legal Policy, IFPI (Royaume-Uni) Paul Sanders, Co-Founder/Strategic Director, PlayLouder MSP (Royaume-Uni)

15h40-16h10 Pause café et networking

www.copyrightsummit.com 19 Programme des conférences

16h10-16h30 Keynote Google et les industries culturelles – Une nouvelle forme de partenariat Lieu : Amphithéâtre David C. Drummond, un des dirigeants de Google, présente les différentes stratégies de partenariat avec les industries culturelles, comme le fameux accord signé récemment entre Google et les éditeurs de livres et les auteurs aux États-Unis.

David C. Drummond, Senior Vice President, Corporate Development and Chief Legal Officer, Google (USA)

16h30-17h30 Discussion Chaos ou salut numérique : Vers une nouvelle donne entre ayants-droit et utilisateurs de contenus ? Lieu : Amphithéâtre À l’heure où leurs œuvres sont consultées et diffusées sur Internet, toutes les industries culturelles (musique, film, télévision, livres et arts visuels) réécrivent les règles du jeu. Quelles sont leurs options ? Que peuvent-elles apprendre de leurs expériences réciproques jusqu’à présent ? Peuvent-elles emboîter le pas de l’industrie du livre et s’inspirer de l’accord historique signé avec Google fin 2008 ? Le type d’accord signé par Google avec les éditeurs et les auteurs deviendra-t-il la norme pour l’avenir ?

Ralph Simon, Chairman Emeritus & Founder, Mobile Entertainment Forum – Americas / CEO, The Mobilium International Advisory Group Warren Adler, Associate National Executive Director, DGA (USA) Sandra Aistars, Assistant General Counsel, IP, Time Warner (USA) Jeremy Fabinyi, Managing Director of Mechanicals, PRS for Music (UK) Dr. Harald Heker, CEO, GEMA (Allemagne) Cecily Mak, Senior Counsel, Director of Music Licensing, Real Networks (USA) Ralph Peer, Chairman and CEO, peermusic (USA)

17h30 -17h45 Discours de clôture Créateurs et sociétés d’auteurs : des acteurs clés au 21ème siècle Lieu : Amphithéâtre Robin Gibb, auteur-compositeur et interprète légendaire des Bee Gees, et Président de la CISAC, clôturera le Sommet.

20 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Autres événements autour du sommet ?

Lundi 8 juin 2009 Cocktail d’ouverture du Sommet mondial du droit d’auteur

Heure : de 18h30 à 20h30 Rien de mieux pour bien commencer le Sommet Lieu : Pavillon, deuxième étage, Ronald mondial du droit d’auteur que de rencontrer tous les Reagan Center participants et partager un verre à la soirée officielle Comment y accéder ? Accès au Ronald d’ouverture ! Le tout, dans un cadre détendu et Reagan Center par la Woodrow Wilson informel. Le Président de la CISAC, Robin Gibb, aura Plaza, adjacente au Restaurant Aria et le plaisir de vous accueillir et donnera officiellement donnant directement sur Pennsylvania Avenue et 13th Street. le coup d’envoi du deuxième Entrée : Accès au Ronald Reagan Center Sommet mondial du droit sur présentation de votre carte d’identité / d’auteur. Tous les délégués du passeport avec photo. Vous pourrez retirer Sommet sont invités au cocktail votre badge du Sommet mondial du droit d’ouverture organisé le lundi 8 d’auteur au bureau des inscriptions (Pavillon) juin par les sociétés d’auteurs et avant la cérémonie. guildes américaines membres Sponsorisé par : de la CISAC. Ronald Reagan Center

Mardi 9 juin 2009 Cocktail et grand concert de jazz

Heure : Cocktail à 18h30 / Concert de Tous les délégués du Sommet mondial du droit 19h30 à 20h30 d’auteur sont conviés au cocktail et au grand concert Lieu : Auditorium Mellon, 1301 Constitution de jazz organisés le mardi 9 juin par les sociétés Ave NW- Washington, DC 20240 d’auteurs américaines ASCAP, BMI et SESAC. Comment y accéder ? Sur le National Mall, adjacent au Centre Ronald Le légendaire Auditorium Mellon accueillera le Entrée : Sur présentation de votre badge grand vibraphoniste Stefon Harris, la célèbre du Sommet mondial du droit d’auteur et/ou chanteuse Ann Hampton Callaway et le invitation virtuose du saxophone Joe Lovano, qui seront Organisé par : accompagnés du fameux Smithsonian Jazz Masterworks Orchestra.

Auditorium Mellon

www.copyrightsummit.com 21 Informations supplementaires du sommet

Remerciements La CISAC remercie chaleureusement l’ensemble des participants au Comité Consultatif du Sommet, composé de toutes les sociétés membres de la CISAC aux Etats-Unis ; dans le secteur musical AMRA, ASCAP, BMI, NMPA et SESAC ; les guildes audiovisuelles DGA et WGA ; les sociétés d’arts graphiques et plastiques ARS et VAGA ; et la société de droits littéraires The Author’s Registry. Tous ont été d’une aide précieuse à la CISAC en lui prodiguant leurs conseils et en assurant la présence de nombreux orateurs que vous pourrez écouter au cours du Sommet. Nous tenons à leur exprimer notre gratitude pour le temps et les efforts qu’ils nous ont consacrés, ainsi que pour le soutien qu’ils nous ont apporté.

Pauses café et déjeuners Un déjeuner-buffet est prévu pour tous les délégués du Sommet mondial du droit d’auteur les 9 et 10 juin, dans la salle « Pavilion » située au deuxième étage. Les pauses café auront lieu dans le foyer de l’Amphithéâtre, dans le hall.

Accès vidéos, photos et présentations en ligne Nous informons les délégués du Sommet que tous les débats du Sommet mondial du droit d’auteur seront filmés et accessibles en ligne. Au cours du Sommet, des photos destinées aux médias seront disponibles dans le bureau de presse. Tous les discours, photos et vidéos du Sommet mondial du droit d’auteur seront accessibles sur le site web de la CISAC et du Sommet dans les semaines qui suivront l’événement : www.cisac.org ; www.copyrightsummit.org

Santé et sécurité L’alarme d’incendie du bâtiment : est un système à une phase. Dans les zones exigeant une évacuation immédiate, une sirène sonnera de façon continue. Si vous détectez un incendie, déclenchez le signal d’alarme du poste le plus proche. Le point de rencontre se trouve à : The Plaza 14th Street ou Freedom Plaza 13th Street à l’angle de Pennsylvania Avenue.

Responsabilité La CISAC et Informa ne sont en aucun cas responsable de la perte, du vol, des dégâts ou des retards causés par la perte ou le vol de tout bien appartenant aux participants, aux auteurs ou à des tiers. Les auteurs, les participants et les tiers reconnaissent qu’il est de leur responsabilité de contracter les assurances adéquates pour couvrir ces éventualités. Nonobstant les clauses des paragraphes ci-dessus, dans l’éventualité où lesdits biens seraient placés sous la protection de la CISAC ou de ses représentants, la CISAC exercerait une responsabilité raisonnable, mais sa responsabilité pour la perte, le vol, les dégâts ou les retards dans les cas où lesdits biens seraient sous la protection de la CISAC ou de ses représentants n’excédera pas la valeur dudit bien ou de USD1600, le montant le plus bas étant applicable. La CISAC et Informa pourront éventuellement effectuer un versement raisonnable pour le retour des biens perdus ou non réclamés au participant, à l’auteur ou au tiers, en fonction : 1. du type d’article ; et 2. de la période à laquelle Informa a eu l’article en sa possession avant qu’il ne soit réclamé.

22 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA

Bienvenido Creadores e industrias culturales: nuevos retos

¡Bienvenido a la Cumbre mundial del derecho de autor!

Dos años después del grandísimo éxito de nuestro evento inaugural celebrado en Bruselas, me complace enormemente darle la bienvenida a la Cumbre mundial del derecho de autor, que se celebrará en Washington, DC. El lema de la Cumbre de este año, “Creadores e industrias culturales: nuevos retos”, ilustra a la perfección lo que pretendemos conseguir en ella: recordarle al mundo que las aportaciones de los creadores son fundamentales para el desarrollo cultural, económico y social, pero también que los creadores, y aquellos que los representan, se enfrentan a unos retos abrumadores en esta nueva economía digital. Es imperativo que llevemos a la primera línea del debate político el futuro de las industrias creativas y el papel que ocupamos los creadores en este nuevo panorama. Por ese motivo nos hemos reunido, bajo el amparo de la CISAC, todos los que participamos de un modo u otro en la creación, la producción y la difusión de las obras del intelecto. Para mis compañeros creadores de cada una de las distintas disciplinas es de vital importancia que se oigan nuestras voces. Nos encontramos en la capital de la nación más poderosa del mundo, la que establece las tendencias en lo referente a las leyes sobre derechos de autor; por lo tanto, hemos invitado a varios legisladores de Capitol Hill o de la nueva administración. La suya es una voz de peso y esperamos con toda sinceridad que los creadores encuentren en ellos un ferviente apoyo. Confío en que en estos dos días que pasaremos juntos hagamos muchas nuevas amistades por medio del diálogo y el debate abierto, y, lo que es más importante, que lleguemos a coincidir en una misma visión que reconozca a los creadores como la principal fuerza que se halla detrás de la nueva economía digital. Que disfrute de los próximos días en Washington DC. Robin Gibb Cantante / compositor y Presidente de la CISAC

¡Hablemos de nuestro futuro!

Ya estamos aquí, en Washington DC, para celebrar la segunda Cumbre mundial del derecho de autor. El evento se ha ideado con dos objetivos principales: ofrecer un foro a todos los que participan en el negocio de la creatividad, sobre todo a los creadores, que constituyen la razón de ser de los socios de la CISAC; y esbozar el panorama de la situación actual en nuestro campo, así como intentar trazar algunos escenarios de cara al futuro. Dado que nos encontramos en medio de una situación económica que no se había vivido desde hacía un par de generaciones, es difícil gozar de una gran visibilidad. Pero en lo que respecta al sector que nos importa en la CISAC, los derechos de autor, la situación se ha formado a partir de elementos específicos de nuestro negocio, siendo el más problemático de todos la continua erosión del valor de los derechos de autor. En todo el mundo se consume más obras creativas que nunca y, sin embargo, los cimientos de nuestras economías creativas nunca han sido tan convulsos, lo que influye en el sustento de muchos creadores. Varias de las ponencias y sesiones reflejarán esta situación, y algunas de ellas señalarán además las nuevas direcciones en las que debemos mirar para compensar a los titulares de derechos y, lo que es más importante, para continuar financiando la creatividad. De forma similar, nuestras industrias se basan en una protección adecuada de los derechos de autor. Para que eso ocurra, necesitamos contar con legisladores de todo el mundo que sean conscientes de nuestra situación y que nos apoyen. De ahí el altísimo nivel de la representación política presente en la Cumbre, en especial la procedente del país anfitrión. Asimismo, quisiera aprovechar la oportunidad para agradecer afectuosamente a todas las personas que participaron en el Comité Asesor de la Cumbre, formado por todas las sociedades miembro de EE.UU.: en el campo musical, la AMRA, la ASCAP, la BMI, la NMPA y la SESAC; los gremios audiovisuales la DGA y la WGA; las sociedades de artes gráficas y plásticas ARS y VAGA; y la sociedad de derechos literarios The Author’s Registry. No sólo han ofrecido su inestimable ayuda asesorándonos, sino que también han sido cruciales a la hora de llegar a muchas personas de una importancia clave a las que tendrá el privilegio de escuchar durante la Cumbre. Cuando nos fuimos de Bruselas hace dos años tras el éxito de la primera Cumbre mundial del derecho de autor, sabíamos que sería difícil intentar repetir aquel evento. No hemos escatimado esfuerzos para hacerlo aún mejor, guiados por la idea de que queríamos un evento en el que los creadores fuesen el principal foco de atención. Esperamos que lo aprecie y que regrese a casa con nuevas ideas y perspectivas. ¡Que disfrute de la conferencia! Eric Baptiste Director General de la CISAC

24 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Creadores e industrias culturales: nuevos retos Programa de las Conferencias

4 temas principales:

Nuevos planteamientos para las industrias creativas Los retos de los creadores y los derechohabientes en la era digital Pronóstico meteorológico del derecho de autor La valoración del ecosistema creativo Martes 9 de junio de 2009

8.00am-8.30am Café matinal y networking

8.30am-8.40am Discurso de apertura (Lugar: Anfiteatro)

8.40am-9.00am Conferencia La Agenda de EE.UU. sobre derechos de autor: La opinión de un legislador Lugar: Anfiteatro Debido a la existencia de distintos proyectos de ley de importancia crucial que deben ser debatidos o aprobados por el Senado de Estados Unidos y la Cámara de Representantes, la agenda estadounidense sobre cuestiones de derechos de autor y propiedad intelectual promete ser sumamente ajetreada en los próximos meses para todas las partes implicadas. Un alto representante del Comité Judicial del Senado, que participa activamente en un amplio espectro de cuestiones que afectan al sistema jurídico americano, ofrecerá a los asistentes a la Cumbre Mundial del derecho de autor una visión de la agenda legislativa americana y abordará cuestiones que afectan a los titulares de derechos.

Senador Orrin G. Hatch, Ranking Member of the Judiciary Committee’s Subcommittee on Antitrust, Competition Policy and Consumer Rights, United States Senate (EE.UU.)

9.00am-10.00am Panel La agenda de EE.UU.: una nueva Administración y un nuevo Congreso ¿y ahora qué? Lugar: Anfiteatro Una nueva administración ha ocupado la Casa Blanca y un nuevo Congreso ha tomado posesión ¿cuál es la agenda del país con respecto a los derechos de autor y la propiedad intelectual? ¿Cuáles son las expectativas de los titulares de derechos y los usuarios de contenidos? ¿Está dicha agenda en armonía con el resto del mundo? Esto supone una oportunidad para abordar, entre otros temas, las obras huérfanas, los derechos de los intérpretes, decisiones del CRB…

Moderador: Hilary Rosen, Managing Partner, Brunswick (EE.UU.) Mitch Bainwol, Chairman and CEO, RIAA – Recording Industry Association of America (EE.UU.) Del Bryant, President and CEO, BMI (EE.UU.) Benjamin Ivins, Senior Associate General Counsel, NAB – National Association of Broadcasters (EE.UU.) Jonathan Potter, Executive Director, DiMA – Digital Media Association (EE.UU.) Patrick Ross, Executive Director, Copyright Alliance (EE.UU.) Gigi B. Sohn, President and Co-Founder, Public Knowledge (EE.UU.)

10.00am-10.20am Conferencia Internet, vector de difusión elegido por las industrias culturales: la ley « Creación e Internet » y el planteamiento francés Lugar: Anfiteatro Dado que Francia puede contar con un escenario cultural dinámico, este país siempre ha apoyado a los creadores y las industrias culturales a través de la financiación, la legislación sobre el derecho de autor y las políticas proactivas en favor de las producciones independientes. Precisamente, con el propósito de defender la diversidad cultural, Francia ha sido el primer país en Occidente que ha adoptado una ley destinada a luchar contra la piratería de obras culturales en Internet de forma global: por un lado, organizando la cooperación de las industrias culturales y los PSI para establecer unas medidas pedagógicas y progresivas de disuasión y sanción de los piratas y, por otro lado, fomentando el desarrollo de una oferta legal de contenidos culturales en Internet más atractiva para los consumidores. Christine Albanel, Ministra de Cultura y Comunicación del gobierno francés, señalará los fundamentos del planteamiento francés y explicará de qué forma la ley Creación e Internet se integra en una visión global de futuro para las industrias culturales.

Christine Albanel, Ministra de Cultura y Comunicación (Francia)

www.copyrightsummit.com 25 Programa de las Conferencias Creadores e industrias culturales: nuevos retos

10.30am-11.00am Pausa networking

11.00am-11.20am Conferencia Nuevos planteamientos para las industrias creativas: La ley y perspectivas económicas Lugar: Anfiteatro La propiedad privada normalmente genera riqueza, pero demasiada propiedad tiene el efecto contrario – ésta crea una paralización. En esta paradoja del mercado libre se centra el nuevo libro del profesor de derecho estadounidense, Michael Heller, titulado “The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives.” Aunque la paralización puede obstaculizar la innovación cultural de vanguardia en las artes y la música, la solución según Heller reside en “una gestión colectiva de derechos bien planteada”. Sin duda ésta puede ser una conferencia variada y estimulante intelectualmente de un académico en leyes cuya perspectiva fue descrita por el ex Presidente Bill Clinton como clave para comprender la economía actual.

Michael Heller, Lawrence A. Wien Professor, Columbia Law School, y autor de “The Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and Costs Lives.” (EE.UU.)

11.20am-12.30pm Panel ¿Es válido el sistema de licencias colectivas en el siglo XXI? Lugar: Anfiteatro Como las economías creativas tienen que volver a definir sus modelos comerciales y los usuarios de contenidos luchan por crear unos negocios sostenibles ¿pueden las organizaciones de gestión colectiva seguir ayudando a ambas partes a aumentar la eficacia con unos sistemas de licencias rentables?

Moderador: Jeremy Silver, founder, Media Clarity (Reino Unido) Gary Churgin, President and CEO, HFA (EE.UU.) Bob Frank, President, E1 Music / Chairman, Merlin Nicolas Galibert, Managing Director, Sony/ATV (Francia) / Chairman, ICMP– Confederación Internacional de Editores de Música Bendik Hofseth, saxofonista y compositor / Board Member, TONO (Noruega) / Presidente, CIAM - Consejo Internacional de Creadores de Música Zahavah Levine, Chief Counsel, YouTube / Associate General Counsel, Google (EE.UU.) John LoFrumento, Chief Executive Officer, ASCAP (EE.UU.) Charles Slocum, Assistant Executive Director, WGA West (EE.UU.)

12.30pm-12.50pm Preguntas/ respuestas Moldear el futu ro de las industrias creativas: un líder de la industria comparte su visión Lugar: Anfiteatro Aunque el futuro de las industrias creativas avanza indiscutiblemente hacia el ámbito digital, el camino que conduce a ello supone un reto para el sector creativo. Y pocos pueden expresar tan bien como Richard Sarnoff un planteamiento para las industrias creativas en la nueva era tecnológica actual. Como Co-presidente de Bertelsmann Inc. y Presidente de Bertelsmann Digital Media Investments, Richard Sarnoff está delineando el futuro de uno de los mayores grupos de medios de comunicación del mundo y como Presidente de la Asociación de Editores Americanos (AAP) ha sido uno de los arquitectos del reciente acuerdo celebrado entre Google y los autores y editores de libros. Una conferencia que no deben perderse, pronunciada por uno de los líderes de la industria con más visión de futuro del mundo.

Richard Sarnoff, President, Bertelsmann Digital Media Investments / Co-Chairman, Bertelsmann Inc. / Former chairman, AAP – Association of American Publishers (EE.UU.) Entrevistado por Emmanuel Legrand, Redactor jefe, Impact (Reino Unido)

1.00pm-2.00pm Pausa comida y conferencia (Lugar: Pavilion, segundo piso)

1.15pm-1.35pm Conferencia Cooperación mundial sobre propiedad intelectual y cuestiones relativas a derechos de autor – Perspectiva estadounidense Lugar: Pavilion, segundo piso Los Estados Unidos son uno de los principales impulsores de las actividades relativas a la protección de la propiedad intelectual y los derechos de autor en la agenda mundial. En calidad de Asesor Jurídico General Adjunto en la Oficina del Representante de los Estados Unidos para las Cuestiones Comerciales Internacionales y en las agencias gubernamentales encargadas de la propiedad intelectual, Stanford McCoy desempeña un papel crucial para las industrias creativas. Como tal, McCoy es el negociador principal para las áreas de cumplimiento de derechos de propiedad intelectual e innovación, y también se encarga de supervisar la aplicación de las medidas de protección de la propiedad intelectual a nivel mundial. Este importante funcionario público tendrá seguramente mucho que decirnos sobre estos temas candentes.

Stanford McCoy, Assistant U.S. Trade Representative for Intellectual Property and Innovation, Office of the U.S. Trade Representative (USA)

26 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Creadores e industrias culturales: nuevos retos Programa de las Conferencias

2.00pm-3.00pm Presentación y Debate La financiación de las industrias creativas – ¿Deberían las sociedades recabar acciones? Lugar: Anfiteatro Con la degradación de las fuentes de ingresos tradicionales, ¿cómo sustentarán sus inversiones las industrias creativas? Will Page (Economista Jefe, PRS) y David Touve (Vanderbilt University) hacen un seguimiento de su publicación “¿Deberían las sociedades recabar acciones?” para presentar exclusivamente a la Cumbre Mundial del derecho de autor 2009 su última obra sobre las polémicas cuestiones de aceptar acciones y conceder licencias a las nuevas empresas. Su estudio proporcionará a los asistentes un catalizador para los titulares de derechos, usuarios y organismos reguladores con el fin de analizar las consecuencias que tendrá esto. Su análisis constituirá la base de un debate sobre nuevas formas de financiación para las industrias creativas.

Moderador: Pat Collins, President/COO, SESAC (EE.UU.) David A. Basskin, President, CMRRA (Canada) Will Page, Chief Economist, PRS for Music (Reino Unido) Paul Petrick, Product Manager/Lead Software Engineer, Project Playlist (EE.UU.) David Touve, Affiliated Researcher, Vanderbilt University (EE.UU.)

