| Status of copyright and public domain for recorded music A PERSON creates and society grants for a resonable period of time, exclusive commercial exploitation ownership rights to an authored work. After this limited term, society reclaims these rights entirely for the public domain. Neat concept, but the devil is in the details. Today, the federal laws cover a work from the time it's fixed in form, by writing down in a journal for instance, until returned into the public domain by a process called "copyright". State and common law fill the gap between concept and "getting it down ... |
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| The playing of music in a commercial establishment is considered the equivalent of a performance for profit, no matter how it is sourced. You don't have to hire a live dance band because music from the radio or playing a CD will do just fine, and ASCAP/BMI will be around to collect the royalty. |
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| When Works Pass into the Public Domain |
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| ... if you want to make a home recording of your kids learning to play real music on the piano, you have to pay a royalty to Frank Sinatra. |
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| Archeval or effermal rights is only the permission to hold or make copies of otherwise protected media. Possession of media does not conver an rights as to any particular use, especially with respect to commercial profit. |
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| Getting the right rights right. When dealing with rights, it is important to remember that they are subdividable into catagories and regions. Finding the correct rights holder is always important, else you just waste your money and receive no benefit of protection. |
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| Just 10 cents a dance and records with 2 holes in them. |
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| What are corporate works, and why do they get such generous treatment concerning copyright?? |
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| Fair use guidelines from PBS |
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| When it comes to creativity, employees will figure out a hundred angles that defeat a work-for-hire contract. After all, that's their business, creativity that is. |
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