Film Review: ‘Black Panther’And Its All Afrocentric Cast

Film Review: ‘Black Panther’And Its All Afrocentric Cast

FACEBOOK SIGNS GLOBAL LICENSING DEAL WITH UNIVERSAL MUSIC GROUP

Facebook and Universal Music Group (UMG) today announced an ‘unprecedented global, multi-year agreement’ under which UMG licenses both its recorded music and publishing catalogs for video and other social experiences across Facebook, Instagram and VR platform Oculus.

According to a press release: ‘The partnership will facilitate deeper engagement between artists and fans, empowering users to express themselves through music, share the songs they love and build communities around music-fueled culture. Enabling a variety of features across face book platforms, the agreement is intended to serve as a foundation for a strategic partnership road map that will deliver new music-based experiences online.’

Under the partnership, users will be able to upload videos that contain licensed music and ‘personalize their music experiences’ on Facebook, Instagram and Oculus, while sharing videos with friends and family.

Functionality will expand in future to ‘enable access to a vast library of music across a series of social features’.

Tamara Hrivnak, Head of Music Business Development and Partnerships, Facebook, said, “There is a magnetic relationship between music and community building.

“We are excited to bring that to life on Facebook, Instagram, Oculus and Messenger in partnership with UMG. Music lovers, artists and writers will all be right at home as we open up creativity, connection and innovation through music and video.”

“WE ARE EXCITED TO BRING THAT TO LIFE ON FACEBOOK, INSTAGRAM, OCULUS AND MESSENGER IN PARTNERSHIP WITH UMG.”

TAMARA HRIVNAK, FACEBOOK

Michael Nash, Executive Vice President of Digital Strategy, Universal Music Group, said, “Together, Facebook and UMG are creating a dynamic new model for collaboration between music companies and social platforms to advance the interests of recording artists and songwriters while enhancing the social experience of music for their fans.

“This partnership is an important first step demonstrating that innovation and fair compensation for music creators are mutually reinforcing – they thrive together. We look forward to Facebook becoming a significant contributor to a healthy ecosystem for music that will benefit artists, fans and all those who invest in bringing great music to the world.”

Going forward, the companies say they will ‘experiment hand-in-hand to introduce new music-based products to these Facebook platforms, including Messenger, with the goal of catalyzing innovation to develop the next generation of music products that best engage social consumers’.

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In an internal message to staff obtained by MBW, Sir Lucian Grainge told his UMG workforce:

“I’m proud to announce this morning the first partnership between a major music company and Facebook, the largest social media company in the world.  We’ve entered into a global multi-year agreement which licenses UMG’s recorded music and music publishing catalogs for use in video content created by users across Facebook, Instagram and Oculus.

“As our new relationship with Facebook demonstrates: by continually re-evaluating how to bring our artists’ music and videos to global audiences, by developing new and increasingly progressive business models and by spurring competition among both established tech players and startups alike, UMG has been and will continue to be the most significant catalyst for our industry’s growth.

“AS WITH OUR DEAL WITH SPOTIFY EARLIER THIS YEAR AND OUR LICENSE RENEWAL WITH YOUTUBE, OUR DEAL WITH FACEBOOK LEVERAGES THE EXPERIENCE WE’VE GAINED AND THE WEALTH OF DATA WE’VE AMASSED TO WIN BOTH GREATER FLEXIBILITY AS TO HOW OUR MUSIC IS OFFERED TO THE PUBLIC AS WELL AS FAIRER COMPENSATION FOR OUR ARTISTS.”

SIR LUCIAN GRAINGE, UMG

“As with our deal with Spotify earlier this year and our license renewal with YouTube, our deal with Facebook leverages the experience we’ve gained and the wealth of data we’ve amassed to win both greater flexibility as to how our music is offered to the public as well as fairer compensation for our artists—as we continually refine the balance between direct promotion and monetization.

“Of course, in an environment this dynamic, our work is never done.  Nor would we want it to be.  Innovation and imagination are critical — in both music and the music business.  As technology keeps evolving, we’ll keep fighting for our artists to ensure that their music earns for them what it so richly deserves.

“I’d like to thank the invaluable contributions from every member of our team in making this agreement a reality.  Thanks to all your work we’ll remain the world’s leading music company for many years to come.”

