Mass Exodus: Now Tell Me About That Copyright Law Again

It’s been a thoroughly interesting week learning about all the changes that are going to make a musician’s life all the more interesting due to copyright.  To date I’ve focused on information from Copyright Officer, Stephen Carlisle, J. D. and his latest article:

You Can’t Make This Stuff Up! The Department of Justice v ASCAP

Well, if that isn’t enough to make you sit up straight, you also need to bone up on what is included in the TPP aka Trans Pacific Partnership Agreement which you can read:

https://www.eff.org/issues/tpp

Curious, really that copyright law is suddenly so popular, don’t you agree? I mean it’s really rather dull and fraught with illogical precedent. Laymen certainly have the capacity to understand it, but lawyers go to school for years to be able to comprehend the stuff. Is someone thinking we’re gormless daft cows? Too dim to get what’s happening and will remain in the dark as our intellectual property becomes theirs.

This series of posts is dedicated to a few ideas that can help you see things a little differently than the overarching premise we’ve been spoon fed for quite some time. The idea that music and our content should fill cyberspace has always been suspect to my mind. Create content just for the sake of….oh, someone else’s benefit. Nah, I’m good.

We all know music has existed for centuries on the physical plane without the Internet and some of it is so renown it will remain popular for many years to come. Much of that music is in public domain. Copyright doesn’t pertain to music in public domain unless you register your arrangement of a particular piece with the Library of Congress and a PRO.

The other bugger in this case is whether or not your music is on the Internet. Well duh! Whose isn’t?  Consider if you will, going back to the dark ages, only performing and recording music in the public domain.

The benefits are the same, maybe even better. The music can be recorded without a royalty to the composer. The music can be played anywhere without having to pay a royalty. And that is obviously part and parcel of this issue. Copyright law is being restructured by the Department of Justice to give more latitude to companies like Spotify, Pandora, Google, YouTube…blah, blah. Don’t let them. You really don’t need them.

If your music is not on the Internet who can touch you?

Record to vinyl at an analog studio. Retro is hip, dude. How retro can you get? I’ll bet you can play a very cool arrangement of tons of songs you never thought possible. Make the old new.  Music is about posterity, right? It was never about the money, anyway.

Give nothing away. Nothing!

That was all snookered from the get go.

Forget about the club scene and have house parties instead. The early days of rock started this way. And this little band called Nirvana up there around Seattle. They were too young to play in clubs so they did the house party thing until 200 -300 people was just too much to handle. How often do you play in front of 200-300 people?

If you’re a creative, these details will no doubt lead you to some really cool ideas. Get busy. You’ve got some packing to do and get out of cyberspace. Pie in the sky is all there was. Now they’re trying to take the pie away!  Pip pip!

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About scout66com

2017 marks the 33rd year of Janet Hansen’s career as a music marketing specialist. With three Grammy award-winning campaigns to her credit, Hansen has also contributed to the legacy of two of history’s most popular songs. “Classical Gas” by Mason Williams is the most-broadcast instrumental tune in history; and “Louie, Louie” by The Fabulous Wailers is the most-recorded rock song in history. In 2009 Hansen launched the unique music platform Scout66 to encourage reviews of live shows from the ticket-buying public. You may contact Janet at Scout66PR@gmail.com for information on consulting, campaigns, and tour support. Please follow us on Twitter at http://twitter.com/scout66com
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