2.00pm-3.00pm Debate por tema de interés El derecho de suite: una lección universal Lugar: Hemisphere A En la Unión Europea y algunos otros territorios, los artistas visuales gozan del derecho de suite, el cual les proporciona un porcentaje sobre el valor de reventa de sus obras. Como la Comisión Europea se está preparando para analizar el impacto de la legislación, un grupo de expertos procedentes de sociedades de artes visuales, galerías de arte, casas de subastas, fundaciones de arte y algunos creadores debatirán los pros y los contras del derecho de suite. Antes de dicho debate, la sociedad de artes visuales del Reino Unido, DACS, presentará un informe exclusivo sobre el impacto del derecho de suite en este país.

Moderador: Jason Edward Kaufman, Chief U.S. Correspondent, The Art Newspaper (EE.UU.) Wendy Battleson, Vice President and Associate Counsel, Christie’s (EE.UU.) Joanna Cave, Chief Executive, VISCOPY (Australia) Theodore Feder, President, ARS (EE.UU.) Christiane Ramonbordes, Managing Director, ADAGP (Francia) Robert Scott, Director, William Scott Foundation & Archive (Reino Unido) Frank Stella, pintor y escultor (EE.UU.)

2.00pm-3.00pm Presentación Seguimiento de las utilizaciones en línea y fuera de línea: Herramientas y utilidades para prestar un mejor servicio a los titulares de derechos Lugar: Hemisphere B Las organizaciones de derechos de ejecución así como las compañías privadas han invertido importantes sumas en sistemas de seguimiento para música, películas e imágenes que alimentan los propios sistemas de regalías de las sociedades de derechos de autor al mismo tiempo que aportar a terceros información más avanzada sobre la utilización de propiedad intelectual tanto en medios análogos como digitales. Una información precisa sobre las utilizaciones es fundamental para compensar a los titulares de derechos y proteger los derechos de autor. Esta sesión destacará los servicios o sistemas que permiten a las organizaciones de derechos de autor y a las sociedades trabajar mejor y de forma más eficaz en el seguimiento de la utilización de obras protegidas por los derechos de autor, tanto en el entorno en línea como fuera de línea.

Moderador: Sylvain Piat, Director Redes de Información Internacionales, CISAC David De Busk, Vice President Business Development, Landmark Digital Services (EE.UU.) Steven Lubin, CEO, Mediaguide (EE.UU.) Bob Kohn, co-founder, Chairman and CEO, RoyaltyShare (EE.UU.) Patrick F. Sullivan, President and CEO, Rightsflow (EE.UU.) John F. Utley, Vice President US, Civolution / Chairman, Digital Watermarking Alliance (EE.UU.)

3.00pm-3.30pm Pausa networking

www.copyrightsummit.com 27 Programa de las Conferencias Creadores e industrias culturales: nuevos retos

3.30pm-3.50pm Preguntas/Respuestas Visión global – Explorar el mundo global de la edición musical Lugar: Anfiteatro En el nuevo entorno digital, ¿qué papel desempeñan los editores de música? ¿De dónde procederán los nuevos flujos de ingresos? ¿Qué opinan los editores de su relación con las sociedades de derechos de autor? Una estimulante sesión con David Renzer, representante del principal editor de música a nivel mundial.

David Renzer, Chairman and CEO, Universal Music Publishing Group (EE.UU.) Entrevistado por Brett Cottle, CEO, APRA (Australia) / Chair of the Board of Directors, CISAC

3.50pm-4.10pm Preguntas/Respuestas Creadores en el siglo XXI – La situación de los artistas visuales Lugar: Anfiteatro ¿Qué pensaría Miguel Ángel del actual mundo del arte? ¿Cómo se sentiría con respecto a la reproducción digital de sus obras en Internet? Los artistas visuales también están experimentando cambios en la forma en la que sus obras llegan al público. Aunque comparten algunas preocupaciones comunes a la comunidad creativa, también tienen cuestiones específicas, como el derecho de reventa o el caso de las obras huérfanas y la proliferación de imágenes en Internet. Frank Stella, famoso pintor y escultor americano, abordará los desafíos a los que se ven enfrentados los creadores en el siglo XXI en una sesión de preguntas y respuestas.

Frank Stella, pintor y escultor (EE.UU.) Entrevistado por Jason Edward Kaufman, Chief U.S. Correspondent, The Art Newspaper (EE.UU.)

4.10pm-5.30pm Debate Creadores: hablando de revolución digital... Lugar: Anfiteatro Creadores destacados participen en una sesión en la que intercambiarán opiniones sobre los últimos progresos producidos en sus mundos creativos y explicarán de qué forma les están afectando. ¿Ha cambiado la tecnología digital su forma de crear? ¿Ha influido en la relación con su entorno profesional (sellos, sociedades de autores, editores, estudios cinematográficos, etc.)? ¿Ha fortalecido a los artistas y les ha ofrecido más oportunidades para hacerse cargo de sus carreras y eludir al sector del ocio?

Moderador: Keith Harris, Head of Performers Affairs, PPL (Reino Unido) / Chair, MusicTank Hervé Di Rosa, artista plástica y pintor / Board Member, ADAGP (Francia) Lamont Dozier, compositor, productor e intérprete / BMI icon (EE.UU.) Armando Manzanero, músico y compositor / President, SACM (Mexico) Dinaw Mengestu, autor (EE.UU./Etiopía) Fernando Trueba, guionista y cineasta (España) Paul Williams, músico, compositor y actor / President and Chairman, ASCAP (EE.UU.)

6.30pm-9.00pm Cóctel y espectáculo musical especial Lugar: Mellon Auditórium (situado en el National Mall, contiguo al Ronald Reagan Center) Todos los delegados de la Cumbre mundial del derecho de autor están invitados a disfrutar de unos cócteles y un concierto estelar de jazz el martes 9 de junio, organizado por las sociedades de autores ASCAP, BMI y SESAC. En el legendario Mellon Auditorium actuarán el genial vibrafonista Stefon Harris, la aclamada vocalista Ann Hampton Callaway y el virtuoso saxofonista Joe Lovano, acompañados por la prestigiosa Smithsonian Jazz Masterworks Orchestra.

Organizado y patrocinado por: ASCAP, BMI y SESAC

28 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Creadores e industrias culturales: nuevos retos Programa de las Conferencias

Miércoles 10 de junio de 2009

8.00am-8.30am Café matinal y networking

8.30am-8.40am Discurso de bienvenida (Lugar: Anfiteatro)

8.40am-9.00am Conferencia Política de derechos de autor estadounidense: 50 Estados y más allá… Lugar: Anfiteatro Con la ventaja americana en el sector de la economía creativa, la situación de la legislación americana respecto a los derechos de autor y la propiedad intelectual es esencial y esto tiene repercusiones que van mucho más allá de los 50 Estados de la Unión. Uno de los más altos legisladores de América describirá la importancia de una apropiada protección de los derechos de autor y cómo el país puede servir de referencia para el mundo, aportando una legislación que responda a los retos de la era digital y respete la protección de los derechos de privacidad, la protección de los derechos de autor y la libertad de expresión en Internet.

Senator Patrick J. Leahy, Chairman of the Judiciary Committee, United States Senate (EE.UU.)

9:00am-9:30am Debate ¿De quién son los derechos? Lugar: Anfiteatro Los legisladores siempre tienen que buscar un equilibrio entre la protección de los derechos de autor y el acceso de los consumidores y el uso legítimo. Como el acceso lo facilitan las nuevas tecnologías digitales, ¿constituyen los derechos de los consumidores un obstáculo para los derechos de los creadores/propietarios de contenidos? ¿Puede existir un terreno común entre las dos partes? ¿Pueden las empresas tecnológicas y los titulares de derechos encontrar un interés común al garantizar una remuneración apropiada por el uso de obras creativas? Un debate cara a cara que no conviene perderse entre representantes de fabricantes de equipos electrónicos, Gary Shapiro (Asociación de Electrónica de Consumo), y de titulares de derechos, David Israelite (Asociación Nacional de Editores Musicales).

David Israelite, President and CEO, NMPA–National Music Publishers Association (EE.UU.) Gary Shapiro, President and CEO, CEA – Consumer Electronics Association (EE.UU.)

9.30am-9.45am Conferencia El clima mundial para la armonización y la protección de los derechos de autor Lugar: Anfiteatro Ralph Oman, un gran experto en leyes de propiedad intelectual describirá en líneas generales la situación de las cuestiones relacionadas con los derechos de autor en el mundo, que servirá de introducción a la siguiente sesión.

Ralph Oman, Professor of Intellectual Property and Patent Law, George Washington University (EE.UU.)

9.45am-10.45am Panel Trasladar las cuestiones de derechos de autor a una escala global Lugar: Anfiteatro Los distintos sistemas de derechos de autor existentes en el mundo están en disonancia debido a las diferentes filosofías y prácticas legales establecidas. ¿Cómo afecta esto a los titulares de derechos? ¿Repercute esto en el desarrollo de servicios legales? ¿Cómo se podría trabajar de forma más acorde a nivel mundial? El panel de expertos analizará si el mundo se dirige hacia una mayor cooperación con respecto a las cuestiones de derechos de autor, una armonización de la legislación de derechos de autor, y cuales serían los pasos necesarios para lograr estos objetivos.

Moderador: Susan Butler, Executive Editor, Music Confidential (EE.UU.) Fritz E. Attaway, Executive Vice President, Special policy advisor, MPAA - Motion Picture Association of America (EE.UU.) Eduardo Bautista, President of the Management Board, SGAE (España) Michael Keplinger, Deputy Director General, OMPI (Suiza) Susan Mann, Senior Director, Intellectual Property Policy, Microsoft Corporation (EE.UU.) Ralph Oman, Professor of Intellectual Property and Patent Law, George Washington University (EE.UU.) Marybeth Peters, US Register of Copyright, US Copyright Office (EE.UU.) Feargal Sharkey, CEO, UK Music (Reino Unido)

10.45am-11.15am Pausa networking

www.copyrightsummit.com 29 Programa de las Conferencias Creadores e industrias culturales: nuevos retos

11.15am-11.35am Conferencia Derechos de propiedad intelectual como factores impulsores del crecimiento económico mundial Lugar: Anfiteatro La organización internacional del Banco Mundial, que tiene su sede en Washington DC, reconoció que las políticas de la propiedad intelectual pueden desempeñar un importante papel fomentando el desarrollo, reduciendo la pobreza y contribuyendo al bienestar cultural, social y económico mundial. Senior Vice President y Group General Counsel del Banco Mundial, Anne-Marie Leroy, explicará por qué las políticas de propiedad intelectual y derechos de autor así como un adecuado marco legal y una correcta aplicación suponen unas condiciones clave para que prosperen las industrias creativas.

Anne-Marie Leroy, Senior Vice President and Group General Counsel, Banco Mundial (EE.UU.)

11.35am-11.55pm Conferencia Creadores en el siglo XXI – Alguien voló sobre los derechos de los cineastas Lugar: Anfiteatro Puede que el arte de realizar películas no haya cambiado mucho desde la época de los hermanos Lumiere hace más de un siglo, pero el ámbito en el que se conciben, se producen y llegan al público las películas se ha remodelado desde la llegada de la tecnología digital. Durante una conferencia que invita a la reflexión, Miloš Forman, director de películas como “Alguien voló sobre el nido del cuco”, “Hair”, “Ragtime”, “Amadeus”, “Valmont” y “El escándalo de Larry Flynt”, abordará los retos que afrontan los productores de películas en el siglo XXI. El oscarizado cineasta hablará de la importancia de los derechos de los creadores, la lucha contra la piratería, el impacto de los contenidos libres en Internet y la importancia de respetar las obras creativas.

Miloš Forman, cineasta (EE.UU.)

12.00pm-1.00pm Debate Europa ¿el estado sin fronteras? Progresos en las licencias europeas multiterritoriales Lugar: Anfiteatro Dos años después de la Cumbre inaugural de Bruselas, ¿ha cambiado mucho el panorama europeo? ¿Cuáles son los nuevos sistemas establecidos? ¿Se ha simplificado de alguna forma la concesión de licencias paneuropeas? ¿Cómo repercute esto en creadores, editores, sociedades de autores y usuarios de contenidos? Con las barreras culturales, financieras y tradicionales existentes ¿podrá ser realidad algún día? Antes del comienzo de este debate, un experto legal describirá la situación en la UE...

Moderador e introducción: Tom Frederikse, Solicitor & Attorney, Clintons (Reino Unido) Jane Dyball, Senior Vice President, International Legal and Business Affairs, Warner/Chappell Music (Reino Unido) Roger Faxon, Chairman and CEO, EMI Music Publishing (EE.UU.) Guy Henderson, Senior Vice President International, Sony/ATV Music Publishing (Reino Unido) Bernard Miyet, CEO and Chairman of the Management Board, SACEM (Francia) / President, GESAC – European Grouping of Societies of Authors and Composers Kenth Muldin, Chief Executive Officer, STIM (Suecia) / Chair of CISAC European Committee Sami Valkonen, Global Director, Music Business Affairs, Nokia (EE.UU.)

12.00pm-1.00pm Debate por tema de interés Promover los valores de los derechos de autor – ¿una situación rentable para todos? Lugar: Hemisphere A Se han instaurado distintos sistemas y programas a nivel mundial para informar al público y a los responsables políticos, legisladores y magistrados sobre cuestiones de propiedad intelectual. También hay defensores de otros sistemas como Creative Commons que piensan que esto podría fortalecer a creadores y consumidores. Los expertos resumirán el valor de tales experiencias, sensibilizando al público sobre el valor de los derechos de autor.

Moderador: Serona Elton, Assistant Professor - Music Business and Entertainment Industries, Frost School of Music - University of Miami (EE.UU.) Scott A. Bearby, Managing Director of Legal Affairs/ Associate General Counsel, NCAA - National Collegiate Athletic Association (EE.UU.) Allison Demas, CEO, COTT (Trinidad y Tobago) Lizha James, singer-songwriter/ Board member, SOMAS (Mozambique) Marcus Johnson, pianista de jazz, compositor y productor / President and CEO, Three Keys Music (EE.UU.) Bruce Lehman, Chairman, IIPI - International Intellectual Property Institute (EE.UU.) Katri Sipilä, CEO, Teosto (Finlandia)

30 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Creadores e industrias culturales: nuevos retos Programa de las Conferencias

12.00pm-1.00pm Debate por tema de interés ¿Puede beneficiar a su negocio la información sobre la gestión de derechos? Lugar: Hemisphere B ¿Pueden los sistemas modernos de información sobre gestión de derechos mejorar las condiciones profesionales de los medios, los proveedores de servicios de contenidos, los titulares de derechos y las sociedades de derechos de autor? En esta sesión se explicará por qué son fundamentales para los ecosistemas empresariales digitales la arquitectura RMI, unas herramientas de seguimiento adecuadas, unas bases de datos fiables a nivel mundial y la interoperabilidad de los identificadores.

Moderador e introducción: FX Nuttall, Asesor Senior en la Tecnología de Vanguardia, CISAC Gloria Braga, Executive Director, ECAD (Brasil) Jeff Sedlik, President and CEO, PLUS Coalition (EE.UU.) Albert Pastore, Senior Legal Counsel – Music, Nokia (Reino Unido) Dan Pifer, Executive Vice President Operations & Technology, The Orchard (USA) Andy Weissberg, General Manager of identifiers Services, Bowker (EE.UU.) Satoshi Watanabe, International Relations Department Manager, JASRAC (Japón)

1.00pm-2.00pm Pausa comida y conferencia Lugar: Pavilion, segundo piso

1.15pm-1.35pm Conferencia ¿Qué legislación de derechos de autor sería adecuada en la era digital? Lugar: Pavilion, segundo piso Debido a que muchas industrias dependen de la protección de los derechos de autor, los legisladores estadounidenses se han mostrado receptivos respecto a las necesidades de que exista una legislación apropiada que permita que estas industrias prosperen. Con la llegada de la era digital y el deterioro del valor de los derechos de autor, la aplicación de una legislación adecuada es más importante que nunca. Escuchen a uno de los principales legisladores del país en el ámbito de los derechos de autor, el derecho de patentes y marcas y la tecnología de la información.

Congressman John Conyers, Jr., Chairman of the Judiciary Committee, United States House of Representatives (EE.UU.)

2.00pm-2.15pm Presentación Informe exclusivo: Búsqueda de nuevos modos de financiación de las industrias creativas Lugar: Anfiteatro El informe exclusivo encargado por la CISAC para la Cumbre Mundial del derecho de autor identificará los nuevos flujos de ingresos para el futuro de las industrias creativas.

Frédéric Patissier, Asesor en Estudios Estratégicos, CISAC

2.15pm-2.35pm Conferencia Impulsar el futuro digital – ¿Se encuentra Corea del Sur a la vanguardia? Lugar: Anfiteatro Al Gore podía haber soñado con “autopistas de la información” en 1994, pero fue Corea del Sur quien lo hizo. En pocas décadas, la República de Corea ha pasado de ser uno de los países con el índice más bajo de penetración de la telefonía del mundo a convertirse en uno de los países líderes en Tecnologías de la Información y la Comunicación (TIC). Su red de banda ancha es la más desarrollada del mundo y la telefonía móvil alcanza una tasa del 93.4%. Yong-Kyung Lee, uno de los arquitectos, cuando fue el antiguo Presidente de Korea Telecom, de lo que se ha descrito como “el milagro coreano” – y actualmente un respetado legislador en su país – nos dará una idea de lo que podría ocurrir mañana si el mundo siguiera el camino de Corea.

Assemblyman Dr. Yong-Kyung Lee, Asamblea Nacional de Corea (Miembro de la Comisión de Cultura, Deportes, Turismo, Radiodifusión y Telecomunicaciones) / antiguo Presidente y Director General de Korea Telecom (Corea del Sur)

www.copyrightsummit.com 31 Programa de las Conferencias Creadores e industrias culturales: nuevos retos

2.35pm-3.40pm Debate PSI/compañías de telecomunicaciones: ¿Son parte del problema o la solución? Lugar: Anfiteatro En muchos países se está pidiendo que los PSI y las compañías de telecomunicaciones sean más proactivos, junto con los titulares de derechos, para encontrar una solución a la gran cantidad de material ilegal incontrolado y disponible en la red. También hay personas que piensan que los PSI deberían aceptar que los contenidos contribuyen al éxito y la valoración de sus servicios, y que por tanto, éstos deberían compartir una parte de este éxito con la comunidad creativa. Directivos de ambos lados darán su opinión y expondrán distintos escenarios para las futuras relaciones entre titulares de derechos y PSI.

Moderador: Bill Werde, Editorial Director, Billboard (EE.UU.) Jim Griffin, Founder, Choruss (EE.UU.) Martin C. Lafferty, CEO, DCIA - Distributed Computing Industry Association (EE.UU.) Nicholas Motsatse, Chief Executive Officer, SAMRO (Sudáfrica) Shira Perlmutter, Executive Vice-President, Global Legal Policy, IFPI (Reino Unido) Paul Sanders, Co-Founder/Strategic Director, PlayLouder MSP (UK)

3.40pm-4.10pm Pausa networking

4.10pm-4.30pm Conferencia Google y las industrias creativas – una nueva forma de asociación Lugar: Anfiteatro David C. Drummond, un alto directivo de Google describirá la forma en la que la compañía prevé trabajar en colaboración con las industrias creativas, como demuestra el reciente acuerdo entre Google y los editores/ autores de libros en Estados Unidos.

David C. Drummond, Vicepresidente senior de Desarrollo Corporativo y director de Asuntos Legales, Google (EE.UU.)

4.30pm-5.30pm Debate Caos digital o salvación: ¿Pueden los titulares de derechos y los usuarios de contenidos encontrar un nuevo modo de progresar? Lugar: Anfiteatro Todas las industrias creativas (música, películas, televisión, libros y artes visuales) están redactando de nuevo los libros de normas a medida que se difunden sus obras y se accede a ellos en Internet. ¿Qué opciones tienen? ¿Qué pueden aprender de las experiencias recíprocas vividas hasta ahora? ¿Pueden éstos seguir los pasos de la industria del libro y su acuerdo pionero celebrado con Google a finales de 2008? ¿Será el acuerdo Google/ editores de libros/autores el modelo para el futuro?

Ralph Simon, Chairman Emeritus & Founder, Mobile Entertainment Forum - Americas / CEO, The Mobilium International Advisory Group Warren Adler, Associate National Executive Director, DGA (EE.UU.) Sandra Aistars, Assistant General Counsel, IP, Time Warner (EE.UU.) Jeremy Fabinyi, Managing Director of Mechanicals, PRS for Music (UK) Dr. Harald Heker, CEO, GEMA (Alemania) Cecily Mak, Senior Counsel, Director of Music Licensing, Real Networks (EE.UU.) Ralph Peer, Chairman and CEO, peermusic (EE.UU.)

5.30pm-5.45pm Discurso de clausura Creadores y sociedades de autores como actores clave en el siglo XXI Lugar: Anfiteatro Robin Gibb, legendario cantante y compositor de canciones del grupo los Bee Gees y Presidente de la CISAC, marcará el final de la Cumbre.

32 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA ¿Lo que pasa alrededor

Creadores e industrias culturales: nuevos retos del conferencia?