Beat Maker Vs. Music Producer: The Real Difference

The music world, like every business, has various moving parts that work together to create art. Behind every component of a song is a person who has a special set of skills. Some of these skills come naturally, such as those who are beat makers, and other skills are learned through extensive education, such as music producers. Some beat makers feel as if they are music producers while music producers recognize the very REAL DIFFERENCE between the two.

 

Education

One distinct difference between a beat maker and a music producer is education level. While both are, no doubt, wonderful artists, the level of education needed to be a beat maker is ZERO, while major record labels prefer music producers with some sort of Bachelor’s Degree, or previous experience interning under a prominent music producer. What does this mean? With the right software, anyone can make beats. However, it takes the right level of education to be a music producer.

Salary

Another distinct difference between a beat maker and a music producer is salary. A beat maker can make an average of $65,000 depending on what music producer the beat maker is aligned with. A music producer can make an average of $100,000 up to approximately $2 million.

The reason for this difference has to do with the amount of work needed to create a finished product, song, or album, which brings us the additional distinct differences.

The Workload

While the beat maker may spend a lot of time creating, it is just one layer of the final product. The music producer has the job of putting those layers together. Also, it is very rare that a beat maker will receive any credit on a particular song, as the beat maker is most likely to sell the beats made, relinquishing all rights to the beat.

The music producer, however, is most likely to receive most of the credit for the song, since they are the ones that put the layers together to create the final product.

 

There Is A Real Difference

While the difference of beat making versus music producing is very evident, there are still beat makers who insist on being called music producers. If the beat maker is the one that creates the beat and the final product, they have the right to be called a music producer.

However, if they are not the ones creating the final product, with all the layers distributed cohesive as is, then they are, simply, the beat maker. The biggest mistake you can make to a legitimate music producer is downgrade them by saying they are only a beat maker.

Conclusion

In conclusion, a beat maker is someone who creates a portion of the layers needed to create a final product. The beat maker will create these layers and then sell them to a music producer. At times, the beat maker will lease their layers to various music producers, but if those layers are purchased, whoever purchases them owns full rights to use those layers for the final product, and the layers no longer belong to the beat maker.

The music producer then takes these layers, and adds more layers (vocals, additional instruments, additional sounds, etc.). Once the music producer finishes adding the additional layers, they produce the final product, or song, to be released to the public.

OFFICIAL RIPPED JEANS NATION BLOG : ASCAP Vs BMI Vs SESAC Vs Sound Exchange: Everythin...

OFFICIAL RIPPED JEANS NATION BLOG : ASCAP Vs BMI Vs SESAC Vs Sound Exchange: Everythin...: Every artist needs to know the pros of organizations like ASCAP and BMI. We have assembled a list that will expand your knowledge on th...

ASCAP Vs BMI Vs SESAC Vs Sound Exchange: Everything You Need To Know

Every artist needs to know the pros of organizations like ASCAP and BMI. We have assembled a list that will expand your knowledge on the pros for ASCAP Vs BMI Vs SESAC Vs Sound Exchange. Check it out here!

Performance Rights Organizations

PROs or Performance rights organizations, are groups that provide intermediary services between copyright holders and public locations that use their works. This only includes venues where music expresses the primary function of the venue. A good example of this are dining shops or radio stations.
The exact amount of royalties is usually negotiated between copyright owners and the establishment. A big aspect of PROs to note is that they don’t benefit performing artists. If you’re a singer, you will not profit from joining a PRO; however, if you’re a songwriter, PROs are a great way to benefit from your work.

Traditional & Digital Royalties

The organization you join will depend on how the music is publicly expressed. If you want to gain royalties from streaming music on digital radios such as Pandora or Sirius XM, consider the Sound Exchange. However, if you’re looking to gain royalties from public performances, consider the ASCAP, BMI and SESAC PROs.

