![]() ![]() How the royalties are split between the performing artists is unknown and will be stipulated in their agreement with the record label at the time which was EMI (Parlophone). Del Palmer – bass guitar, LinnDrum programming.Wikipedia lists the following performing artists on RUTH : These are often also split between a record label and the performers artists on the master recording. On the recording side, the neighbouring rights come into play. is a Bush’s family-owned publishing company. This also explains why Netflix’s musical director had to negotiate directly with Kate Bush’s team as they control the publishing share in RUTH. The split in the UK between songwriter and publisher is 50/50. ![]() The copyright is usually split in a songwriter share for the composition and lyrics and a publishing share which is usually controlled by a music publisher. Publishing is an activity which results from the copyright holders’ exclusive exploitation rights Copyright and publishing are not to different things nor are they synonyms. Qualification is important as it ultimately determines how the money is divided between the rightsholders. Secondly, the post in question gets the IP -rights wrong. ![]() That would in practice mean people like Kate Bush would never be able to profit from a resurgence in interest in their old catalogue. Sometimes copyright critics argue for shorter durations of 25 or 50 years. IP rights grant these rightsholders a long term to recoup that investment. The rightsholders need an upfront investment to write, record and commercialize the songs. It also gives an insight in why the duration of copyright and neighbouring rights last as long as they do. This, my friends, is IP doing exactly what was set up to do: giving the rightsholders a return on investment in creating the song and/or recording and increasing the value of the IP rights vested the music. First, what Bush’s current success shows us what the real power of intellectual property rights is. ![]()
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