Lunes 8 de junio de 2009 Cóctel inaugural de la Cumbre mundial del derecho de autor

Hora: de 6.30pm a 8.30pm Qué mejor manera de empezar los actos que Sede: Pavilion, segundo piso, Ronald Reagan tomando una copa en la Fiesta Oficial de Centre Inauguración de la Cumbre, una forma de iniciar Indicaciones: acceso al Ronald Reagan buenas relaciones antes de la conferencia en un Centre desde Woodrow Wilson Plaza, junto ambiente relajado e informal. El Presidente de al Restaurante Aria y directamente a la salida la CISAC, Robin Gibb, inaugurará oficialmente de Pennsylvania Avenue y la 13th Street. la Cumbre y le dará la Acceso: será necesario presentar un documento de identificación con foto o bienvenida. Todos los pasaporte para entrar al Ronald Reagan delegados de la Cumbre están Centre. Puede recoger su acreditación para la invitados a asistir a la fiesta Cumbre mundial del derecho de Autor en la inaugural que tendrá lugar el zona de vestíbulo del Pavilion. lunes 8 de junio, auspiciada Patrocinado por: por las sociedades de autores y los gremios estadounidenses miembro de la CISAC. Ronald Reagan Centre

Martes 9 de junio de 2009 Cóctel y concierto estelar de jazz

Hora: cóctel a las 6.30pm/ Concierto de Todos los delegados de la Cumbre mundial del 7.30pm a 8.30pm derecho de autor están invitados a disfrutar de unos Sede: Mellon Auditorium, 1301 Constitution cócteles y un concierto estelar de jazz el martes 9 Ave NW- Washington, DC 20240 de junio, organizado por las sociedades de autores Indicaciones: en el National Mall, ASCAP, BMI y SESAC. adyacente al Ronald Reagan Centre. Acceso: será necesario presentar su En el legendario Mellon Auditorium actuarán el acreditación de la Cumbre mundial del genial vibrafonista Stefon Harris, la aclamada derecho de autor y/o su invitación. vocalista Ann Hampton Callaway y el Organizado y patrocinado por: virtuoso saxofonista Joe Lovano, acompañados por la prestigiosa Smithsonian Jazz Masterworks

Orchestra. Mellon Auditorium

www.copyrightsummit.com 33 Información sobre el conferencia Creadores e industrias culturales: nuevos retos

Agradecimientos La CISAC desea agradecer a todas las personas que participaron en el Comité de Asesoramiento de la Cumbre, formado por todas las sociedades miembro de EE.UU.: en el sector musical AMRA, ASCAP, BMI, NMPA y SESAC; los gremios audiovisuales DGA y WGA; las sociedades de artes gráficas y plásticas ARS y VAGA; y la sociedad de derechos literarios The Author’s Registry. Han ofrecido su inestimable ayuda asesorando a la CISAC y han sido cruciales a la hora de llegar a muchas personas a las que tendrá el privilegio de escuchar durante la Cumbre. Queremos expresarles nuestra gratitud por todo el tiempo, el esfuerzo y el apoyo que nos han brindado.

Pausa café y almuerzo Se ofrecerá un almuerzo-buffet a todos los delegados de la Cumbre mundial del derecho de autor el 9 y el 10 de junio en la Sala Pavilion, situada en el segundo piso. Se celebrarán unas pausas café en el vestíbulo del Anfiteatro.

Acceso a los vídeos, fotos y presentaciones por Internet Se informa a los delegados de la Cumbre de que todas las sesiones de la Cumbre mundial del derecho de autor se filmarán y estarán disponibles por Internet. Durante el evento se pondrán fotos a disposición de los medios en la oficina de prensa. Todos los discursos, las fotos y los vídeos de la Cumbre mundial del derecho de autor estarán disponibles en las webs de la CISAC y de la Cumbre en las semanas posteriores al evento: www.cisac.org www.copyrightsummit.org

Salud y seguridad La alarma de incendios del edificio: es una alarma de obligado cumplimiento. En las zonas en las que se requiera una evacuación inmediata se oirá una sirena continua. Si descubre un incendio, active la alarma haciendo lo siguiente: pulsando el punto de socorro más próximo. El punto de reunión se encuentra en: The Plaza, calle 14 o Freedom Plaza, calle 13 y Pennsylvania Ave.

Responsabilidad La CISAC y Informa no se responsabilizarán de las pérdidas, robos, daños o retrasos resultantes de la pérdida o el robo de cualquier objeto o propiedad perteneciente a los participantes, autores o terceras partes; y los autores, participantes y terceras partes aceptarán que es responsabilidad suya disponer de un seguro adecuado para cubrir tales eventualidades. Sin perjuicio de lo dispuesto en el párrafo anterior, en caso de que la CISAC o sus representantes se hicieran cargo de tales objetos, la CISAC y Informa actuarán con la diligencia debida pero su responsabilidad con respecto a cualquier pérdida, robo, daño o retraso durante el período en el que el objeto o la propiedad esté a cargo de la CISAC o sus representantes no excederá el valor del artículo o el valor de USD1,600, según cuál sea inferior. La CISAC y Informa podrían imponer al participante, autor o tercera parte una tasa razonable por la devolución de un objeto perdido o que no fuera reclamado dependiendo de: 1. el tipo de artículo; y 2. el período durante el cual Informa ha guardado el artículo antes de que haya sido reclamado.

34 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA The magazine for the global music publishing community

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Sponsor Profiles New Frontiers for Creators in the Marketplace

BMI is an American performing right organization AMRA was set up in the 60’s to address the needs that represents more than 375,000 U.S. songwriters, of writers so they could collect their Mechanical composers and music publishers in all genres of Royalties. This was an alternative to the existing music. The company collects license fees on behalf mechanical rights society, which only accepted of those American creators and copyright owners it publisher members, a practice that still continues represents, as well as for the thousands of creators today. AMRA gives publishers, authors and composers from around the world who have chosen BMI for “equal status” in terms of protection and defense U.S. representation through reciprocal agreements of their copyrights. And of equal importance is with more than 80 sister societies. The fees for the personalize service at AMRA. AMRA is a full member public performances of its repertoire of more than 6.5 of CISAC and BIEM. AMRA is located in Los Angeles, million compositions – including broadcast, cable and California, in the center of the music and film industry. satellite radio and television airplay, Internet, and live It currently represents around 300 authors, composers and recorded performances by all other users of music and publishers. – are then distributed as royalties to the songwriters, composers and copyright holders it represents.

Artists Rights Society (ARS)[www.arsny.com] is a copyright, licensing, and monitoring organization for visual artists in the United States. ARS protects members’ rights against piracy, illicit use, and copyright infringement by monitoring the use of The Directors Guild of America (DGA) was founded their works. It also provides reputable publishers in 1936 to protect the economic and creative and producers of commercial goods with a one-stop rights of directors. Over the years its membership clearing house for permissions to reproduce the has expanded to include the directorial team - Unit works of many of the world’s most prominent artists. Production Managers, Assistant Directors, Technical ARS actively lobbies state and federal legislatures Coordinators, Associate Directors, Stage Managers for stronger and more effective artists’ rights laws. and Production Associates. Today, through the Successful joint lobbying efforts include the restoration collective voice of more than 14,000 members, the of foreign copyrights in the U.S. and the prolongation Guild seeks to protect the rights of directorial teams, of the U.S. copyright term, under the Sonny Bono to contend for their creative freedom and strengthen Copyright Extension Act of 1998. their ability to develop meaningful and lifelong careers in film, tape and digital media. The DGA is an international organization with over 700 members living outside the United States. ASCAP is the leading U.S. PRO, representing the world’s largest repertory. ASCAP is owned by its 350,000 plus members and is governed by a Board of writers and publishers. With 2008 revenues exceeding $930 million, ASCAP collects more performing rights money with a lower operating expense ratio than any other performing rights Founded in 1917, the National Music Publishers’ organization in the world. ASCAP is leading U.S. Association (NMPA) is a trade association copyright advocacy in the digital world with extensive representing American music publishers. The NMPA’s legislative outreach programs and aggressive mandate is to protect and advance the interests of licensing initiatives. ASCAP has developed many music publishers and their songwriter partners in technological and member benefit innovations matters relating to the domestic and global protection including Mediaguide, MusicPro Insurance and the of music copyrights. ASCAP “I Create Music” EXPO.

36 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Advisory Committee & Sponsor Profiles/

New Frontiers for Creators in the Marketplace Partner Organization Profiles

SESAC, Inc. is a U.S. performing rights organization, designed to represent songwriters and publishers and The Association of Independent Music Publishers their right to be compensated for having their music (AIMP) was formed in 1977 by a group of Los performed in public. Founded in 1930, SESAC is Angeles music publishers, and now has chapters in the second oldest and fastest growing of the nation’s both Los Angeles and New York. The organization’s performing rights organizations and is headquartered primary focus is to educate and inform local music in Nashville with additional offices in New York, Los publishers about the most current industry trends and Angeles, Atlanta, Miami and London. SESAC covers practices by providing a forum for the discussion the United States in virtually every genre of music with of the issues and problems confronting the music reciprocal agreements with over 80 foreign societies. publishing industry. www.aimp.org SESAC represents musical icons as Bob Dylan, Neil Diamond, RUSH, Cassandra Wilson, Bryan-Michael Cox and Nate “Danja” Hills among many others. The British Copyright Council (BCC) represents those who create, hold interests in or manage rights in literary, dramatic, musical and artistic works, films, sound recordings, broadcasts and other VAGA, The Visual Artists and Galleries Association, material in which there are rights of copyright or is America’s leading collecting society for visual related rights; and those who perform such works. creators. As the first visual artists’ collective in the www.britishcopyright.org U.S., VAGA has over thirty years of experience managing artists’ rights through various licensing models and strategies with publishers, museums and other image users. VAGA’s core functions include: BCS is the professional body for IT and communications. With over 60,000 members in more • Collecting and distributing funds to rights holders than 100 countries BCS is the qualifying body for for the use of their imagery. Chartered IT Professionals (CITP). BCS promotes IT • Pursuing and resolving copyright infringements. to the wider public and through its “Professionalism • Developing innovative practices in copyright in IT” initiative, BCS is leading and building IT management. professionalism to levels which are currently only seen in more traditional, long-standing, professions. • Educating rights holders and image users on copyright. www.bcs.org/contact • Enhancing the strength of visual arts in the copyright community.

The Copyright Alliance is a 501(c)(4) non-profit, non- partisan educational organization dedicated to the value of copyright as an agent for creativity, jobs and The Writers Guild of America, West (WGAW) growth. represents writers of motion pictures, television, radio It believes that copyright law promotes creativity and and Internet programming in the US. Founded in job creation and strengthens the economy. Those 1933, the Guild negotiates and administers contracts who create, render, and publish copyrighted works that protect the creative and economic rights of rely on the copyright law and its enforcement, for its members. It is also involved in a wide range of their creative and financial success. Without it, these programs that advance the interests of writers, and is creators would likely cease to exist, or at the very active in public policy and legislative matters on the least, cease to produce these important works that local, national and international levels. are enjoyed by billions of people around the world. www.copyrightalliance.org

www.copyrightsummit.com 37

New Frontiers for Creators in the Marketplace Partner Organization Profiles

The Distributed Computing Industry Association IAEL members are all lawyers, either in private practice is a Washington, DC based international trade or industry, whose areas of expertise cover nearly organization with more than one-hundred Member every aspect of entertainment law. The IAEL provides a companies including peer-to-peer and social specialist, international forum for the sharing of knowledge networking software developers and distributors and experience of legal and commercial issues of interest (P2Ps), Internet service providers (ISPs), content rights and concern to its members. holders (CRHs), and service-and-support companies. www.iael.org As a non-profit trade association, the DCIA is focused on commercial development of P2P file-sharing and related distributed computing technologies. The DCIA is engaged in supporting innovative business models and developing standards-and-practices to advance this new consumer-based distribution channel. ICMP is the international umbrella trade association www.dcia.info representing the interests of the music publishing community globally. The constituent members of ICMP are national, regional and international classical and popular music publishers’ associations from Digital Media Association Europe, North and South America and Asia-Pacific. Included are the leading independent international, The Digital Media Association (DiMA) is the regional and national music publishers, as well as ambassador for the digital media industry: the four multinational music publishing companies. webcasters, technology companies and online music www.icmp-ciem.org and video retailers; the leading advocate for a stable legal environment in which to build ideas into industries, and inventions into profits. DiMA is at the forefront of business and policy debates affecting the growth and development of these enterprises, and are recognized by public and private sector leaders The International Federation of Reproduction as the association that best understands the complex Rights Organisations (IFRRO) is an international, policies and issues surrounding digital media, independent, non-profit organisation representing the including copyright & royalties, consumer protection, interests of collective management organisations in competition & network neutrality, and digital taxation. the field of print media known as reproduction rights www.digmedia.org organisations (RROs). Active in every continent, some 50 RROs plus about 60 national and international author, publisher and visual creator associations are IFRRO Members and Associate Members. www.iffro.org

Future of Music Coalition is a national non-profit organization that works to ensure a diverse musical culture where artists flourish are fairly compensated, and where fans can find the music they want. FMC publishes original research, convenes national conferences, and fosters dialogue about critical issues affecting the livelihood of musicians. www.futureofmusic.org

www.copyrightsummit.com 39 Partner Organization Profiles New Frontiers for Creators in the Marketplace

The International Intellectual Property Alliance (IIPA) is The Music Publishers Association exists to safeguard a private sector coalition formed in 1984 to represent the interests of music publishers and the writers signed the U.S. copyright-based industries in bilateral and to them. It provides them with a forum and a collective multilateral efforts to improve international protection voice, offers them a range of practical services, of copyrighted materials. IIPA is comprised of seven represents their interests to the wider music industry, trade associations, each representing a significant the media and the public and works to inform and to segment of the U.S. copyright community. These educate the wider public in the importance and value member associations represent 1,900 U.S. companies of copyright. www.mpaonline.org.uk producing and distributing materials protected by copyright laws throughout the world – all types of computer software including business applications software and entertainment software (such as videogame CDs and cartridges, personal computer CD-ROMs and multimedia products); theatrical films, television programs, home videos and digital Through the cooperative work of its member representations of audiovisual works; music, records, organizations, the National Music Council CDs, and audiocassettes; and textbooks, trade books, promotes and supports music and music education reference and professional publications and journals as an integral part of the curricula in the schools (in both electronic and print media). www.iipa.com of our nation, and in the lives of its citizens. The Council provides for the exchange of information and coordination of efforts among its member organizations and speaks with one voice for the music community whenever an authoritative expression of opinion is desirable. Founded in 1940, the The International Music Manager’s Forum (IMMF) National Music Council was chartered by the 84th represents managers of featured artists (performers Congress in 1956. The Council represents the United and authors). States to the International Music Council/UNESCO These artists are the source of over 95% of the www.musiccouncil.org economic activity in the global music industry. Featured artist managers are uniquely placed to comment on & participate in music industry issues, because on behalf of their clients they are the only professionals that deal with every aspect of the music industry and the copyright system as it applies to The Publishers Licensing Society (PLS) is not-for-profit music on a daily basis. www.immf.com and represents all book, journal and serial publishers in the UK. PLS works to ensure that publishers are compensated for copying of their print and electronic works through the collective licensing system, and ensures that publishers’ copyright is protected. From 1981 up until Oct 2008 PLS had distributed £198 The Motion Picture Association of America (MPAA) million to publishers. and its international counterpart, the Motion Picture PLS has direct authority from 2,450 publishers. It Association (MPA), serve as the voice and advocate has three owners/ members: ALPSP, PA and the PPA. of the American motion picture, home video and Together with the Authors’ Licensing and Collecting television industries before policymakers in the United Society (representing authors), PLS owns and directs States and around the world. The associations are the Copyright Licensing Agency and works in proud champions of intellectual property rights, partnership with the Design and Artists Copyright free and fair trade, innovative consumer choices, Society. www.pls.org.uk freedom of expression and the enduring power of movies to enrich and enhance people’s lives. www.mpaa.org

40 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Partner Organization Profiles

in the forms of catalog administration, royalty collection, membership, copyright and educational assistance. For more information, visit the Web site at www.songwritersguild.com Established in 1957, The Recording Academy® is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY® Awards - the preeminent peer-recognized award for musical excellence and the most credible brand in Since 1983, Washington Area Lawyers for the music - The Recording Academy is responsible for Arts has supported artistic expression and creative groundbreaking professional development, cultural innovation by serving the legal needs of Washington, enrichment, advocacy, education and human services Maryland and Virginia’s arts and cultural programs. The Academy continues to focus on its communities. A 501 (c) 3 not-for profit organization, mission of recognizing musical excellence, advocating WALA provides education, advocacy and volunteer for the well-being of music makers and ensuring legal services through workshops and seminars, legal music remains an indelible part of our culture. For clinics for artists and arts organizations, and pro-bono more information about The Academy, please visit referral services. www.thewala.org www.grammy.com.

WAMA is a non-profit tax exempt organization of music industry professionals committed to raising the profile of the region’s diverse music community. The Recording Industry Association of America is WAMA’s main goal is to promote Washington area the trade group that represents the U.S. recording music in general and to achieve national recognition of industry. Its mission is to foster a business and legal the region as an important center for live and recorded climate that supports and promotes our members’ music. Just as the nation’s capital is comprised of a creative and financial vitality. Its members are the rich cross section of cultures, WAMA’s membership record companies that comprise the most vibrant embraces all musical styles from classical, bluegrass, national music industry in the world. RIAA® members go-go, R&B, and reggae, to rock, jazz and folk. create, manufacture and/or distribute approximately In short, WAMA is an umbrella organization of 85% of all legitimate sound recordings produced and musicians, concert promoters, lawyers, recording sold in the United States. www.riaa.com engineers, managers, graphic artists, and related businesses working together to address areas of common concern. www. wamadc.com/wama

The Songwriters Guild of America is the nation’s oldest and largest national song writing organization boasting a membership of some of song writing’s biggest names. With over 75 years of experience, the Guild is an organization dedicated to serving the creative, financial and administrative needs of published and yet-to-be-published songwriters. SGA President, Rick Carnes has been one of the music industry’s most visible champions on Capitol Hill – fighting for the rights of songwriters, artists and musicians who face serious threats to their earning ability posed by new technology and the large scale theft it allows. As president of the Songwriters Guild of America, Rick has lead the organization into a new era – offering increased services to songwriters

www.copyrightsummit.com 41 Media Partner Profiles New Frontiers for Creators in the Marketplace

Now in its 115th year, Billboard is the world’s premier Copyright World is the only magazine focussed on weekly music publication and a diverse digital, events, developments in international copyright law, providing brand, content and data licensing platform. Billboard you with a unique balance of news, case comments, publishes the most trusted charts and offers unrivaled practical features and in-depth legal analysis.. For a reporting about the latest music, video, gaming, free sample copy visit media, digital and mobile entertainment issues and www.informaprofessional.com/copyrightworld trends. The billboard brand consists of Billboard magazine, Billboard.biz, Billboard en Español, Billboard Chart Alert, Billboard Information Network (BIN), Billboard Directories, Billboard Books, Billboard Licensing & Events and Billboard.com – the online destination of choice for over four million music fans Digital TV Europe is the new name for Cable & every month. www.billboard.com Satellite Europe. Since it first published in 1984, subscribers have trusted the magazine to deliver insight and analysis of the multi-channel television market. As new distribution platforms have emerged and the market has developed, Digital TV Europe has Converging Media is the industry’s most trusted source evolved with it. of breaking news, accurate data and incisive analysis for tracking digital-content strategies around the globe ensuring you keep up to speed with this rapidly developing sector. Published by Informa Telecoms & Media This leading source of mobile market intelligence includes exclusive news, competitive intelligence, trend analysis and primary data on the strategies, players and technologies that are shaping the international mobile market. Pubished by Informa Telecoms & Copyrightlaws.com is a leader in copyright media www.infomatm.com/globalmobile compliance and education. Copyrightlaws.com assists organizations of all sizes and industries in creating copyright compliance strategies including the development of copyright policies. It offers in-person and online copyright and licensing education for creators, owners and Impact is a quarterly magazine dedicated to the consumers of copyright-protected content. See: international music publishing community. It covers www.copyrightlawscom.blogspot.com all areas of the publishing business, profiles the sector’s leading executives, spotlights the main territories, identifies new hot talent around the world, &RS\ULJKWDQG7HFKQRORJ\ and provides an in-depth overview of the key issues affecting the publishing industry. Impact keeps you up Copyright and Technology is the only publication to date with the rapidly evolving international music that exclusively covers digital rights technologies, publishing industry. www.impact-mag.net including DRM, watermarking, fingerprinting, rights licensing, and rights information management, along with related developments in law and public policy worldwide. We provide analysis of news events and offer perspectives grounded in facts and our collective experiences. www.copyrightandtechnology.com

42 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA

Media Partner Profiles New Frontiers for Creators in the Marketplace

Music & Copyright is a fortnightly Research Intellectual Property Watch was created with the Service covering copyright and legal issues on a goal of providing independent intellectual property global scale. Written by industry experts it delivers policymaking news and information on an open accurate statistics and data from primary research, access basis. Our global network of professional independent coverage of new product launches, journalists closely follow the issues and events that in-depth company profiles and intelligent sector shape the world of IP, bringing unbiased reporting profiles not available from any other source. and analysis of these important stories as they unfold. www.informatm.com/musiccopyright www.ip-watch.ch.

Ipworld.com is the newly relaunched intellectual The French magazine for the music business property law website from Informa Law. This online professionals. service provides you with a useful host of tools and Launched in 1997, Musique Info gives a full coverage features including: continuously updated IP news; a of music business news and charts to music and media fully searchable, global IP lawyers directory; an IP executives. Planner to help you organise your diary; and People Musique Info is now the best B2B print and online Watch so you can keep up to date with the movers French music magazine. and shakers in your industry. To sign up for a free two-week trial and our popular weekly IP law news Find out more on : www.musiqueinfo.com e-alerts, visit www.ipworld.com .