Sound Exchange

As previously stated, the Sound Exchange is an organization that collects royalties for non-interactive music service providers. The exact rules for the type of royalties they are limited to collecting from are stated in the Digital Performance Right in Sound Recording Act as well as the Digital Millennium Copyright Act. Fees are associated with a digital statutory license. Fees are typically paid to copyright owners in the following way:

Copyright Owners	Percentage Paid
Record Label	50%
Featured Artist Non-featured artist  5%	45%
Total	100%

BMI, ASCAP & SESAC

These performance rights organizations generally do the same thing. They collect royalties for public performances of music that can be defined by the U.S Copyright Act. Like the Sound Exchange, they are used to protect the intellectual property of the songwriter and provide a way for songwriters to make money off their work. These PROs collect royalties from any venue that publicly performs music These include: music played in restaurants, radio stations, live music venues, bars, parks, and anywhere the music is played in a public setting.
Most of the time, blanket licenses are given to these organizations to different pieces of music written by the songwriter. Because copyright owners are split between the three organizations, venue owners typically purchase blanket licenses from all three organizations. Membership fees depend on the organization you want to join. License fees paid are generally as follows:

Copyright Owners	Percentage Paid
Publishers	50%
Songwriters	50%
Total	100%

Criticisms

Although PROs provide a great way for songwriters to make money, their ambition to make money tends to go too far. Non-profits have been asked to pay fees to use copyrighted music at their events, despite not making money from its use.
The ASCAP once tried to sue the Girl Scouts of America because they sung campfire songs. In addition, the ASCAP and SESAC have been shamed for attempting to charging non-commercial radio stations run by education institutions (like colleges). Lastly, many PROs have been known to push the line of what counts as a public performance.

OFFICIAL RIPPED JEANS NATION BLOG : Everything You Need To Know About Music Copyright ...

OFFICIAL RIPPED JEANS NATION BLOG : Everything You Need To Know About Music Copyright ...: Navigating the murky waters of music copyright laws on the internet often proves confusing, especially for the average person not invol...

Everything You Need To Know About Music Copyright Laws And YouTube

Navigating the murky waters of music copyright laws on the internet often proves confusing, especially for the average person not involved in the music industry.
If you’re a YouTuber who wants to know about copyright laws for music in videos, you have come to the right place.  We’ll cover categories of music, fair usage, covering songs, copyright length, and the consequences of violating copyright laws on YouTube
.

Categories Of Music

Public Domain

Songs in the public domain are the only music you do not need to obtain special permission to use.  However, copyright laws governing music composed before 1972 are at state discretion, so be absolutely certain a piece of music is in the public domain before using it as such in your YouTube video.

Royalty Free Music

While this music is free to use, you still need to license it.  Permission is usually very easy to get for using these songs, so there’s no point in trying to get around it.  Take music copyright laws and YouTube seriously.

Royalty Music

This is music that you must license from the copyright holder for and pay a fee to use, but it isn’t as involved as it sounds.  There are many agencies that collect and disburse music royalties, making the process easier on everyone.
Beatstars.com is one that we recommend.

Cover Songs

In most cases, making a cover song is simple.  There is a government set rate for use of the song, but unfortunately this doesn’t cover transferring that music to video.  You must obtain permission from the copyright holder to make a video of your cover legally.

Fair Usage

There are two main questions asked when determining if the use of a piece of music falls under fair use protection.  The first is whether you are inhibiting the copyright holder’s ability to make money.  For example, if you include an interrupted track that can easily be ripped from your video, you are hindering the artist’s ability to earn money from the song.

The second question is whether you are making money from the use of the music.  Copyright laws for music in videos don’t allow you to earn money from using something you don’t own.  If you have monetized your YouTube account, be careful about the music you choose for your videos.

Music Copyright Length

Current music copyright length depends on several factors.  Music composed before 1923 is considered public domain, but this a large gray area for reasons mentioned above.  The length of a musical copyright created after 1978 spans the life of the author plus 70 to 120 years.

The copyright length of music written from 1923 to 1978 is 95 years from the original publish date, and all copyrighted music was protected until 2002

Violating Copyright Laws On YouTube

At best, you will get lucky and nothing will happen.  This isn’t very likely, though.  YouTube uses tools like Content ID to check its content for copyright violations.  If caught, you could face being kicked off YouTube, or worse, find yourself in a lawsuit.  Do yourself a favor and don’t take the risk.

Whenever someone places a content ID claim on your video and you know the music isn’t yours, don’t dispute it!

Always ask permission from people to upload to your channel or send them a message saying that you uploaded some of their work. Also, tag those artists in other social media posts so they’re aware of what’s going on to avoid disputes.

SHARING IS SEXY!