SXSW Music 2013
C3S: Putting the Revenue in Creative Commons
Other than in the US, where composers who are members with ASCAP or any other collecting society, creators from Europe do not always have the option to use Creative Commons. Only a few collecting societies do offer that. Actually, CC users are kept out of the market, simply because individual contracts don't allow for airplay. This fact, and a vacuum of knowledge about CC leads to a situation where artists using CC can hardly make a living from it.
It's about time to change that and to fill the niche between Creative Commons with no definition of commercial use, and commercial use that does not allow for true control of the creator. It's urgently required for artists to have a true artist-friendly collecting society.
One that is transparent, flexible, and shaped by the artists themselves. One that embraces today's technology for the benefit of 1-on-1 billing - no statistically based distribution key required anymore.
Actually, this might globally change the way of licensing.
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Additional Supporting Materials
- What's the problem with Creative Commons and collecting societies in Europe? Is it special compared to the US? Why is German collecting society GEMA such a big issue that literally hundreds of thousands people are rallying against it?
- What's the idea behind C3S? What's our motivation and which are our goals? How is C3S different from the other collecting societies?
- Where's the benefit for non-European artists? Do US artists have any issues with GEMA? Why not simply go for any other commercially available service such as Tunecore, Jamendo, or Restorm/Rightclearing?
- What do we have achieved by March 2013? Did we succeed? What are the next steps to undertake? How do we think we can fund this project which is a challenge that easily seems to be way too big?
- When will C3S be ready too launch? What's the vision?
Wolfgang Senges, Business Development & Cooperations, Cultural Commons Collecting Society