Published weekly, New Media Markets is a subscription Research Service that delivers a mix of Mobile Media, a fortnightly online Research specialist analytical research, exclusive news and Service delivering: In-depth research and analysis, business critical primary data on Europe’s fast-paced regular primary research from our editors and multichannel television sector. Now in its twenty-sixth analysts. Exclusive news hard-hitting from major year of publication, New Media Markets is relied on players and markets Industry benchmark data. by senior executives throughout the industry. Published www.informatm.com/mm by Informa Telecoms & media

Patent World is the leading, monthly magazine that Music Confidential is a weekly international news and focuses specifically on patent law developments analysis report for executives, lawyers, investment around the globe. Launched over 20 years ago, advisors and government officials who make decisions Patent World has consistently delivered the most that impact the business of music. Launched last July, reliable and incisive commentary on all the key there are already paid subscribers in 21 countries developments that IP lawyers and practitioners plus more than 50 government readers in the US and need to be aware of. For a free sample copy visit Europe. www.musicconfidential.biz www.informaprofessional.com/patentworld

44 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Media Partner Profiles

Screen Finance is a online Research Service providing up-to-the-minute news and analysis to enhance your strategic decision-making process. Established 19 years ago, Screen Finance’s balanced editorial provides a unique blend of accurate and in-depth news and analysis on industry trends.

Published bi-monthly, TBI magazine provides the international TV community with key strategic business information on the production, distribution, broadcasting and financing of TV programming around the world. The news is updated daily on www. TBIvision.com. www.TBIvision.com

For over 20 years Trademark World has covered the latest changes and developments in international trademark law through a combination of in-depth feature articles, commentary on the latest cases and a comprehensive international news section. For a free sample copy visit www.informaprofessional.com/trademarkworld

Weekly Variety and Daily Variety are the must-read publications for entertainment industry leaders across the globe. Since 1905, Variety has presented in-depth national and global entertainment news, scoops, profiles and analysis. Variety.com also distributes need-to-know information to top entertainment industry executives across many different platforms and all in real time. www.variety.com

www.copyrightsummit.com 45

New Frontiers for Creators in the Marketplace Speaker Biographies

Warren Adler, Associate National Executive Director, Attaway is a graduate of The College of Idaho and DGA (USA) received his J.D. Degree from the University of Chicago. Warren Adler began his DGA career in 1978 following five years of law practice after his graduation from Harvard and the University of Michigan Law School. Now the Mitch Bainwol, Chairman and CEO, Recording Guild’s Associate National Executive Director, he is one of Industry Association of America (USA) the Guild’s executives responsible for research, negotiation Mitch Bainwol is Chairman and CEO of the Recording and implementation of new media agreements. Industry Association of America (RIAA), the organization representing the nation’s major record companies. Bainwol joined the RIAA as CEO in 2003 following  Sandra Aistars, Assistant General Counsel, a twenty-five year career in federal policy-making and IP, Time Warner (USA) politics. Since joining the RIAA, Bainwol has helped Sandra Aistars is Assistant General Counsel for lead the music industry’s campaign to curb piracy and Intellectual Property at Time Warner Inc., and transition its business to the digital world. During recent leads the Intellectual Property practice for the Company. She years, the RIAA won a seminal U.S. Supreme Court MGM. is responsible for developing, managing, and coordinating v. Grokster decision that protects intellectual property copyright, trademark and patent policy and strategies for the rights in the digital age and also secured Congressional Company and its divisions, particularly as they pertain to new reforms that updated the nation’s anti-piracy laws. opportunities and challenges posed by digital technologies. Additionally, Bainwol has helped revitalize a coalition of music organizations that now frequently work together on a variety of industry issues such as anti-piracy strategies and  Christine Albanel, Minister of Culture advocating a level playing field for digital music distribution and Communication models. He has strengthened artist relations and devised programs to promote and recognize emerging digital formats by expanding the RIAA’s Gold and Platinum Program to Professional career include legal downloads and mobile phone ringtones. • President of the Public Establishment of the Museum and Bainwol was born in Munich where his father was National Domain of Versailles, from 2003 to 2007 stationed. He grew up in Germany, the Canal Zone, • Member of the Council of State, since 2000 Maryland, and Thailand before graduating from Frankfurt • Technical Adviser from 1995 to 1997, then American High School. With an undergraduate degree Adviser for Education and Culture to the President from Georgetown University and an M.B.A. from Rice of the Republic, from 1997 to 2000 University, Bainwol began his career as a budget analyst • Deputy Director, City of Paris, from 1988 to 1995 in President Ronald Reagan’s Office of Management and • Special Assistant, Prime Minister’s Budget (OMB). During his Capitol Hill time, Bainwol was Office, from 1986 to 1988 chief of staff to two United States Senators, two political • Special Assistant to the Director of Information and committees and several Senate leadership offices and Communications, City of Paris, from 1982 to 1986 became recognized for his campaign capabilities. • Press officer, General Secretariat of the Presidency Bainwol serves on the Boards of the National of the Republic, from 1979 to 1981 Fatherhood Initiative, the Bryce Harlow Foundation Elective offices and Leadership Music (Nashville). • Regional Councillor for Ile-de-France, from 1986 to 1992 and from 1998 to 2004 • Other offices  David A. Basskin, President, CMRRA • Member of the Society Analysis Council (CAS), since 2004 Mr. Basskin is President and CEO of Canadian Recent publications Musical Reproduction Rights Ltd. (CMRRA), Canada’s • Plays: Les Palhasses, 1983; Hôtel Sawat et largest music licensing agency. A lawyer by de la plage, 1984; Barrio chino, 1984 training, Mr. Basskin has led CMRRA since 1989, following • Novel: Une mère insensée, 1994 membership in the legal departments of CTV Television Network and film and TV producer Nelvana Ltd. and served as Law Clerk to the Chief Justice of the High Court of Ontario.  Fritz Attaway, Executive Vice President, Special Policy Advisor, MPAA – Motion CMRRA Picture Association of America (USA) Founded in 1975, the Canadian Musical Reproduction Rights Fritz Attaway is an Executive VP and MPAA Agency Ltd. is Canada’s largest music licensing agency. Special Policy Advisor. Attaway provides legal advice CMRRA issues licenses and collects and distributes royalties to and direction for public policy activities of the association. the majority of music publishers and copyright owners doing Attaway serves on the board of directors of The Copyright business in Canada. CMRRA’s current licensing activities Collective of Canada and is a member of the Advisory include mechanical, synchronization and online licensing, Committee on International Communications and the latter through CSI, its joint venture with SODRAC, Information Policy of the U.S. State Department. through which it also collects the Commerical Radio Tariff from broadcasters. CMRRA establishes industry-standard

www.copyrightsummit.com 47 Speaker Biographies New Frontiers for Creators in the Marketplace

licenses and royalty rates through negotiation as well as The Men’s Final Four and Women’s Final Four, also known tariff proceedings before the Copyright Board of Canada. as NCAA March Madness, are shown in multiple media formats and attract millions of viewers. “March Madness on Demand,” a collaboration of the NCAA and CBS  Eduardo Bautista, President of the Sports, offers live streaming of each men’s tournament Management Board, SGAE (Spain) game for free online. More than 7.5 million unique visitors Eduardo Bautista García was a major figure accessed March Madness on Demand in 2009. in Spanish music in the 1960s and 70s. He went on to compose music for many film and theater productions. Mr. Bautista is Chief Executive of the SGAE  Gloria Braga, Executive Director, ECAD Group and a Board Member of Berklee College of Music, (Brazil) Boston USA, amongst many other similar positions. Gloria Braga is a lawyer, graduated by University of the State of Rio de Janeiro - Brazil and has also a SGAE MBA in Management . Expert in Copyright, currently she The General Society of Authors and Publishers –SGAE– was is the General Director of the Central Office for Collection formed in Spain in 1899 and now has more than 94,000 and Distribution (Escritório Central de Arrecadação e members who create original work in music, film and the Distribuição – ECAD) . Gloria Braga integrates the Council performing arts, or who edit and publish the same. Its aim, as of Defense of the Intellectual Property of Rio de Janeiro-Brazil it was when it was founded, is the collection and distribution and also teaches Intellectual Property on several Seminars, of royalties amongst the legitimate holders of creative rights. MBAs and regular law courses in Brazil and abroad. The SGAE group as a whole, including several subsidiary entities, has over 450 employees, including 13 delegations Ecad around Spain, plus offices in the USA, Brazil, Mexico, Cuba, Managed by the ten brazilian performing rights societies,with Argentina, Japan and China. Including affiliate arrangements, high technology equipment, effective control over the operational SGAE protects the rights of over 2 million creators worldwide. procedures and staff qualification, the Central Office for Collection and Distribution (Escritório Central de Arrecadação e Distribuição – ECAD) is a privately owned civil non-  Scott Bearby, Managing Director of Legal profit society, supported by the current Brazilian Copyright Law Affairs/ Associate General Counsel, NCAA – (Law no. 9610/98). ECAD is in charge of the collection and National Collegiate Athletic Association (USA) distribution procedures of performing rights in Brazil. With its Scott Bearby joined the NCAA as in-house counsel head office located in the City of Rio de Janeiro, 23 offices and in 1999 and has served as managing director of legal 600 employees spread throughout the Brazilian States, the affairs/associate general counsel since December 2001. institution has an extensive coverage over the country. Bearby works primarily with NCAA contractual and rights issues, including television broadcast media, Internet and new media, marketing, licensing and promotional rights, and  Del R. Bryant, President & Chief Executive championship-related agreements for the NCAA’s annual, 88 Officer, BMI national championships, including the Men’s and Women’s Del R. Bryant is President & Chief Executive Division I Basketball Championships (also known as NCAA Officer of BMI, the American performing right March Madness and the Final Four). He also serves as counsel organization. He is a member of the CISAC Board of for the Association’s intellectual property matters. Bearby is Directors and represents BMI on the Board of FastTrack. engaged in anti-piracy education and strategy on behalf of the Bryant, the son of legendary songwriters and publishers NCAA’s championships and as the NCAA’s representative in Boudleaux and Felice Bryant, joined BMI in Nashville in a coalition with major sports entities within the United States. 1972, worked in many areas of the company over the next Prior to joining the NCAA, Bearby was in private 32 years and was named President in August 2004. practice. He holds a law degree from Indiana Bryant’s comprehensive approach to building the BMI University Bloomington and his undergraduate repertoire included initiatives in every major genre of music. degree from the University of Notre Dame. He directed the establishment of a Latin music division, a first among American performing right organizations, NCAA and also led the company’s effort in establishing an urban The National Collegiate Athletic Association (NCAA) is music division, paving the way for a genre that has now the primary, voluntary organization through which the become a powerhouse category in the BMI repertoire. colleges and universities of the United States govern their He reorganized and expanded BMI’s London office to athletics programs. It is committed to the best interests, enable a higher level of service to U.K. and European education and athletics participation of student-athletes. writers and publishers in their U.S. representation. The NCAA administers 88 championships in 23 sports BMI represents 375,000 creators and copyright for its member institutions on an annual basis. holders, and had revenues of $900 million 2008. The NCAA conducts the Division I Men’s and Women’s Basketball Championships. The best men’s and women’s BMI collegiate basketball teams compete annually for a national BMI is an American performing right organization that championship in a single-elimination tournament format. represents more than 375,000 U.S. songwriters, composers

48 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

and music publishers in all genres of music. The company  Gary L. Churgin, President and CEO, Harry collects license fees on behalf of those American creators and Fox Agency copyright owners it represents, as well as for the thousands Gary L. Churgin is the President and CEO of the of creators from around the world who have chosen BMI for Harry Fox Agency, Inc. (HFA). He has focused U.S. representation through reciprocal agreements with more on transitioning the company to take advantage of new than 80 sister societies. The fees for the public performances technologies and business practices to provide the best quality of its repertoire of more than 6.5 million compositions – music licensing services to its publishing clients and music including broadcast, cable and satellite radio and television distribution customers in the changing music marketplace. airplay, Internet, and live and recorded performances by all Since Churgin joined in 2001, HFA expanded its other users of music – are then distributed as royalties to the offerings, adding licensing for online subscription services, songwriters, composers and copyright holders it represents. lyrics, ringtones, digital background music, Express Live, and more to its primary business of mechanical licensing. Churgin also serves on the Management  Susan Butler, Executive Editor, Music Committee for BIEM, the international organization Confidential, Butler Business & Media LLC representing mechanical rights societies. Susan Butler is the Executive Editor of Music Churgin came to HFA with over twenty years in banking Confidential, a weekly international business and management, with specific expertise in e-commerce, report launched last year. Susan was an entertainment and sales, operations, administration, and change management. tech industry attorney for 21 years until she joined Billboard He has an M.P.A. from the Wharton School, University of in 2004, serving as the magazine’s senior correspondent Pennsylvania. He earned a B.A. from Washington & Jefferson covering the legal, music publishing and Capitol Hill beats. College, and now serves on the institution’s Board of Trustees.

Music Confidential The Harry Fox Agency (HFA) Music Confidential is a weekly international news and Established in 1927 by the National Music Publishers’ analysis report for executives, lawyers, investment advisors Association, HFA represents over 37,000 music publishers for and government officials who make decisions that impact their licensing needs in the United States, issuing licenses and the business of music. Launched last July by Butler Business collecting and distributing the associated royalties. In addition & Media LLC, there are paid subscribers in 21 countries. to being the premier mechanical licensing agent in the U.S., Music Confidential is alone in offering only original which includes CDs, ringtones, digital downloads, interactive reporting from expert, qualified sources with no regurgitated streams, limited downloads and more, HFA is dedicated to blogs, no gossip, no wire service news and no aggregated finding new ways for its affiliated publishers to recognize value stories based on reports from other media outlets. for their catalogs, including lyrics and tablature. Further, HFA Coming Soon: Music Confidential International provides collection and monitoring services to its publisher clients Digital & Mobile Music Business Charts powered for music distributed and sold in over 100 territories around the by comScore (NASDAQ: SCOR), a global world. For more information about HFA, see www.harryfox.com. leader in measuring the digital world.

Pat Collins, President / Chief Operating Officer, Joanna Cave, Chief Executive, VISCOPY (Australia) SESAC Joanna originally trained and practised as a sculptor before Pat Collins is President and Chief Operating becoming a chief executive in the arts. In 2004, Joanna Officer of SESAC. Collins came to SESAC in 1995 was awarded a Postgraduate Diploma in UK, European and after a twenty-one year career at ASCAP. USA Law of Copyright & Related Rights from Kings College, Collins is a business graduate of Capital London and in 2007, graduated from the Prime Minister’s Top University from Columbus, Ohio and holds a Masters Leadership Programme at the National School of Government. Degree in Organizational Management. Joanna spent eight years at the helm of DACS, the Pat has appeared before various sub-committees of the national rights management organisation for the visual United States Congress on legislative matters impacting arts in the UK. Before moving to Australia, Joanna was copyrights and, in particular, copyright license guidelines Vice Chair of the British Copyright Council and was a in the United States. He also has given testimony before trustee of the BALTIC national contemporary art museum. numerous state legislatures on matters of copyright Joanna has spoken and written extensively and has appeared as both guest and moderator on throughout the world on the subjects of copyright, panels focusing on performing rights in the U.S. Artist’s Resale Right and the visual arts. Joanna was appointed as the new Chief Executive of SESAC Viscopy in 2009 and was recently elected to the board SESAC is the nation’s second oldest and fastest growing of directors of the Australian Copyright Council. performing rights organization. Established in 1930, SESAC is a service organization created to assist both the creators of music and music users through timely, efficient royalty collection and music licensing. A pioneer in the use of cutting-edge technology to simplify and streamline the business of performing rights,

www.copyrightsummit.com 49 Speaker Biographies New Frontiers for Creators in the Marketplace

SESAC was the first performing rights organization to on behalf of its 44,000+ members, and by agreement, utilize state-of-the-art Broadcast Data Systems (BDS) in the for all the copyright owners around the world. identification and tracking of music performances. SESAC continues to innovate, regularly introducing technologies that are transforming the business of performing rights.  David De Busk, Vice President of Business SESAC prides itself in providing an unmatched level Development, Landmark Digital Services, of service to all of its customers. Licensees benefit from LLC SESAC’s intimate atmosphere, with a licensing staff David DeBusk, serving as the Vice President of dedicated to meeting the needs of music users quickly and Business Development, oversees Landmark’s sales and efficiently. With a uniquely selective policy of affiliating the marketing efforts. He is responsible for the development and best songwriters and publishers, SESAC’s affiliates enjoy execution of Landmark’s business development initiatives, the same high level of personal attention and service. structuring key transactions, establishing strategic partnerships Headquartered in Nashville, the company also has offices and securing technology licensing agreements. in New York, Los Angeles, Miami, Atlanta, and London. DeBusk comes to Landmark with over 25 years of Congressman John Conyers, Jr., Chairman of the Judiciary experience in the music industry. He most recently served Committee, United States House of Representatives (USA) as Assistant Vice President, Strategic Development for BMI United States Representative John Conyers, Jr., a Detroit where along with directing key international and technology Democrat, is the second-most senior member of the House, projects, he developed BMI’s MusicBot, the first Internet web dean of the Congressional Black Caucus, former Chairman of robot to identify music sites on the Internet. DeBusk was the House Committee on Government Operations (currently instrumental in the acquisition of the BlueArrow technology. named Oversight and Government Reform) and serves as Chairman of the pivotal House Judiciary Committee. Landmark Digital Services Congressman Conyers, a senior statesman in Landmark Digital Services®, offers advanced audio-recognition American political life, is respected and admired by solutions for content providers, copyright owners and consumers colleagues on both sides of the aisle. Reserved and of music and digital entertainment. Landmark’s patented studious, he has quietly built a solid record of legislative “BlueArrow®” digital audio pattern recognition technology, achievement in his 43 years on Capitol Hill. unique in its ability to accurately identify audio performances in high-noise environments, has established a reputation for unsurpassed accuracy in providing real-time, high-volume  Brett Cottle, CEO, APRA (Australia) / Chair song identification from any source containing audio. A of the Board of Directors, CISAC wholly-owned subsidiary of Broadcast Music, Inc.® (BMI), Brett Cottle is the Chief Executive of Australasian Landmark develops innovative audio-recognition products for Performing Right Association Limited (APRA), a broadcast monitoring, audience measurement, ad verification, position held since July 1990. APRA represents over 44,000 consumer devices and is currently utilized by performing rights songwriters, composers and music publishers in Australia and organizations to accurately fulfill obligations to copyright New Zealand. In 1997 APRA entered into a management owners. Landmark is located in Nashville, Tennessee. arrangement with the mechanical right society in Australia/ New Zealand, AMCOS, following which Brett took on the AMCOS CEO role in addition to APRA responsibilities.  Allison Demas, Chief Executive Officer, COTT For the period from December 1994 until April 1999 (Trinidad & Tobago) Brett held the position of Chairman of the Asia-Pacific Allison Demas is an attorney-at-law specialising in Committee of CISAC. In 2000, Brett Cottle was appointed intellectual property law and is the Chief Executive Vice-Chairman of CISAC’s Executive Bureau. He became Officer of the Copyright Music Organisation of Trinidad Chair of CISAC’s Board of Directors of CISAC in 2006. and Tobago (“COTT”). She is also the Vice-Chaiman of the In his role at CISAC, Mr Cottle aims “to re-affirm authors Management Committee of Caribbean Copyright Link (a as the primary force in creativity and cultural diversity, regional grouping of collecting societies). She was an Adjunct and through their collective representation, to ensure Lecturer in the Advanced Intellectual Property Law course their reward and encouragement accordingly.” of the LL.M in Corporate & Commercial Law programme in Brett Cottle is also a Director of the Australian the Faculty of Law, University of the West Indies. Ms. Demas Copyright Council and a past member of the has represented a wide cross section of the copyright and Copyright Law Review Committee. creative industries including creators, publishers, producers as well as industry associations. She has written several APRA articles and papers and made various presentations on Since 1926, APRA (the Australasian Performing Right copyright, the law and business of entertainment, and Association) has been making life a little easier for songwriters, creative industries in the Caribbean and has sat on various composers and music users. Australian copyright law committees dealing with policy and development of intellectual makes songwriters and composers the exclusive owners of property rights and the creative industries in the region. their original music and lyrics. Nobody else can use their work without getting their permission first, and if necessary, COTT paying a royalty for this use. This is where APRA steps in. The Copyright Music Organisation of Trinidad and Tobago APRA is a not-for-profit organisation that collects royalties (COTT) is a non-profit making membership organisation of

50 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

songwriters, composers, lyricists, and music publishers of all vice president and chief legal officer, he leads Google’s global musical genres. Incorporated in 1984 and operating since teams for legal, government relations, corporate development January 1985, COTT administers the public performance, (M&A and investment projects) and new business development broadcasting, communication to the public, mechanical (strategic partnerships and licensing opportunities). reproduction and synchronisation rights granted by law to David was first introduced to Google in 1998 as a the creators and owners of original music. COTT was the first partner in the corporate transactions group at Wilson national, indigenous collecting society to be established in the Sonsini Goodrich and Rosati, one of the nation’s leading Caribbean. COTT is also one of the four founding members law firms representing technology businesses. He served as of Caribbean Copyright Link (CCL), a regional grouping of Google’s first outside counsel and worked with Larry Page collecting societies. COTT is a member of CISAC and BIEM. and Sergey Brin to incorporate the company and secure its initial rounds of financing. During his tenure at Wilson Sonsini, David worked with a wide variety of technology  Hervé Di Rosa, Visual Artist & Painter / companies to help them manage complex transactions Board Member, ADAGP (France) such as mergers, acquisitions and initial public offerings. Hervé Di Rosa. A French artist who endeavours David earned his bachelor’s degree in history from Santa to combine the graphic traditions of the Clara University and his JD from Stanford Law School. whole world. He travels and works both in Africa, Asia, Central America and the United States or Bulgaria. In the 1980s, he was one of the founders of the figuration  Jane Dyball, Senior VP, International Legal libre movement, diversifying his artistic approaches & Business Affairs, Warner/ Chappell Music without claiming a style and practising all kinds of creative (UK) techniques: painting, sculpture, cartoon, tapestry, print, Jane has responsibility for Warner/Chappell advertising, fresco, lacquerwork, animated cartoon, etc. Music’s business affairs throughout the world ex US & He defends the concept of modest art, redefining in Canada including strategic issues such as collective rights this way the visual sources of contemporary art through management and digital rights whilst also representing the media imagery flooding the planet. The creator WCM on various industry bodies. Jane oversees WCM’s of Miam, the international modest art museum, he Pan European Digital Licensing initiative as well as the presents an original interpretation of everyday life. groundbreaking “one stop shop” publishing and master rights licensing platform for Radiohead’s “In Rainbows” album.

Lamont Dozier, Songwriter, Producer and Performer, Warner/Chappell Music BMI icon (USA) Warner/Chappell Music is WMG’s award-winning global In the heyday of Motown, Lamont Dozier co-wrote, as part music publishing company. The Warner/Chappell Music of the iconic songwriting team of Holland-Dozier-Holland, a catalogue includes standards such as “Happy Birthday To You”, massive stream of songs for the Supremes, the Four Tops, the “Rhapsody In Blue”, “Winter Wonderland”, the songs of Cole Temptations, Martha Reeves & The Vandellas, The Marvelettes Porter, George & Ira Gershwin, as well as the music of Dido, and Marvin Gaye. Catalog highlights include “Baby Love,” Dr. Dre, Eric Clapton, Green Day, Led Zeppelin, Madonna, “Where Did Our Love Go,” “Baby I Need Your Loving,” “You Nickelback, Red Hot Chili Peppers, Sheryl Crow, T.I and others. Can’t Hurry Love,” “Reach Out, I’ll Be There,” “How Sweet It Warner/Chappell Music is a leader in creating innovative Is (To Be Loved By You),” “Stop! In The Name of Love,” “Love strategies for marketing and promoting its songwriters and their Is Like An Itching In My Heart,” “Heat Wave,” “Nowhere to music. The company’s extensive catalogue makes it a natural Run,” “Bernadette,” “It’s The Same Old Song” and more. One first stop for A&R executives and record producers, feature of the architects of the self-titled Sound of Young America, he film and television production companies and others looking helped create the songs that turned a fledgling Detroit record to record or license some of the world’s greatest music. company into an industry groundbreaker and powerhouse. Lamont Dozier has gone on to record numerous gold and platinum solo albums, along with writing and producing for  Serona Elton, Assistant Professor – Music mega artists Alison Moyet, Aretha Franklin, Eric Clapton, Business and Entertainment Industries, Frost Simply Red and Phil Collins, with whom he wrote the Oscar- School of Music – University of Miami (USA) nominated “Two Hearts.” The song garnered the Ivor Novello Serona Elton is currently an Assistant Professor at the Award in the UK, the Brit Award, The Golden Globe Award University of Miami, in the Music Business and Entertainment and a Grammy Award. In 2002, Lamont released the Industries Program. She is also the Director of Membership for Grammy-nominated, “Reflections,” and wrote songs for Joss the Music & Entertainment Industry Educators Association, and Stone, members of the Black Eyed Peas and Solange Knowles. an attorney licensed to practice in New York and Florida. Her career highlights include working for EMI Recorded Music, North America, where she held a number of  David C. Drummond, Senior Vice President, positions including Vice President, Mechanical Licensing Corporate Development and Chief Legal and Repertoire Data Services; consulting for Sony Music Officer, Google Entertainment; and participating in the IFPI/RIAA/ David Drummond joined Google in 2002, initially CISAC/BIEM project which developed a new identifier as vice president of corporate development. Today as senior for digital music based products called the Global

www.copyrightsummit.com 51 Speaker Biographies New Frontiers for Creators in the Marketplace

Release Identifier (GRid). Her areas of specialty are music  Milos Forman, Film Director (USA) business education, royalties, mechanical licensing and the management of rights and repertoire information. Milos Forman is a Director and Screenwriter who has received two Best Director Academy Awards University of Miami for One Flew Over the Cuckoo’s Nest and Amadeus. The The Music Business and Entertainment Industries’ program Czechoslovakia-born director has been a member of the in the Frost School of Music at the University of Miami offers Directors Guild of America since 1970. In a body of work that a comprehensive education in the business side of music. celebrates individualism, he has also directed such other films Founded in 1964, the program includes music, business, and as: Black Peter, Loves of a Blonde, Fireman’s Ball, Valmont, The music business courses that are combined in a curriculum People vs. Larry Flynt, Man in the Moon, and Goya’s Ghosts. design that prepares graduates for many careers in the music and entertainment industries. Courses are taken in the School of Music and the School of Business, and include studies in  Bob Frank, President, E1 Music copyright law, music publishing, recorded music marketing and Bob Frank is President of E1 Music and E1 distribution, artist development and management, contracts Music Publishing, the content divisions of E1 and licensing, and the broader entertainment industry. Entertainment. E1 Music placed over 170 Graduates have gone on to work in virtually every segment albums on the Billboard Independent chart during of the business, including record companies, music publishing 2001-2007 and maintained the #1 ranking. companies, talent agencies, instrument manufacturers, and Frank serves as a member of A2im and WIN, and is also management companies. Numerous graduates have gone on the Chairman and Board member for the Merlin organization. to enter law school to prepare for careers as entertainment industry attorneys. The program also offers opportunities to E1 Entertainment work in the student-run record label ‘Cane Records, and the E1 Entertainment (AIM: ETO) is a leading independent student-run music publishing company Cat 5 Music Publishing. entertainment content owner that acquires film, television and music rights and exploits these rights in all media in more than 190 countries.  Roger Faxon, Chairman & CEO, EMI Music The company currently operates in Canada, the U.S., the Publishing (USA) UK, Holland and Belgium through its four primary businesses Roger Faxon has held the position of chairman units: E1 Television, E1 Films, E1 Music and E1 Distribution. and CEO of EMI Music Publishing since March These businesses collectively represent E1’s extensive 2007, and sits on the EMI operating board. He was expertise in film distribution, television and music production/ formerly chief financial officer of both EMI Music Publishing distribution, Kids content, Licensing and Distribution. and EMI Group, and has held senior positions with E1’s content library includes more than 3,700 LUCASFILM Ltd, Columbia Tristar and Sotheby’s Europe. feature films, 2,700 hours of original television programming and 15,000 music tracks. EMI Music Publishing EMI Music Publishing is the world’s leading publisher of popular music. It represents more than 1.3 million copyrights  Tom Frederikse, Solicitor & Attorney, including some of the best-known songs ever written, such as Clintons (UK) “New York New York”, “You’ve Got A Friend”, “The James As a partner at Clintons, Tom specialises in Digital Bond Theme”, “Lady Marmalade”, “Ain’t No Mountain High Media and technology-related issues, working Enough”, “Always On My Mind”, “Over The Rainbow”, “I for both the Commercial/Corporate Group and the Music Heard It Through The Grapevine” and “Singin’ In the Rain”. Group. With extensive practical experience in media and Its current hit-making writers and producers include Arctic technology, he works on a wide range of commercial and Monkeys, Beyoncé, James Blunt, Duffy, Alan Jackson, Norah media matters and IT/digital projects and regularly deals Jones, Alicia Keys, Panic At The Disco, Pink, Stargate, Usher, with IP issues including copyright, trademarks, digital rights Kanye West, Pharrell Williams and Amy Winehouse. management, data protection and information security. His clients include ISPs, digital content retailers/aggregators and other music/entertainment companies, advertising agencies,  Theodore H. Feder, President, ARS artists, managers, producers and filmmakers. Tom spent 15 years as a music producer/engineer, amassing a large Theodore H. Feder, founder and president of discography, before training at Bird & Bird and joining Clintons Artists Rights Society, received his Ph.D. in art in 2005. He was born and raised in the US and is dual- history and archaeology from Columbia University. He is also qualified as both a UK solicitor and a New York attorney. president of Art Resource and the author of Great Treasures of Pompeii and Herculaneum (Abbeville Press), as well as Clintons numerous articles on authors rights and on art history. Based in Central London, Clintons is a leading UK law firm in entertainment, media and sport. Clintons boasts an unrivalled reputation in relation to copyright and trademark-related issues and has acted for clients in the literary, music, film, television, advertising, theatre, dance and computer software industries.

52 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

As a pioneering legal practice in the music industry since the Smith and Steps. They write jointly, although there have been ‘60s, Clintons has represented artists including Jimi Hendrix occasional individual collaborations, such as “Woman in and Paul McCartney and today continues to act for world- Love”, which Robin wrote with Barry and for which he won class artists such as U2, The Cure, Paul Weller, Daft Punk, an Ivor Novello Award in 1980. He co-produced ex-Atomic Muse, Razorlight and Vampire Weekend, in addition to many Kitten Liz McClarnon’s 2006 hit version of the song. well-known producers, writers and managers, and major Robin’s first solo album, Robin’s Reign, was released in and independent record companies and music publishers. 1970 and included the single “Saved by the Bell”, which went to number 2 on the UK charts. At this time he had left the Bee Gees, but he rejoined his brothers later that year. His  Nicolas Galibert, Managing Director, Sony/ second solo album, How Old Are You, did not appear until ATV / Chairman, ICMP – International 1983. Since then Robin Gibb has continued to pursue his solo Confederation of Music Publishers career, with hits such as “Juliet” (1983), ”Boys do fall in Love” Graduate with a Master in Intellectual Property (1984), “Walls Have Eyes” (1985) and “Magnet” (2003). Law and a Master of the Institut d’Administration des Robin continues to write record and perform, including an Entreprises de Paris, Nicolas Galibert is Sony/ATV appearance at the 2007 Peel Bay Festival on the Isle of Man. France Managing Director, French MPA (CSDEM) Vice Robin has won 11 Ivors, is a Fellow of the British President and has been elected Chairman of International Academy of Composers and Songwriters, and was Confederation of Music Publisher in 2008. inducted into the Songwriters Hall of Fame in 1994 Nicolas received the SACEM award of and the Rock and Roll Hall of Fame in 1997. “Publisher of the Year” in 2000 and has been In June 2007, Robin Gibb was elected President elected to the SACEM board in 2006. of CISAC. Gibb first became involved with the international organisation representing authors’ Sony/ATV Music Publishing societies in June 2006 when he defended CISAC and Sony/ATV Music Publishing was established in 1995 as a the system of collective management at the European joint venture between Sony and Michael Jackson. Sony/ATV Commission’s Statement of Objections oral hearing. owns or administers over 500,000 copyrights by such artists Excerpt from Gibb’s speech and editorial, published in as The Beatles, Beck, Beyonce, Leonard Cohen, Bob Dylan, Billboard, July 15, 2006: “Royalty devaluation will also Jimi Hendrix, Jonas Brothers and Mika, among others. Sony/ inevitably lead to cultural devaluation. As a creator who ATV recently acquired the Leiber Stoller and the Famous has benefited from the strength of the Anglo-American Music catalogues. And Locally, Sony/ATV France owns repertoire, I have no doubt that my genre of music would or administers such artists as Booba, 113, Tiken J. Fakoly, survive competition – albeit financially decimated. But Amadou & Mariam, Jehro, DJ Kore, Kyo, Souad Massi, have a thought for Europe’s cultural diversity that would Laurent Wolf, Zaho, … and such lyricists as Rémi Lacroix be seriously jeopardised if the current system of collective (Jenifer, G. Lemarchal), Didier Golemanas (J. Hallyday, V. management of creators’ rights were destroyed.” Paradis), Patrice Guirao (J. Hallyday, F. Pagny), Jean Fauque The role of CISAC’s President is to represent and voice (A. Bashung, V. Paradis), Marie-Jo Zarb (P. Kaas, T. Amiel) … the opinion of the international community of creators and to defend the system of collective administration that protects their rights. The President brings visibility, legitimacy  Robin Gibb,, Composer and Songwriter / and prestige to CISAC’s actions as well as ensures that President of CISAC creators’ needs are truly being met by the organisation. Robin and his brothers Barry and Maurice, “I hope that in my role as President I can portray the who created music together as the Bee Gees, positive role which CISAC and its members play in enabling are among the most successful songwriters and recording artists to earn a living from their creations,” proclaimed Robin artists in history. Since 2007 Gibb has also stood up for Gibb. “We have a positive message to give and I hope to authors’ rights as President of CISAC, the International play my part in getting that message more widely heard.” Confederation of Societies of Authors and Composers, along with film director Alfonso Cuarón as Vice-President. Robin Gibb was born in Douglas, Isle of Man on 22  Jim Griffin, Founder, Choruss December 1949. By 35 minutes he is the older twin of Jim Griffin is Managing Director of OneHouse Maurice. With older brother Barry, they were to become LLC, dedicated to the future of music and the legendary Bee Gees. The family soon moved to entertainment delivery. Jim is also President Manchester and in 1958 emigrated to Queensland, of Choruss LLC, a non-profit focused on making it Australia. Here, having already begun making music, the faster, easier and simpler to pay for music. Gibb brothers enjoyed critical and chart success. On their In addition to serving as an agent for constructive return to England in 1967, a long association began with change in media and technology, he is an author, serving entrepreneur Robert Stigwood, who became their manager. as a columnist for magazines, and is on the boards of The success of the Bee Gees is well documented, with companies and associations. He started and ran for five their songs for the film Saturday Night Fever in particular years the technology department at Geffen Records. defining the sound of an era. The Bee Gees regard Prior to Geffen he was an International Representative themselves primarily as songwriters and their songs have for The Newspaper Guild in Washington, D.C. been recorded by artists as diverse as Elvis Presley, Robert

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While at Geffen, Jim led a team that in June of 1994 the German Publishers and Booksellers Association, and distributed the first full-length commercial song on-line, by since 2003 spokesman for the management of Börsenverein Aerosmith. Geffen was the first entertainment company to Beteiligungsgesellschaft mbH, in which the German install a web server, and Geffen World was one of the first Publishers and Booksellers Association groups its commercial corporate intranet sites. Jim testified in July 2000 before activities, e.g. organisation of the Frankfurt Book Fair. the Senate Judiciary Committee at its oversight hearing on file sharing and music licensing. He regularly moderates video and television shows on digital entertainment. He also  Michael Heller, Lawrence A. Wien Professor, serves as an expert witness in digital entertainment, and Columbia Law School / author of ‘The has presented many Continuing Legal Education courses. Gridlock Economy: How Too Much Ownership Wrecks Markets, Stops Innovation, and costs Lives.’ (USA)  Keith Harris, Head of Performers Affairs, Gridlock Economy author Michael Heller is one of America’s PPL (UK) / Chair, MusicTank leading authorities on property. He is the Lawrence A. Keith Harris is the Director of Performer Wien Professor of Real Estate Law at Columbia Law School. Affairs at PPL and owns his own management Heller’s scholarship explores diverse ownership puzzles, company and represents Stevie Wonder . ranging from the solution to eminent domain abuse use in He is a Senior Fellow of the University of Westminster Land Assembly Districts (Harvard Law Review, 2008) to School of Music, Film and Fashion and is the Chairman Corporate Governance Lessons from Transition Economy of Musictank. Keith is a former Chairman of the Reforms (Princeton University Press, paperback 2008). Prior MMF and was awarded an Honorary Doctorate to joining Columbia in 2002, Heller taught at the University by the University of Westminster in 2007. of Michigan Law School where he received the school’s top teaching award. From 1990-94, he worked at the World Bank PPL on post-socialist reforms. Heller clerked on the Ninth Circuit and PPL is the London-based music licensing company which is a graduate of Stanford Law School and Harvard College. licenses recorded music on behalf of 3,400 record companies and 39,500 performers in the UK. In addition, the company has 42 bilateral agreements with similar  Guy Henderson, Senior Vice President organisations around the world representing a further International, Sony/ATVMusic Publishing 3,400 record companies and 29,000 performers. (UK) PPL collects domestic and international revenues from As Senior VP, International for Sony/ATV Music UK television and radio, digital and online media as Publishing, Guy is responsible for Europe, Asia, Australia and well as public performance income. The company does South Africa. He is a Board member of IMPA and ICMP. not retain any profit for itself. The costs of collecting, Guy joined Sony/ATV in 2001 as European VP. As MD processing and distributing the licence fees are taken of Sony Music South Africa, Guy started the record company from the gross revenues that the company collects. Cost- in 1995, setting up the publishing company in 1998. to revenue ratio has remained at the 2007 levels of He began his career at Gallo Record Company 14.6% despite increasing investment in technology. and was appointed MD in 1993. As a director of All these revenues are distributed and paid to all PPL’s Gallo Music International, Guy was responsible record company and performer members. These for licensing South African acts worldwide. include featured artists as well as session musicians, He wrote a biography of reggae artist Lucky Dube, ranging from orchestral players to percussionists and which was published in 1995 and re-published in 2007. to singers. There is no joining fee or administration charge and the company actively seeks members. Sony/ATV Music Publishing PPL’s other areas of operations include VPL, PPL Sony/ATV Music Publishing was established in 1995 as a Repertoire Database and PPL Video Store. joint venture between Sony and trusts formed by Michael Senator Orrin G. Hatch, Ranking Member of the Judiciary Jackson. Sony/ATV Music Publishing owns or administers over Committee’s Subcommittee on Antitrust, Competition Policy 600,000 copyrights by such artists as Akon, The Beatles, Gary and Consumer Rights, United States Senate (USA) Barlow, Brooks & Dunn, Leonard Cohen, Neil Diamond, Bob Orrin Grant Hatch, a Senator from Utah; elected as a Dylan, The Everly Brothers, Fall Out Boy, Lady Gaga, Noel Republican to the United States Senate in 1976; reelected in Gallagher, Kraftwerk, Billy Mann, John Mayer, Joni Mitchell, 1982, 1988, 1994, 2000, and again in 2006 for the term Graham Nash, Willie Nelson, Roy Orbison, Linda Perry, Richie ending January 3, 2013; chairman, Committee on Labor Sambora, Savage Garden, Shakira, Taylor Swift, KT Tunstall, and Human Resources, and Committee on the Judiciary. and Diane Warren, among others. Sony/ATV most recent acquisitions were the Leiber Stoller and Famous catalogues

 Dr. Harald Heker, Chief Executive Officer, GEMA  Bendik Hofseth, Composer, Saxophonist Since 2006 Harald Heker is Member of the Executive and Singer (Norway) and Chair of CIAM Board of GEMA. From 2001 until 2005 he was Bendik Hofseth is a world-renowned General Manager of Börsenverein des Deutschen Buchhandels, Norwegian composer, saxophonist and singer

54 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

as well as an active defender of creators’ rights and  Benjamin F.P. Ivins, Senior Associate a Professor of music at Agder University College. General Counsel Intellectual, Property and Hofseth worked for several years in the USA, writing International Legal Affairs, Legal and and playing most notably with legendary jazz band Steps Regulatory Affairs Ahead. He has released several Cd’s with his own music and Ben Ivins joined the National Association of Broadcasters collaborators have been as diverse as Tony Levin, Junior Wells, in 1987 after a year’s clerkship with a federal judge and Talvin Singh, Django Bates, Ray Phiri and Nana Vasconcelos. nine years in private practice specializing in litigation His latest CD: “Itaka” was released in 2006 and contains and communications. At NAB, Ben’s focus is developing lyrical songs recorded by jazz and classical musicians. and implementing broadcasters’ positions on cable, Bendik has performed extensively around the world, has satellite and intellectual property issues, educating written several commissioned pieces for different ensembles broadcasters about intellectual property and monitoring and has done many scores for feature films, theatre and TV. international developments affecting broadcasters. Hofseth is a vociferous advocate of authors’ rights active Ben has represented broadcasters’ interests at the and actively involved in copyright organisations TONO World Intellectual Property Organization (WIPO) in and NcB. In September 2007, Hofseth was elected Chair Geneva on treaties involving upgrading authors, sound of the International Council of Authors and Composers of recordings, performers, databases and broadcasters’ Music (CIAM) within CISAC, the International Confederation rights, and before the National Information Infrastructure of Societies of Authors and Composers representing 222 (NII) Intellectual Property Working Group. He served copyright societies in 118 countries. Getting the creators’ as rapporteur for copyright sessions at the 8th World voice heard in policy debates, forging alliances with Conference of Broadcast Unions and, in 2002, testified other rights holders involved in the creative process and before a Canadian Parliament committee opposing a bill contributing to viable new business models in the online to permit the retransmission of U.S. TV signals over the environment are high on his agenda for the CIAM. Internet. The United States Information Agency (USIA) and Hofseth is also the chairman of NOPA private groups have sponsored Ben’s lectures on broadcast (Norwegian Composers and Lyricists), Phonofile and copyright in Asia, Australia and the Caribbean. (on-line distribution), Artspages (internet Ben graduated “with distinction” from DePauw technologies) and By:Larm (festival/seminars). University and earned his law degree from Georgetown University Law Center where he was an editor of the Georgetown Law Journal.  David Israelite, President & CEO, NMPA – National Music Publishers Association (USA) NAB David Mark Israelite is the President and The National Association of Broadcasters is a nonprofit CEO of the National Music Publishers’ trade association that advocates on behalf of more Association, a position he has held since 2005. than 8,300 local radio and television stations and From 2001 through 2005 Israelite served as Deputy also broadcast networks before the U.S. Congress, Chief of Staff and Counselor to the Attorney General of federal agencies including the Federal Communications the United States. Israelite was named Chairman of the Commission, the courts, and international organizations. Department’s Task Force on Intellectual Property and led a NAB also works to improve the quality and competitiveness team of high-ranking officials in examining all aspects of how of broadcasting; encourage content and technology the Department of Justice handled intellectual property issues innovation; and spotlight the important ways radio and and implemented proposals developed by the Task Force. television stations serve their communities. NAB seeks to Prior to joining the Department of Justice, Israelite preserve and enhance broadcasters’ ability to create and served as the Director of Political and Governmental disseminate freely programming and information of all types. Affairs for the Republican National Committee. From 1997 through 1998, Israelite served as Missouri Senator Kit Bond’s Administrative Assistant.  Marcus Johnson, Composer, Jazz Pianist & Producer / President & CEO, Three keys NMPA Music (USA) Founded in 1917, the National Music Publishers’ Jazz keyboardist, composer and producer Association (NMPA) is a trade association representing Marcus Johnson got his start more than a decade ago. American music publishers. The NMPA’s mandate is to While pursuing a JD and MBA at Georgetown University, protect and advance the interests of music publishers Johnson independently produced and distributed his first and their songwriter partners in matters relating to the album, Lessons in Love in 1996. This album helped him domestic and global protection of music copyrights. launch his career as a renowned jazz musician and chief executive of Marimelj Entertainment Group LLC (MEG). Noting Johnson’s business savvy and musical ambition, Black Entertainment Television (BET) founder Robert L. Johnson invested in MEG and became Marcus’ business partner. Under this partnership, MEG’s label Three Keys Music established its own full-service recording studio, Studio

www.copyrightsummit.com 55 Speaker Biographies New Frontiers for Creators in the Marketplace

8121; and two music publishing companies, Marimelj Bob Kohn, Chairman & CEO, RoyaltyShare (USA) Music Publishing and Three Keys Music Publishing. Bob Kohn is Chairman & CEO of RoyaltyShare, Inc., the premier Johnson’s eagerly anticipated upcoming release is provider of Web-based royalty processing and reporting his most unique and multifaceted album yet, “Poetically solutions to the music and entertainment industries. Kohn is co- Justified” (available on 6/2/09) promises to deliver author of Kohn On Music Licensing (Aspen Law & Business, 3rd 14 unique tracks that each feature a taste of Johnson’s Edition 2002), a 1,600 page legal treatise which USA Today signature sound, combining acoustic and electronic sets. called, ³the bible on legal issues in the music world.² In 1998, he Johnson’s most recent project was the founded EMusic.com, Inc., the pioneering MP3 music-download groundbreaking Billboard Top 5 Contemporary Jazz service which was acquired in 2001 by Universal Music Group. FLO series, which consisted of three distinct albums Until recently, Kohn served vice chairman of the board of – FLO: Chill, FLO: Romance, and FLO: Standards – Borland Software Corporation where he previously served as released simultaneously in September 2008. senior vice president and general counsel. Prior to that, he was an associate attorney at the law offices of Milton A. “Mickey” Marimelj Entertainment Group Rudin, an entertainment law firm whose clients Marcus Johnson’s Marimelj Entertainment Group, LLC is included Frank Sinatra, Liza Minelli, and Cher. Kohn synonymous with greatness. Marimelj is a tour de force multi- serves on the editorial board of the Entertainment faceted entertainment company that houses some of today’s Law Reporter and has taught law at Monterey hottest jazz musicians such as Bobby Lyle, Alyson Williams, College of Law in Monterey, California. and Nick Colionne. Marimelj Entertainment Group serve as the parent company to Washington, DC-based Three Keys ­­­­­­­­­­­­­­­­­­­­RoyaltyShare Music, but it is also home to a fully functional recording studio, RoyaltyShare is the leader in Web-based royalty processing Studio 8121 East, and two music publishing companies, and reporting solutions for the global entertainment industry. Marimelj Music Publishing and Three Keys Music Publishing. RoyaltyShare provides a suite of on-demand services dedicated to simplifying the increasingly complex and necessary task of managing sales and distribution information, calculating  Jason Edward Kaufman, Chief U.S. royalties, and generating Web-accessible royalty reports. Correspondent, The Art Newspaper RoyaltyShare’s centralized revenue data processing Jason Edward Kaufman is Chief U.S. Correspondent solution supports digital, physical, subscription, mobile for The Art Newspaper. His criticism and reporting and other sources of revenue. Its state-of-the-art system have appeared in The Wash­ington Post, The New York and dedicated 24/7 royalty support team enables music Times, The Wall Street Journal, The Los Angeles Times and labels, distributors and publishers to accurately manage numerous other publications, including museum exhibition royalty reporting obligations anytime, anywhere. For more catalogues. A 2000-01 Knight-Wallace Journalism Fellow at information, please visit http://www.royaltyshare.com the University of Michigan, he lives and works in New York.

The Art Newspaper  Marty Lafferty is CEO of the Distributed The Art Newspaper is a monthly publication based in London Computing Industry Association (DCIA). which, through its network of sister editions is able to provide Previously he was CEO, Zoom Culture; an unrivalled news service about the international art world. CMO, StreamSearch; Marketing VP, We cover the events, people, places, politics, economics Microsoft TV; and President, FutureVision. and law that shape the visual arts world. Our readership is a Marty was also CEO of NBC’s Olympics joint venture with mixture of private individuals and art professionals. They need Cablevision. And as VP of TDBS, he led Turner Broadcasting’s The Art Newspaper because it is their most important source adoption of signal-scrambling security technology. of information, indispensable to their successful dealings in the art world. The Art Newspaper is part of an international network of four papers: Il Giornale dell’Arte (Turin, founded  Patrick Leahy, Chairman of the Judiciary 1983), The Art Newspaper (London, founded 1990), Ta Committee, United States Senate (USA) Nea Tes Technes (Athens, founded 1992) and Le Journal des Patrick Leahy of Burlington was elected to the United Arts (Paris, founded 1994). Our newsrooms in London, New States Senate in 1974 and remains the only Democrat York, Paris, Turin, and Athens, and correspondents in over elected to this office from Vermont. He was also the youngest 20 countries, bring you hard news, opinion and reportage. Senator (34) elected from the Green Mountain State and is now serving his sixth term. Leahy has crusaded for the protection of privacy rights, copyright protections and freedom of speech on  Michael Keplinger, Deputy Director General the Internet. He was a co-founder and remains a co-chair of the Congressional Internet Caucus. Leahy has taken the lead on Mr. Michael Keplinger was appointed to the World several important privacy issues, including drafting legislation Intellectual Property Organization’s (WIPO) top to address data privacy and security and leading the effort management team in December 2006, after 22 years’ service to enact privacy safeguards for electronic health records. in the U.S. Patent and Trademark Office (USPTO). Mr. Keplinger now oversees the activities of the WIPO sector responsible for copyright and related rights and for enforcement.

56 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

 Dr. Yong-Kyung Lee, Ranking Member of The World Bank Group the Committee on Culture, Sports, Tourism, The World Bank Group is an international organization Broadcasting and Telecommunications, owned by 185 countries-both developed and developing-. National Assembly of Kprea Established in July 1, 1944m, in Bretton Woods. It Dr. Yong-Kyung Lee served as President & CEO of Korea is a vital source of financial and technical assistance Telecom from 2000 to 2005, significantly contributing to the to developing countries around the world. advancement of Korea’s ICTindustry to one of the world’s best The World Bank Group consists of five organizations: standards. Dr. Lee also served as Global Chair of the GBDe from 1) International Bank for Reconstruction and Development 2001 to 2003, and as a member of the UNICT Task Force. He (IBRD), 2) International Development Association (IDA), worked as a professor at the University of Illinois, a researcher 3) International Finance Corporation (IFC), 4) Multilateral at the AT&T Bell Labs, after acquiring a PhD at UC Berkeley. Investment Guarantee Agency (MIGA); and 5) International Centre for the Settlement of Investment Disputes (ICSID). National Assembly of the Republic of Korea Each institution plays a different but Dr. Yong-Kyung Lee (Ken) currently serves as a Ranking Member collaborative role to advance the vision of an of the Committee on Culture, Sports, Tourism, Broadcasting and inclusive and sustainable globalization. Communications, one of the 16 standing committees of the 18th National Assembly in charge of policies and regulations on cultural matters, including the broadcasting and communications  Zahavah Levine, Chief Counsel, YouTube polices and the Copyright Acts. In addition, he acts as the Senior Zahavah Levine is Chief Counsel for YouTube. Deputy Floor Leader of the Advancement and Creation Alliance, She oversees partnership agreements with one of the three negotiation groups at the National Assembly, record labels, music publishers, networks, movie and plays an important role on the overall proceedings of studios, and other organizations interested in forging the Assembly, including the agenda-setting and scheduling. content relationships with the largest video entertainment service on the Internet. She also directs policies focused on protecting the rights of copyright holders.  Bruce Lehman, Chairman, IIPI – Prior to YouTube, she was Associate General International Intellectual Property Institute Counsel & Director of Music Licensing for RealNetworks, (USA) Inc., and was responsible for the music licensing Bruce A. Lehman was the Assistant Secretary of for all of RealNetworks’ products and services Commerce for Intellectual Property in the Clinton Administration. including Rhapsody, RadioPass and SuperPass. He practices law in Washington, D.C. with the firm of Zahavah received her JD from Boalt Hall School of Law at Whiteford Taylor & Preston and, concurrently, is Chairman of U.C. Berkeley and her BA in History from Brown University. the non-profit International Intellectual Property Institute (IIPI). YouTube IIPI YouTube is the world’s most popular online video community The International Intellectual Property Institute (IIPI) is a non- allowing millions of people to discover, watch and share profit organization founded in 1999 by former U.S. Assistant originally-created videos. YouTube provides a forum for Secretary of Commerce, Bruce Lehman, based on his experience people to connect, inform and inspire others across the as a key U.S. negotiator with respect to international patent globe and acts as a distribution platform for original content and copyright treaties. With the support of the U.S. government creators and advertisers large and small. YouTube, LLC is and the private sector, IIPI provides technical assistance and based in San Bruno, CA and is a subsidiary of Google Inc. policy advice to developing countries attempting to meet their IP YouTube has more premium partners than any other treaty obligations in a manner that would stimulate the growth online video site and is actively working hand-in-hand with of their own domestic creative industries, thereby encouraging a growing list of content creators and advertisers across the greater compliance with laws protecting all of the world’s entertainment industry to generate new streams of revenue creators who are dependent on intellectual property rights. and innovate in the digital era. And we provide these entertainment partners with a massive distribution platform to a global and engaged audience at a low distribution cost.  Anne-Marie Leroy, Senior Vice President and Group General Cpunsel, World bank (USA)  John LoFrumento, Chief Executive Officer, Anne-Marie Leroy, a French national, was ASCAP appointed Senior VP and Group General Counsel for the As Chief Executive Officer of the American Society World Bank in March 2009. Prior to joining the Bank, she of Composers, Authors & Publishers (ASCAP), John has been a partner of the Denton Wilde Sapte LLP in charge A. LoFrumento sets and directs the strategic growth for one of the Department of Public Law, and worked as a judge of the world’s largest performing rights organizations. for the Council of State (Conseil d’Etat), the highest court in LoFrumento represents ASCAP as a member of CISAC’s France for public and administrative law for 5 years.” Board of Directors (Confederation International des Societies D’Auteurs et Compositeurs), is the Chairman of its Finance Committee, and has served as Chairman of the CISAC Canada/USA Committee. In addition, he is a member of

www.copyrightsummit.com 57 Speaker Biographies New Frontiers for Creators in the Marketplace

the Board of Directors of FastTrack, a global alliance of is the business and legal owner of Real’s direct music publisher leading music copyright societies. He is also a member of licensing initiative. Cecily is also an adjunct professor of the the Board and Chairman of the Finance Committee of the digital media law seminar at UC Hastings College of Law. Songwriters Hall of Fame. He serves as Chairman of the Previously, Cecily was an attorney at Shartsis Friese, Board of Mediaguide, CEO of MusicPro Insurance and where she served a range of large international corporations, Secretary of the ASCAP Foundation. The National Music start up businesses and individuals. Cecily is a published Publishers Association recognized LoFrumento for his author and frequent public speaker on the subject of digital leadership in 2003 with the NMPA President’s Award. media, music and related copyright law. She has co- authored “Music Law in the Digital Age,” being published ASCAP by the Berklee Press and released in January 2010. ASCAP is the leading U.S. PRO, representing the world’s largest Cecily graduated from UC Hastings College of the Law. repertory. ASCAP is owned by its 350,000 plus members and is governed by a Board of writers and publishers. Rhapsody With 2008 revenues exceeding $930 million, Rhapsody® offers an integrated and immersive digital ASCAP collects more performing rights money with music experience accessible to consumers via their a lower operating expense ratio than any other computer, portable music device and soon their mobile performing rights organization in the world. phone. Rhapsody is the exclusive digital music service for ASCAP is leading U.S. copyright advocacy in RealNetworks® Inc. and for MTV Networks’ music and pop- the digital world with extensive legislative outreach culture brands in the United States. Rhapsody is a service programs and aggressive licensing initiatives. of Rhapsody America LLC, a joint venture between and ASCAP has developed many technological and member MTV Networks, a unit of Viacom and RealNetworks. benefit innovations including Mediaguide, MusicPro Insurance and the ASCAP “I Create Music” EXPO. Susan O. Mann, Senior Director of Intellectual Property Policy, Microsoft Corporation (USA)  Steven Lubin, CEO, Mediaguide, Inc. Susan O. Mann serves as Senior Director of Intellectual Steve has been Mediaguide’s CEO since January Property Policy for Microsoft Corporation, focusing on 2006 previously having served as VP for Business patent law, copyright, content protection and a range Development. Since taking over as CEO, Steve of issues affecting intellectual property and innovation. has expanded Mediaguide’s services beyond traditional Prior to joining Microsoft, She worked for nine years as music monitoring and now the company is one of the a principal in the government relations firm of firm of leading providers of radio advertising airplay information. Griffin, Johnson, Dover & Stewart, where she represented Steve comes to Mediaguide from the American Society of clients in the music, film and publishing industries. Composers and Publishers (ASCAP) where he was VP of Ms. Mann has also served as Administrator for the Office ASCAP’s Enterprises Group. Steve was responsible for directing of Legislative and International Affairs at the U.S. Patent and the Society’s business development program, researching Trademark Office, and as Attorney-Advisor in the same office. and analyzing various companies and technologies for While at the USPTO, she led and participated in numerous strategic investment and partnership opportunities. multilateral and bilateral intellectual property negotiations Steve holds a Law degree from Brooklyn Law School and also served as an advisor to the Secretary of Commerce and a BA in Journalism from Michigan State University. on legislative and policy initiatives affecting the trade aspects of, and the protection of, intellectual property rights. Ms. Mediaguide, Inc. Mann has focused on legislative and copyright matters as Mediaguide uses proprietary digital fingerprinting and an associate of the law firm Paul, Weiss, Rifkind, Wharton watermarking technology to monitor and measure music and Garrison, has lobbied for an industry trade association, and advertisement airplay on more than 2500 college, non- and has worked as a congressional aide on Capitol Hill. commercial and commercial radio stations in over 150 US Ms. Mann holds a law degree from the Washington markets, real time, 24/7. Mediaguide information provides College of Law, American University, and received her business insight to performing rights organizations, record labels, undergraduate degree from the University of Michigan. broadcasters, market researchers and advertisers and fuels broadcast radio content interaction through real-time connection to digital outlets & mobile device applications. Mediaguide  Armando Manzanero, Musician & Composer was founded in October 2002 by the American Society of / President SACM (Mexico) Composers, Authors & Publishers and ConneXus Corporation. Armando Manzanero was born in Mérida, Mexico, on December 7, 1935 and at the age of eight was introduced into the world of music in the Escuela  Cecily Mak, Senior Counsel, Director of de Bellas Artes (School of High Arts) of his native city. Music Licensing, Real Networks (USA) Maya descendant, he started his professional Cecily Mak is currently senior counsel and director career in music in 1957 as piano player and later, of music licensing at RealNetworks, Inc., where she in Mexico accompanying performers such as Lucho advises and supports numerous teams in connection with the Gatica, Pedro Vargas or Daniel Riolobos. company’s digital music service, Rhapsody. Additionally, she

58 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

Since his first recorded song: Nunca en el Mundo in 1959  Nicholas Motsatse, Chief Executive Officer, until today, we can mention more than 50 years of 400 songs, SAMRO (South Africa) including 50 international huge hits. His songs have been Nicholas Motsatse is the Chief Executive Officer performed by voices like those of Johnny Mathis, Tony Benet, of the Sothern African Music Rights Organisation Frank Sinatra, Elvis Presley, Elis Regina, Chavela Vargas, (SAMRO), a collective management organisation (CMO) in Luis Miguel, Julio Iglesias, Alejandro Sanz, Andrea Bocelli, the field of Performing and Mechanical Rights. He assumed Christina Aguilera, Placido Domingo… and many others. this role in July 2006 after a period of four years as the same Performer, composer and producer, Armando Manzanero organisations’ Marketing Director and Deputy Chief Executive. is considered one of the most important examples of latin He serves on the Board of Directors of CISAC, the Business music and modern bolero in the world, with songs like Contigo Intelligence Group (BIG) of CISAC as well as the Executive aprendí (I Learnt With You), Mía, Adoro (Adore), Esta tarde Committee of the Africa Committee of CISAC. He is the vi llover (Yesterday I Heard the Rain), Voy a apagar la luz Chairman of the National Arts Council, a statutory body (I’m Going to Turn Off the Lights), Todavía, Como yo te amé, set up the government of the Republic of South Africa. No, Somos novios (“It’s impossible”), Parece que fue ayer, A graduate of humanities, marketing and currently Cuando estoy contigo, Te extraño, Señor amor and recently completing his Masters in Business Leadership, Por debajo de la mesa (Under the table), No sé tu, Nada Nicholas has had a career that spans a number personal (Nothing personal), & Antes de, después de. of industries such as manufacturing, management Result from his creative activity and his fight for consulting, financial services and education. the respect of authors’ rights, Armando Manzanero is member of the Board of Directors of the Mexican Authors SAMRO & Composers Society (SACM) as its Vice President from SAMRO is the largest Collective Management Organisation in 1983 to 2007, and as his Deputy President since 2008. Africa. It currently administers Broadcasting, Performance in Stanford McCoy, Assistant U.S. Trade Public, Diffusion Service and Mechanical Rights in musical works. Representative for Intellectual Property and Innovation, A member in good standing of CISAC and BIEM, Office of the U.S. Trade Representative SAMRO’s senior managers continue to play active Mr. McCoy serves as the lead U.S. trade negotiator and roles within various CISAC committees. Of note is chief policy advisor to the United States Trade Representative SAMRO’s involvement in the promotion and growth of on intellectual property and innovation trade issues. collective management on the African continent. SAMRO has taken a lead in the development of the music and cultural industries in South Africa through  Dinaw Mengestu, Author (USA/Ethiopia) fostering partnerships and collaborative efforts. The Dinaw Mengestu’s first novel, The Beautiful Things result has been the establishment of a number of That Heaven Bears, was awarded the 2007 Guardian organisations aimed at ensuring that the South African First Book Award, a Los Angeles Times Book prize, Music industry ranks among the best in the world. the Prix du Premier Roman Etranger, and has been translated In 2005 SAMRO received the Business Day into more than a dozen languages. He has written for Rolling / BASA (Business Arts South Africa) recognition Stone, The Wall Street Journal, and other publications. award for its role in youth development.

 Bernard Miyet, CEO & Chairman of the  Kenth Muldin, Chief Executive Officer, STIM Management Board, SACAM (France) / (Sweden) / Chair of CISAC European President GESAC – European Grouping of Committee Societies of Authors and Composers Kenth Muldin CEO of STIM was born 1962. After Joined the French Ministry of Foreign Affairs in 1976. graduating from the University of Stockholm he has worked 1981-86: Chief of Staff to the Minister of Communication, as a lawyer spezialising in Copyright law and teaching then Chairman, CEO of Sofirad and Project manager in university courses about copyright, competetion law for the launch of private tv network “La Cinq”. and private law. In the beginning of 1990´s he was the 1986-89: French Consul General in Los Angeles managing director of the Swedish Book Publisher´s Association 1989-90: DDG for Cultural Affairs Director and he joined STIM in 1996 as a chief legal officer. of Communication, Foreign Affairs. 1991-94: Permanent Representative of France to the UN STIM, The Swedish Performing Rights Society in Geneva and negociator for audiovisual affairs • assigns both performing rights and mechanical rights 1994-96: Permanent Representative of France to the OSCE. • works on behalf of its more than 50 000 members, 1997-2000 : Under-Secretary General authors of music and music publishers of the UN for Peacekeeping. • is a non-profit organization Since 2001: CEO of SACEM and President • issues licences to those who wish to of GESAC (European grouping of societies of use and to distribute music authors and composers) since 2005. • collects the money due • distributes the money to authors and music publishers on an individual basis

www.copyrightsummit.com 59 Speaker Biographies New Frontiers for Creators in the Marketplace

• STIM works together with similar organizations Counsel for the Subcommittee on Patents, Copyrights, and in other countries all over the world. Trademarks of the U.S. Senate Judiciary Committee. In the Nordic and Baltic countries collaboration In his total of 10 years on Capitol Hill, he participated in the administration of musical rights has a directly in many legislative enactments, most notably the 1976 tradition that goes back a long way. revision of the copyright law. Mr. Oman is a graduate of ICE, International Copyright Enterprise, is since Hamilton College (A.B., 1962) and Georgetown University 2007 a joint venture between STIM and UK´s MCPS- Law Center (J.D., 1973), where he served as Executive PRS establishing a common system for European Editor of the Georgetown Journal of International Law. and global administration of bulk data.

 Will Page, Chief Economist, PRS for Music  FX Nuttall, Technology Intelligence Will Page is the Chief Economist at the PRS for Music. Consultant, CISAC (France) His role is to provide analytical support to colleagues FX Nuttall is an independent expert in the field of within the organisation and to provide economic Digital Copyright. He is currently acting as a senior insight to the music industry as a whole. His most notable work to consultant to CISAC (International Confederation of Societies date has been on the Radiohead ‘In Rainbows’, the question of of Authors and Composers) providing insight to Author’s rights holders taking equity and pioneering work on the long tail. Societies on the evolution of the new Digital environment. His research is available at: www.prsformusic.com/economics With strong expertise in Digital Rights Management (DRM), FX is a contributor to many international PRS for Music technical forums such as MPEG, DDEX or Moebius and PRS for Music is home to the world’s best music writers, a frequent speaker at Media Industry conferences. composers and publishers. We exist to collect and pay royalties Prior to his work for CISAC, FX Nuttall was a consultant for to our members when their music is exploited in one of a number various Music Industry Trade Organizations before becoming of ways – when it is recorded onto any format and distributed the founder and CEO of AudioSoft, a US based company that to the public, performed or played in public, broadcast or made pioneered the tracking of copyrighted content on the Internet. publicly available online. PRS for Music is one of the world’s Throughout his career, FX Nuttall has contributed to many most efficient combined rights collecting operations. Offering its publications from Electro-Acoustics courses to DRMs and members more money, more often, at less cost and its customers is the co-author of a book on MPEG-21, an ISO Standard the most efficient means by which they can use music. for the management and the protection of Digital content. FX holds degrees in physics and mathematics and wrote various patents in the field of DRM and Audio Compression.  Albert Pastore, Senior Legal Counsel, Music, NOKIA CISAC Albert Pastore works at Nokia with a focus on CISAC, the International Confederation of Societies of Authors content licensing with rights holders for Nokia’s music and Composers, aims at increasing both the recognition services. He joined Nokia through the acquisition of On Demand and protection of creators’ rights worldwide. In a global Distribution (OD2) where he was Director of Business and Legal and digital world, CISAC’s main missions are to reinforce Affairs. His prior experiences include working as Legal Counsel the international network of copyright societies, to be their for policy and strategy at the International Federation of the spokesperson in all international debates and to reassert Phonographic Industry (IFPI) and at law firms in New York USA, authors’ inalienable right to live by their creative work. Paris France and Munich Germany. He speaks English, French, Ralph Oman, Professor of Intellectual Property Law, German, Spanish and Italian and is based in London England. George Washington University Law School (USA) Ralph Oman is Pravel Professorial Lecturer in Intellectual NOKIA Property Law at the George Washington University Law Nokia is a leader in mobility, driving the transformation School, where he has taught copyright law since 1993 and growth of the converging Internet and communications and serves as a Fellow at its Creative and Innovative industries. Nokia makes a wide range of mobile devices with Economy Center. From 1994 to 2008, he was counsel services and software that enable people to experience music, in the intellectual property group in the Washington navigation, video, television, imaging, games, messaging office of the international law firm, Dechert LLP. He has and more. Developing and growing Nokia’s offering of more than 33 years of experience in intellectual property consumer Internet services, as well as enterprise solutions law and legislation. Before entering private practice in and software, is a key area of focus. Nokia’s music service 1994, Mr. Oman was the Register of Copyrights of the offerings include Nokia Music Store and Comes With Music. United States (1985-93), the chief government official Nokia also provides equipment, solutions and services for charged with administering the national copyright law. communications networks through Nokia Siemens Networks. During his tenure as Register, he helped move the United States into the Berne Convention for the Protection of Literary and Artistic Works, the oldest and most  Frédéric Patissier, Business Intelligence prestigious international copyright treaty. Prior to his Consultant, CISAC appointment as Register, Mr. Oman served as Chief Frédéric Patissier, 37, joined the CISAC team as Business Intelligence Consultant in September 2008.

60 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

He has over 10 years experience as a manager at joining IFPI, Ms Perlmutter has worked as an intellectual property GfK Retail & Technology, one of the world’s top 5 market lawyer for more than 20 years, holding senior positions in research institutes, for whom he still works now. His domains industry, in the US Copyright Office and international agencies, of expertise are hardware technology products (IT, Telecom) and in academia and private practice. Most recently, she and entertainment markets, with special knowledge of was Vice President and Associate General Counsel for Time the music market: he created the largest retail panel for Warner in New York, a position she held since 2000. Shira measuring the sales of records in France. Today, he divides has also served as a key negotiator for the US government his time between CISAC and developing new dedicated in the landmark 1996 WIPO Internet Treaties, and acted as market studies of the digital multimedia sector, with consultant to WIPO on copyright and electronic commerce. particular reference to the mobile multimedia environment. At CISAC, he is responsible for the annual Global IFPI Royalties Collection Survey, and for producing ad hoc IFPI represents the recording industry worldwide with some economic studies, which aim to provide CISAC members 1,400 members in 72 countries and affiliated industry with a better knowledge of the market’s evolution. For the associations in 44 countries. IFPI’s mission is to promote 2009 World Copyright Summit, he published an economic the value of recorded music, safeguard the rights of record report in which he began to investigate the conditions of producers and expand the commercial uses of recorded music. success for implementing new approaches to financing Any company, firm or person producing sound recordings the creative industries. Frederic welcomes the challenge of or music videos which are made available to the public in supporting copyright societies in their initiatives to increase reasonable quantities is eligible for membership of IFPI. the revenues that creators receive from the digital world. IFPI undertakes various activities including physical Some of his hobbies are music (he plays the guitar), visual and online anti-piracy enforcement, public affairs, arts, food and wine. He is located in Paris, France. legal strategies, litigation and communications. It is also the recording industry’s most authoritative source of market research and information, providing a  Ralph Peer, Chairman & CEO, peermusic comprehensive range of global industry statistics. (USA) Ralph Peer, II, Chairman and CEO of peermusic, oversees a global network of music publishing  Marybeth Peters, US Register of Copyright, companies operating from 33 offices in 27 countries. He is US Copyright Office (USA) Vice President and Director of the National Music Publishers’ Marybeth Peters, U.S. Register of Copyrights since Association (U.S.A.) and the Harry Fox Agency and has served 1994, serves as director of the US Copyright on the Boards of both MCPS and ASCAP. Peer is past Chairman, Office. She received her law degree with honors from Vice-President and a board member of the International the George Washington University. She has served as Confederation of Music Publishers (ICMP/CIEM). He holds an adjunct professor of copyright law at Catholic University MBA from Stanford University and an honorary Doctorate of of America, Georgetown University Law Center and the Philosophy from Witten/Herdecke University in Germany. University of Miami Law School. During 1989-1990 Ms. Peters was a consultant on copyright law to the World peermusic Intellectual Property Organization in Geneva, Switzerland. Founded by Ralph S. Peer in 1928, peermusic today continues to serve its composers as the global independent U.S. Copyright Office publisher. With a reach of music publishing companies The U.S. Copyright Office is one of the major service units of spanning 28 countries, and a catalog of over a quarter of the Library of Congress. The Office’s mission is to administer the a million titles encompassing a variety of genres such as copyright law; this includes registration of claims to copyright, country, classical, Latin and pop, peermusic demonstrates its recording documents pertaining to copyrighted works and continued commitment to cultural diversity. Peermusic is the overseeing certain statutory licenses. It also involves providing largest privately owned company of its kind in the world. policy and legal assistance to Congress, the Administration The company was also one of the first to embrace and the judiciary. The demands in these are increasingly the Internet as a tool in spreading its musical repertoire. complex given the current digital, networked environment. In 1998 peermusic became the first international music company to create a Web site, digitalpressure. com, to offer direct downloads of master recordings  Sylvain Piat, International Information for sale. It was also an angel investor in the pioneering Network Director, CISAC e-music (neé GoodNoise) site. The internet has helped Sylvain Piat has been CISAC’s International foster the international collaboration necessary to bring Information Network’s Director since 1998, peermusic’s repertoire to people all over the world. in charge of developing CISAC’s Common Information System (CIS). CIS is a worldwide digital rights management system based on the standardised identification of creative  Shira Perlmutter, Executive Vice President, works and linked data exchange networks between CISAC Global Legal Policy societies. By enabling CISAC’s members to optimise their Shira Perlmutter holds the position of Executive Vice day-to-day administration and information exchanges, the President for Global Legal Policy at IFPI. Prior to

www.copyrightsummit.com 61 Speaker Biographies New Frontiers for Creators in the Marketplace

CIS plan allows automated transactions and more accurate DiMA and quicker royalty distribution between CISAC societies. The Digital Media Association (DiMA) serves the music, A graduate of the prestigious engineering university video and multi-media industries and is the ambassador Ecole Centrale de Paris, Sylvain worked for eight years for the digital media industry: webcasters, technology in the car racing industry before joining CISAC. companies and online music and video retailers, the leading advocate for a stable legal environment in which to build ideas into industries, and inventions into profits.  Dan Pifer, Executive Vice President DiMA is at the epicenter of the business and policy debates Operations & Technology, The Orchard affecting the growth and development of these enterprises, (USA) navigating the complex policies and issues surrounding digital Dan Pifer is Executive Vice President of Operations & media, including copyright, competition and consumer rights. Technology for The Orchard. Dan oversees all operations and DiMA ensures that media companies are not technology for The Orchard, including content management, disadvantaged – legally or as a matter of industry encoding, delivery, and accounting systems and has been practice – because they deliver content digitally. involved with the company since joining Dimensional Associates (the controlling shareholder) in 2004 to work across its portfolio companies. Prior to his Orchard role, Dan was VP of Sales  Christiane Ramonbordes, Managing Operations for independent digital retailer eMusic, overseeing Director, ADAGP content management, royalties and licensing. Previously, he Christiane Ramonbordes is General Manager was VP of Digital Club Network (DCN) where he designed of ADAGP, the French collective rights and developed digital kiosk technology for selling live music management society in the field of visual arts. She is also recordings on location at venues (which has since been General Rapporteur of the CISAC CIAGP (International acquired by The Orchard). In a former life, Dan spent 10 Council of Creators of Graphic, Plastic and Photographic years on the road as the bass player for God Street Wine. Arts) and President of EVA – European Visual Artists – comprising all the European visual arts societies. The Orchard The Orchard (NASDAQ: ORCD) is a full service business partner ADAGP for entertainment companies, music labels, recording artists and ADAGP is the French collective rights management society in songwriters, film studios, and producers. Founded in 1997, the field of visual arts. It represents more than 80 000 authors. the company drives sales across its retail network of more than ADAGP has agreements of reciprocal representation 600 digital storefronts and mobile carriers in 59 countries. with more than forty societies worldwide. Headquartered in New York and London, with operations in 27 ADAGP is a member of CISAC – the International markets around the world, The Orchard offers a comprehensive Confederation of Societies of Authors and Composers suite of services focused on customized marketing and – and also a member of GESAC – the European promotions, social media, sales development, and technology. Grouping of Societies of Authors and Composers – and An industry pioneer and continued innovator in digital media of EVA – European Visual Artists – both of which work services, The Orchard fosters creativity and independence. For to ensure that authors’ rights are secured the highest further information please visit www.theorchard.com level of respect by the authorities in Brussels. Thanks to its image bank ADAGP is able to provide users with very high-quality digital images Jonathan Potter, Executive Director, Digital Media together with the accompanying rights. Association (DiMA) Named one of Washington’s top technology lobbyists by The Legal Times’ Tech Counsel magazine, and one of the  David Rezner, Chairman and CEO, Universal “25 Unsung Heroes of the Internet” by Interactive Week Music Publishing Group (USA) magazine, Jonathan Potter has served as Executive Director As Chairman and CEO of the leading global of DiMA since its creation in June 1998. Under his tenure, music publishing company, David Renzer DiMA has become a formidable Congressional and Executive ensures that the needs of songwriters, artists and catalogs Branch advocate. Mr. Potter is involved in developing are optimally served. Universal Music Publishing Group and influencing Internet public policy and legislation. has taken a leadership position in dealing with global Prior to DiMA, Mr. Potter was a Washington, D.C.-based challenges as they relate to the licensing and protection consultant and attorney, focused on intellectual property of copyrights in an ever-changing environment. and technology-oriented public policy issues. During the 1990s, Mr. Potter represented and advised clients on the Universal Music Publishing Group development of several significant legislative accomplishments, Universal Music Publishing Group is the industry’s leading including the Digital Millenium Copyright Act, the Digital global music publishing operation and is part of Universal Performance Right in Sound Recordings Act, the Audio Home Music Group. UMPG represents music in every genre from Recording Act and the Fairness in Musical Licensing Act. many of the world’s top songwriters and catalogs including Mr. Potter is a graduate of New York University U2, Elton John, Bernie Taupin, 50 Cent, Mariah Carey, R. School of Law and the University of Rochester. Kelly, Coldplay, Jimi Hendrix, Juan Gabriel, Ciara, Dave Grohl, Prince, Justin Timberlake, Maroon 5, Britney Spears,

62 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

Beastie Boys, The Clash, The Sex Pistols, Gloria and Emilio journalism. In the late 1980s Ross worked on Capitol Estefan, Paul Simon, Henry Mancini, Christina Aguilera and Hill for U.S. Senator Harry Reid of Nevada. Linkin Park, among many others. UMPG is also a global leader in the areas of Production Music, Christian and Classical Copyright Alliance Music. For more information, visit: www.umusicpub.com. The Copyright Alliance is a nonprofit membership organization including individual artists and creators, artists’ alliances, unions, corporations and trade associations. Members Hilary Rosen, Managing Partner, Brunswick (USA) represent the gamut of copyright industries, including visual Hilary Rosen is a nationally renowned political strategist, arts; songwriting, music publishing and sound recordings; policy expert, new media specialist and communications television and motion pictures; book, magazine, journal advisor. She has more than two decades of experience and newspaper publishing; entertainment and business helping clients navigate and shape the political, legislative software; and amateur and professional sports. and public affairs agenda. Before joining Brunswick, she The Copyright Alliance educates and advocates on was currently a Political Contributor on CNN and Political behalf of artists and creators and copyright owners. It Director and Editor-at-Large for The Huffington Post. also has a sister organization, the Copyright Alliance She is also the former Chairman and chief executive officer Education Foundation, which is a 501(c)3 charitable of the Recording Industry Association of America (RIAA), the foundation dedicated to assisting teachers in K-12 trade group representing the U.S. sound recording industry schools with educating students on their own personal where she served for 17 years before retiring in June 2003. empowerment through their rights as artists and creators. Her commentary has appeared in multiple publications including The Wall Street Journal, Washington Post, Wired Magazine, Billboard, Business 2.0, Variety, Capitol File  Paul Sanders, Co-Founder/ Strategic Magazine and of course HuffingtonPost.com and CNN. Director, PlayLouder MSP (UK) com. Earlier in her career, Rosen worked for former Paul Sanders is founder and Strategy Director at Governor Brendan Byrne (D-NJ) and Senator Bill Bradley Playlouder MSP, a business which offers a platform to (D-NJ). She served as the transition director in 1992 for allow ISPs to bundle unlimited music with broadband monthly then newly elected Senator Dianne Feinstein (D-CA). subscriptions. Previously he founded Consolidated Independent She was a founder of Rock the Vote, the organization & the state51 Conspiracy, two independent digital music that promotes youth political involvement. She currently companies, and consulted with EMI, Sony, BT, and Channel 4. serves on several non-profit boards including The Human Rights Campaign Foundation, the Creative Coalition, Playlouder MSP and the Center for American Progress Action Fund. Playlouder MSP rewrites the rules of music online by enabling ISPs to bundle unlimited music with the broadband account. Brunswick Group LLC Our revolutionary ‘Content Aware Network’ technology Brunswick Group is a leading corporate relations and keeps the music secure, reduces unlicensed sharing, and communications consultancy with offices in major financial provides accurate accounting information. Music companies and regulatory centers around the globe. The firm is a gain revenue and re-engagement with fans, ISPs gain new 21-year-old partnership with 15 wholly owned offices in value in the bundle and new ways to manage the network, 11 countries. We offer a global network to address the and fans get total freedom to enjoy music how and where most complex and critical public affairs needs, especially they want. Music and content services are an intrinsic part those surrounding corporate transactions and public policy of ‘Next Generation Broadband’ and Playlouder MSP initiatives. In addition to public affairs and M&A, Brunswick delivers on both the business case and public policy goals. specializes in media and investor relations programs, corporate reputation management and crisis communications.  Richard Sarnoff, President, Bertelsmann Digital Media Investments / Co-Chairman,  Patrick Ross, Executive Director, Copyright Bertelsmann Inc. / Chairman, AAp – Alliance Association of American Publishers (USA) Patrick Ross is executive director of the Copyright Richard Sarnoff serves concurrently as Co-Chairman of Alliance, a coalition of artists, producers and Bertelsmann, Inc. the US holding company of Bertelsmann distributors from across the copyright spectrum. Prior to AG, Europe’s largest media company, and President of joining the Copyright Alliance he was a senior fellow and Bertelsmann Digital Media Investments (BDMI). With revenues vice president with The Progress & Freedom Foundation, a in excess of $20 Billion, Bertelsmann is one of the world’s think tank in Washington, D.C. Ross focused his scholarship foremost private companies, with holdings such as Random on intellectual property, specifically the rights of artists. House in publishing, RTL and Fremantle in television, Arvato Ross spent a decade as a journalist, largely with in media services, and Gruner and Jahr in magazines. Communications Daily and Washington Internet Daily, A longstanding senior executive in Bertelsmann’s US the latter of which he managed. He also was the first book publishing operations, Mr. Sarnoff played a key role Washington bureau chief for CNET News.com. He also in the Random House acquisition in 1998, and subsequently spent six years as a self-employed freelance reporter and served as its EVP and CFO. In the ensuing years, he was editor. He is a nine-time award winner for investigative additionally responsible for Random House’s New Media

www.copyrightsummit.com 63 Speaker Biographies New Frontiers for Creators in the Marketplace

and Corporate Development activities, and created and “Photography Industry Leadership Award” by the International oversaw Random House Ventures. In 2002, Mr. Sarnoff Photography Council, and was named the 2006 Photo Media became the first US executive to Chair the Bertelsmann “Photography Person of the Year” by PhotoMedia Magazine. Management Representative Committee and serve on the Supervisory Board of Bertelsmann AG. In recent years, Mr. PLUS Coalition Sarnoff has established and led Bertelsmann’s digital media The PLUS Coalition is an international non-profit initiative investing arm, with offices in the US, Europe and Asia, and on a mission to simplify and facilitate the communication built an active portfolio of more than fifteen companies. and management of image rights. Organized by respected Mr. Sarnoff also served as Chairman of the Association of associations, leading companies, standards bodies, scholars American Publishers, and in that role he was a key architect and industry experts, the PLUS Coalition exists for the and lead negotiator of the landmark Google settlement. benefit of all communities involved in creating, distributing, Mr. Sarnoff holds a Bachelor of Arts degree from using and preserving images. Spanning more than thirty Princeton University and an MBA from Harvard countries, these diverse stakeholders have collaborated University. Mr. Sarnoff serves on the Board of Directors to develop Picture Licensing Universal System (PLUS), a of Activision Blizzard, Inc. as well as not-for-profit system of standards that makes it easier to communicate, organizations including the Center for Communication, understand and manage image rights in all countries. The Princeton University Press, and the Bronx Lab School. PLUS Coalition exists at the crossroads between technology, commerce, the arts, preservation and education.

 Robert Scott, Director, William Scott Foundation & Archive (UK)  Gary Shapiro, President & CEO, CEA – Born in Dublin, 1940. Trained at Chelsea School Consumer Electronics Association (USA) of Art, Bath Academy of Art, Academia di Belle Gary Shapiro is president and CEO of the Consumer Arte, Milan and the Royal College of Art, London. Electronics Association (CEA), the U.S. trade For 40 years was CEO of an international manufacturing association representing some 2,200 consumer electronics and design company for exhibition and storefitting. companies and owning and producing the world’s largest Since retiring he has been appointed as an tradeshow for consumer technology, the International CES. Ambassador to the Alzheimer Society in London and Mr. Shapiro is a leading voice in pushing for an is a Director of the William Scott Foundation. innovation agenda in Congress. He has challenged lawmakers to evaluate each piece of legislation by asking William Scott Foundation if it creates jobs, spurs new technology, rewards risk taking, Established in 2006 as an educational foundation promotes exports, helps deploy broadband, and encourages to advance the education of the Public by promoting the best and brightest to come to the United States. their appreciation of the Fine Arts and in particular Mr. Shapiro is an active leader in the development, the works of the artist William Scott RA. launch and marketing of HDTV and has testified The Foundation maintains an Archive and has a 4 before Congress on HDTV, IP and other technology year project preparing a catalogue raisonnee of the and business issues more than 20 times. works in oil by William Scott. The Foundation also He received his J.D. from Georgetown University organizes exhibitions and Museum Loan requests as Law Center and graduated Phi Beta Kappa from well as authentication and photography of artworks. the State University of New York, Binghamton. Apart from the above, WSF is also funding with the Alzheimer Society some important non embryonic stem CEA cell research projects seeking the causes of dementia The Consumer Electronics Association (CEA) is the preeminent and the development of an effective treatment. trade association promoting growth in the $172 billion U.S. consumer electronics industry. More than 2,200 companies enjoy the benefits of CEA membership, including legislative  Jeff Sedlik, President and CEO, PLUS advocacy, market research, technical training and education, Coalition (USA) industry promotion and the fostering of business and Professor Jeff Sedlik is the President and CEO of strategic relationships. CEA also sponsors and manages the the PLUS Coalition (Picture Licensing Universal International CES – Where Entertainment, Technology and System). A leading commercial photographer for more than Business Converge. All profits from CES are reinvested into 20 years, Sedlik is the past president of the Advertising CEA’s industry services. Find CEA online at www.CE.org. Photographers of America. Sedlik is a leading authority on image licensing, digital asset management and metadata, and provides expert witness and consulting services to clients  Feargal Sharkey, CEO, UK Music in the photography, design, advertising and publishing Born in Derry, Northern Ireland, Feargal found fame as industries. A Professor at the Art Center College of Design, lead singer in The Undertones and later as a solo artist Sedlik teaches courses on business and technical topics. – enjoying some 12 years of world tours, hit albums, Sedlik has recently been named 2007 Photography Industry late nights and the finest transport café cuisine money can buy. Advocate of the Year by the Advertising Photographers Hanging up his pop star boots, he successfully of America. Sedlik was previously received the 2005 transferred to the business side of the industry; holding

64 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

posts as A&R manager, record label MD, Member of the He had a distinguished career in the record and music Radio Authority and Chair of the Live Music Forum. publishing business in the 1980’s, and was at the birth of the In February 2008, Feargal was appointed CEO of global mobile entertainment industry in 1998 – when he co- British Music Rights. Eight months later, this role was founded and funded the UK & USA’s first ring tone company expanded significantly with the creation of UK Music. Yourmobile/Moviso (now Motricity). He had previously co- Headed by Feargal, UK Music is an umbrella organisation founded and developed the Zomba Group and Jive Records that represents the collective interests of the UK’s commercial which became the world’s most successful independent music industry – from artists, musicians, songwriters and record and music publishing company. In the mid 90’s, he composers, to record labels, music managers, music was Executive Vice President of Capitol Records & Blue Note publishers, collecting societies and studio producers. Records and founded EMI’s global New Media division. In July 2005, he was the mobile producer of UK Music the Live 8 concerts, and named one of the world’s UK Music represents the collective interest of the UK’s Top 50 Mobile Executives in 2005 and 2006. commercial music industry: from artists, musicians, songwriters In 2007 he was the mobile producer of Nobel and composers, to record labels, music managers, music laureate Al Gore’s Live Earth global concert publishers, collecting societies and studio producers. and in 2008 was mobile producer of the TED Our member organisations are: the Association Conference’s ‘Pangea Day’ global TV event. of Independent Music (AIM), the British Academy of Simon advises prominent global artists (like U2) Songwriters, Composers & Authors (BASCA), BPI (British and media companies on mobile copyright usage. Recorded Music Industry) Limited, the Music Managers He is a Fellow of the Royal Society of Arts in Forum (MMF), the Music Publishers Association Limited the UK and member of the National Academy (MPA), the Musicians Union (MU), PPL (Phonographic of Recorded Arts & Sciences in the USA. Performance Limited) and PRS for Music.

 Katri Sipilä, CEO, Teosto (Finland)  Jeremy Silver, Founder, Media Clarity Katri Sipilä is the CEO of the Finnish Jeremy Silver is an entrepreneur and strategic advisor Composers’ Copyright Society Teosto since specialising in music, technology and digital media. 2001. Master of Laws with several leadership He has a PhD in English Literature and was CEO of training programs both in Finland and abroad. Sibelius Software (the music notation company). He sold the Katri is an active member in Finnish and international business to Avid Technology in 2006 and remained with the organizations, Board Member of NCB and the IPR University company for two years, taking on the additional role of Global Center, and the Vice President of GESAC from 2004 to 2009. Head of Education for Avid. Silver previously ran the pioneering Katri is a member of several governmental playlist sharing service, Uplister Inc. in San Francisco. For five committees, such as the Ubiquitous Information Society years before that he was global vice president of new media Advisory Board, the Steering Group of National for the EMI Music Group in London and then in Los Angeles. IPR Strategy and the Copyright Committee. Previously, Silver was Director of Media Affairs at Virgin Records where he worked closely with many artists including Genesis, Teosto Meat Loaf, Brian Eno, Massive Attack and the Future Sound Teosto is a non-profit organization founded in 1928 by of London. Silver also serves as an advisor to several digital composers and music publishers. It represents 20,000 Finnish media businesses (including Shazam and MusicMyne) and is a and two million foreign composers, lyricists and music publishers. frequent presenter and panellist at digital media events. He is Teosto promotes and protects the rights of music authors on the Board of Trustees of Futurelab – an education innovation and publishers, sells and develops solutions for music think-tank chaired by Lord Puttnam. Silver is currently working use, collects, and distributes performing right royalties with a select group of clients including the Featured Artists to music authors, and promotes diversity in music. Coalition and the UK Technology Strategy Board through his Teosto is a link between music authors and company Mediaclarity. His blog is at www.mediaclarity.com music users that include TV and radio broadcasters, event organizers, restaurants, bands, record producers and new media companies.  Ralph Simon, Chairman Emeritus & Founder Teosto collected EUR 39 million in performing right – Mobile Entertainment Forum – Americas royalties in Finland and EUR 3 million abroad, totaling President & CEO – The Mobilium Group EUR 42 million. Of the collected royalties, Teosto Ralph Simon is recognized as one of distributes 85.8% to rightholders whose music has been the founders of the modern mobile music and mobile performed in public. 5.7% of the domestic performing entertainment industry in the USA, Europe and right royalties collected is used to promote music. internationally. He is Chairman Emeritus and founder of Teosto’s values: Efficiency, Openness, the Mobile Entertainment Forum – Americas, and CEO of Readiness for change, Creativity the Mobilium International Advisory Group, which guides media and music companies, TV networks and consumer brands to grow revenues, “mobile communities” and market share from mobile content, apps and platforms.

www.copyrightsummit.com 65 Speaker Biographies New Frontiers for Creators in the Marketplace

Charles Slocum, Assistant Executive Director, used their medium in an expressive manner when working WGA West (USA) towards abstract expressionism. He preferred somewhat flatter Charles B. Slocum is an Assistant Executive Director for the surfaces, the likes of which were to be found in the work of Guild in the area of strategy and research. His current activities Barnett Newman and Jasper Johns. Soon enough Stella began include long-range negotiation planning, research supporting painting in such a way as to emphasize identification of the the Guild’s filings with the FCC regarding vertical integration, objects in his paintings as the objects themselves, not just and oversight of the redesign of the Guild’s computer systems. an expression of those objects. In other words his work was Slocum has been with the Guild since 1987. Prior to working for readily identifiable as what it was supposed to represent. the WGAw, Slocum worked in finance for Paramount Pictures, Stella’s work attained recognition for its uniqueness in audience research for ABC, and as a game show judge and level of skill as early as 1959, when he hadn’t even for NBC. Slocum has an MBA from the Wharton School of reached the age of 25. By 1960 he was reproducing Business at the University of Pennsylvania and a bachelor’s in paintings with aluminum and copper paint. He had a TV/Radio from the Newhouse School at Syracuse University. fine sense for geometry and many of his early paintings used straight or curved lines, often in arcs, to excess. By the mid-1960’s Stella found himself branching off in to Gigi B. Sohn, President and Co-Founder, Public a new medium, however: print making. He began working Knowledge (USA) with printer Kenneth Tyler and soon enough produced his Gigi Sohn is an internationally known communications first set of abstract prints, utilizing screen printing, etching attorney. In September 2001, she founded Public Knowledge and lithography, among other mediums. By 1970 he with Laurie Racine (then President of the Center for the received a retrospective at the Museum of Modern Art, the Public Domain) and activist/author David Bollier. youngest artist to ever receive such an honor. Many of his Gigi serves as PK’s chief strategist, fundraiser and prints incorporated several different techniques to create public face. She is frequently quoted in the New York one unique effect. It was inevitable, then, that in 1973 he Times, Washington Post and Wall Street Journal, as well had a print shop installed into his home in New York. as in trade and local press. Gigi has been published in The mid 1980’s onwards saw Stella working in three the Washington Post, Variety, CNET and Legal Times. In dimensions with increasing frequency, and by the 1990’s addition, she has appeared on numerous television and he’d moved on to creating free-standing sculptures for display radio programs, including the Today Show, The McNeil- in public places. One of his crowning achievements is the Lehrer Report, C-SPAN’s Washington Journal and National Princess of Wales Theatre in Toronto, for which Stella provided Public Radio’s All Things Considered and Morning Edition. the decorative scheme that has made the theater so popular. Gigi is a Non-Resident Fellow at the University of Southern Stella is still an active artist in New York, and he works California Annenberg Center, and a Senior Fellow at the not only to protect his own work but that of fellow artists. University of Melbourne Faculty of Law. She has been an Most recently he attacked the proposed U.S. Orphan Works Adjunct Professor at Georgetown University and at the law which, if passed, would remove copyright infringement Benjamin N. Cardozo School of Law, Yeshiva University. penalties if the creator of a work cannot be found. Gigi served as a Project Specialist in the Ford Foundation’s Media, Arts and Culture unit and as Executive Director of the Media Access Project, a public interest law firm that represents  Patrick Sullivan, President & CEO, citizens’ rights before the FCC and the courts. In 1997, RightsFlow President Clinton appointed Gigi to serve as a member of Mr. Sullivan is a founding member and President his Advisory Committee on the Public Interest Obligations of and CEO of RightsFlow, a Mechanical Licensing Digital Television Broadcasters. In May 2006, the Electronic & Royalty Solutions provider to labels, distributors and Frontier Foundation gave Gigi its Internet “Pioneer” Award. music services. Over the past several years, he served as Gigi currently serves on the board of the a dual Vice-President of Licensing and Music Services for Telecommunications Policy Research Conference (TPRC) and both The Orchard & eMusic. From 1999-2004 he served as Broadcasters’ Child Development Center (BCDC). She is a the Director of Research and Development at the National member of the advisory board of the Future of Music Coalition Music Publisher’s Association/Harry Fox Agency (HFA). and the Center for Public Integrity’s “Well Connected” Telecommunications Project. Gigi served on the District of RightsFlow: Columbia Bar Board of Governors from 1997-2000. RightsFlow offers Mechanical Licensing & Royalty Solutions for Gigi holds a B.S. in Broadcasting and Film, Summa Cum labels, distributors, and online music services. We specialize Laude, from the Boston University College of Communication in obtaining bulk mechanical, DPD, and ringtone licenses and a J.D. from the University of Pennsylvania Law School. including streaming, tethered, and limited downloads rights. Our proprietary ‘FLOW’ system allows us to license, account, and pay royalties directly to the Harry Fox Agency (HFA) and  Frank Stella, Painter and Sculptor the thousands of publishers not represented by HFA. Today, Printmaker and painter Frank Stella was born on RightsFlow services over 1,500 labels, distributors and music May 12, 1936 in Malden, Massachusetts. As a services for mechanical and DPD licensing. Some of the young man he attended Princeton University and many clients we service include marquee companies such as upon graduating in 1958, moved to New York City, where imeem, Muzak, imeem, IODA, E1 Entertainment (formerly he found himself in opposition to the number of painters who Koch), Lionheart International, Active International, Artspages,

66 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Speaker Biographies

CD Baby, Mint Records, EMI Records, Audible Magic, One  Sami Valkonen, Global Director, Music Italia, YouLicense, Constellation Wines (Blackstone), X5 Business Affairs, Nokia (USA) Music Group, Warner-Zebralution, La Cupula Music, C.A.M. As Head of Global Business Affairs for Nokia Original Soundtracks, BFM Digital, and Disc Makers, among Music, Sami Valkonen and his team are responsible others. For more information on RightsFlow’s services and for Nokia’s relationships with the content industry, including management team, visit http://www.rightsflow.com. labels, publishers and other stakeholders in the value chain. They also formulate the structural approach to business in the quickly evolving music service landscape and  David Touve, Affiliated Researcher, contribute to Nokia’s next generation strategic initiatives. Vanderbilt University (USA) Sami’s 25+ years in the industry have led him through David is presently an Assistant Professor of practically all aspects of the business: songwriter, manager, Strategy & Entrepreneurship at Washington and promoter, VP of New Media and Business Development at Lee University. He is completing his PhD in Management at BMG, President of innovative concert CD venture, DiscLive, Vanderbilt University. Previously, David founded and/or held and legal council at premier law firm, Jenner & Block. management positions in a series of technology startups, leading to acquisitions by Lycos, Sony, AOL and Microsoft.  Satoshi Watanabe, International Relations Department Manager, JASRAC (Japan) Fernando Trueba, Screenwriter & Satoshi Watanabe (Mr.), a national of Film Director (Spain) Japan, is Manager of International Relations Born 18 January 1955 in Madrid, Fernando Trueba worked Department of JASRAC (Japanese Society for Rights as a film critic for Spain’s leading daily newspaper EL PAIS of Authors, Composers and Publishers). between 1974 and 1979. In 1980, he founded the monthly He joined JASRAC in 1980, worked for International film magazine CASABLANCA, which he edited and directed Relations for 13 years and then experienced in licensing during its first two years. He’s the author of DICCIONARIO of mechanical reproduction and public performance DEL CINE (1997) and the editor of DICCIONARIO DEL rights. During 1998-2003, he was Manager of Shinjuku JAZZ LATINO (1998). As a producer, director and writer, Regional Licensing Office. From April 2003 to March Fernando Trueba has been active in film for more than thirty 2007, he was responsible for licensing broadcasting, years. Among his many films are BELLE EPOQUE (1992) CATV and Internet music use as Manager of Transmission for which he received 9 Goyas and the American Academy Rights Department. Since April 2007, he has been Award (Oscar) for Best Foreign-Language Film, LA NIÑA Manager of International Relations Department. DE TUS OJOS (1998) which again received 6 Goyas, CALLE 54 (2000, Goya for Best Sound), and EL EMBRUJO JASRAC DE SHANGHAI (2002, 3 Goyas),to name but a few. JASRAC, founded in 1939, is a non-profit music copyright management organization to exercise economical rights of all categories of rights of musical works, including performing rights,  John F. Utley, Vice President, United States, mechanical reproduction rights, lending rights, printing rights etc. Civolution, Chairman, Digital Watermarking on behalf of its members who entrust their rights with JASRAC. Alliance JASRAC also represents the international John Utley is Vice President of Civolution’s US repertoire through its representation agreements operations, Product Manager of Civolution’s Teletrax with 111 societies in 82 countries around the world. broadcast monitoring product line and Chairman of the Digital JASRAC is a member of CISAC and BIEM. Watermarking Alliance. He oversees the implementation of JASRAC licenses for and collects royalties from music Civolution’s media content identification solutions to clients use, and distributes royalties to right owners. While in the advertising, news, entertainment, rights management, licensing legitimate uses, JASRAC takes enforcement actions corporate television, sports and government sectors. against illegal uses. Also, JASRAC promotes music culture through various projects such as concerts, open lectures, Civolution sponsored courses, symposiums, music therapy lectures Civolution is a world-leading technology and service provider using cutting edge watermarking and fingerprinting technology solutions to identify, manage and monetize media content. The  Andy Weissberg, General Manager of company is a spin-off of Royal Philips Electronics, combining Identifiers Services, Bowker (USA) synergies from Philips Content Identification and Teletrax. Andy Weissberg is a seasoned marketer, Civolution offers cutting edge watermarking and fingerprinting technologist and product development specialist, technology solutions for forensic tracking of media assets in with over 14 years of digital publishing, marketing pre-release, digital cinema, pay-TV, and Online. Via its Teletrax communications and advertising experience. Andy manages and Civolution Internet Services product lines, the company Bowker’s Identifier Services business, including the U.S. offers world-class broadcast and online monitoring services. ISBN, DOI, ISTC and SAN Agencies, and serves on the Board of Directors of the International ISBN Agency.

www.copyrightsummit.com 67 Speaker Biographies New Frontiers for Creators in the Marketplace

Bowker  Paul Williams, Songwriter, Recording Artist, Bowker is the world’s leading source for bibliographic Actor / President and Chairman, ASCAP information. The company provides searching, analytical, (USA) promotional, and ordering services to publishers, booksellers, ASCAP President & Chairman Paul Williams, Oscar libraries, and patrons through national and international and Grammy-winning songwriter (“We’ve Only Just Begun,” brands, including: Books In Print®, Global Books In Print®, “Rainy Days and Mondays,” “You and Me Against the World,” Syndetic Solutions™, Pubnet®, PubEasy®, PubTrack™, “An Old Fashioned Love Song,” “The Rainbow Connection” AquaBrowser®, and more. In the U.S., Australia and Puerto and “Evergreen” from A Star is Born), is also a performer, actor Rico, Bowker is also the exclusive ISBN and SAN Agency and and humanitarian. His songs have been recorded by such artists a DOI registration agency for the publishing industry. Bowker is as Elvis Presley, Frank Sinatra, Willie Nelson, Ella Fitzgerald, headquartered in New Providence, New Jersey, with operations the Carpenters, Barbra Streisand and Kermit the Frog. in East Grinstead, England, and Melbourne, Australia. For more company details, please visit www.Bowker.com. ASCAP Bowker’s Identifier Services business unit provides authors ASCAP is a membership association of more than 350,000 and publishers with a full range of content identification, title U.S. composers, songwriters, lyricists, and music publishers of management and marketing solutions and services designed to every kind of music. ASCAP’s repertory includes pop, rock, maximize the discoverability and drive sales of their products. alternative, country, R&B, rap, hip-hop, Latin, film and television More information is available at www.MyIdentifiers.com. music, folk, roots and blues, jazz, gospel, Christian, new age, theater and cabaret, dance, electronic, symphonic, concert, as well as many others — the entire musical spectrum. Through  Bill Werde, Editorial Billboard, Billboard agreements with affiliated international societies, ASCAP also As Billboard’s editorial director, Bill Werde leads represents hundreds of thousands of music creators worldwide. the editorial strategy for the brand, including ASCAP is the only U.S. performing rights organization created the weekly publication, Web sites (Billboard. and controlled by composers, songwriters and music publishers, com and Billboard.biz) and conferences and events. Werde with a Board of Directors elected by and from the membership. joined Billboard in 2005 as senior news editor; he was ASCAP protects the rights of its members by licensing promoted to deputy editor and later executive editor. Prior to and distributing royalties for the non-dramatic public Billboard, Werde was associate editor for Rolling Stone. performances of their copyrighted works. ASCAP’s licensees encompass all who want to perform copyrighted music Billboard publicly. ASCAP makes giving and obtaining permission to Now in its 115th year, Billboard is the world’s premier music perform music simple for both creators and users of music. brand consisting of business-to-business properties including ASCAP represents every kind of music. ASCAP’s Billboard Magazine, Billboard.biz and Billboard Events as repertory includes pop, rock, alternative, country, R&B, well as a consumer platform – Billboard.com – the online rap, hip-hop, Latin, film and television music, folk, roots destination for over 4 million unique visitors every month. The and blues, jazz, gospel, Christian, new age, theater Billboard brand is built on exclusive chart data and unrivaled and cabaret, dance, electronic, symphonic, concert, as reporting on the latest news, issues and trends. Billboard’s well as many others — the entire musical spectrum. strategic partners include Reuters, SanDisk, Telemundo, Ticketmaster, Microsoft Zune, Napster, MTV, Google and sister companies Nielsen SoundScan and Nielsen Broadcast Data Systems. These partnerships leverage Billboard’s brand recognition, proprietary chart data and information resources to develop products, live events and print, television, radio, digital and mobile platforms for music consumers.

68 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA Summit Floorplan/Plan du site/Mapa del sitio

Conference Center/Centre de conférences/Centro de conferencias Location: Concourse Level/Lieu: Concourse Level/Ubicación: Concourse Level

Meridian Amphitheater Conference Room DE Salle de conférences Sala de conferencias

Hemisphere A Focus Session B Session spéciale A Sesión objetivo Amphitheater Hemisphere B Focus Session A Session spéciale Sesión objetivo

Meridian A Speaker Room B Salle des intervenants Sala de ponencias

Hemisphere Meridian B CISAC Office Bureau de la CISAC Oficina de la CISAC

Meridian D Interview/VIP Room

Meridian DE Salle VIP / des interviews

B A Amphitheater A Sala VIP / de entrevistas B Hemisphere Meridian E Press Room Salle de presse Sala de prensa

Pavilion/Pavilion/Pavilion Location: Second Floor/Lieu : Deuxième étage/Ubicación: Segunda planta

8th June Opening Party Cocktail d’ouverture Pavilion Cóctel de inauguración Lobby 9th-10th June Summit Lunches Déjeuners du Sommet Comida de la cumbre

Pavilion Pre-function

Pavilion

www.copyrightsummit.com Organizer

Advisory Committee and Sponsors

Partner Organizations

Digital Media Association

Media Partners

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