#or when our Compound Fracture copy arrived
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I love how our (hosts) special interest is so very obvious if you look at the requested chirstmas/birthday presents of the last few years (we made very clear we were fine with nothing else, just what's listed here)
Late birthday/ early chirstmas 2022- Hell Followed With Us written by Andrew Joseph White
Birthday 2023- The Spirit Bares Its Teeth written by Andrew Joseph White
Birthday 2024- Compound Fracture written by Andrew Joseph White
Chirstmas 2024- the illiumcrate special editions of Hell Followed With Us, The Spirit Bares Its Teeth and Compound Fracture, all written by Andrew Joseph White
The planned requests for the next few years:
Birthday 2025: You Weren't Meant To Be Human written by Andrew Joseph White
Birthday 2026: You're No Better written by Andrew Joseph White
Birthday 2027: Beast//Warden written by Andrew Joseph White
We are also fully ready to travel however far we need to to see the Hell Followed With Us movie in cinemas when it comes out (we live in very small city, good chance no cinemas near us will be showing it and we'll have to travel)
#we are very very normal about these books#we didn't scream when we found out abt You're No Better and Beast//Warden#or when we found out about the movie#or when our Compound Fracture copy arrived#totally didn't get overly excited about any of that#totally not#hell followed with us#the spirit bares its teeth#compound fracture#andrew joseph white#autism
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ASCAP and BMI Consent Decrees Under Review – How Performing Rights Organizations, Antitrust Policy and Statutory Licenses Could Create a Controversy
In the last few weeks, the press has been buzzing with speculation that the Department of Justice is moving toward suggesting changes in the antitrust consent decrees that govern the operations of ASCAP and BMI. Those consent decrees, which have been in place since the 1940s, among other things require that these Performing Rights Organizations treat all songwriters alike in distributions based on how often their songs are played, and that they treat all services alike with users that provide the same kind of service all paying the same rate structure. Rates are also reviewed by a court with oversight over the decrees when the PROs and music services cannot come to a voluntary agreement to arrive at reasonable rates. The decrees have also been read to mean that songwriters, once part of the ASCAP or BMI collective, cannot withdraw with respect to certain services and negotiate with those services themselves while still remaining part of the collective with respect to other music users (see, e.g., our articles here and here about the desires of certain publishing companies to withdraw from these PROs to negotiate directly with certain digital services while still remaining in these PROs for licensing broadcasting and retail music users).
With this talk of reform of the consent decrees, Congress, particularly the Senate Judiciary Committee under the leadership of Senator Lindsey Graham, has reportedly stepped in, telling DOJ not to move to change the consent decrees without giving Congress the chance to intervene and devise a replacement system. In fact, under the recently passed Music Modernization Act, notice to Congress is required before the DOJ acts. Already, both the PROs and user’s groups are staking out sides. What are they asking for?
BMI and ASCAP have released an open letter that suggests that the market is the best place for determining how songwriters are paid. The letter suggests that the consent decrees be extended, but only for a finite period of time. Not specifically addressed is whether ASCAP and BMI believe that songwriters or their publishing companies should be given the right to withdraw their catalog from the PROs on a service-by-service basis to allow the publishers to negotiate directly, outside of the rate-court process, with specific types of music users. However, these PROs make clear their opposition to Congress enacting any sort of statutory license – suggesting that this would benefit no one. What is the argument for a statutory license? How is a statutory license different from what is offered now by these organizations?
While licenses from ASCAP and BMI offer a music service a right to play a very large number of musical compositions, they do not offer the right to play all songs. SESAC and GMR, private for-profit entities, also license musical compositions. As we wrote when the battle over fractional licensing was being fought only a few years ago when the DOJ last reviewed these consent decrees (as a great many musical compositions are written by several composers and these composers can belong to different PROs), for a music service to have the full rights to play a song, they may need to get rights from multiple PROs. There is nothing to stop the number of PROs from growing over time and, if songwriters and publishers are able to withdraw their catalog from specific services to negotiate directly with those services, you may end up with far more than just the current 4 PROs with which a music service needs to negotiate to get rights to all of the songs that it plays.
A statutory license, in contrast, is a license to play all songs legally released in the country by paying a rate set by some government entity. This is the kind of license offered by SoundExchange to noninteractive music services. A record label or recording artist cannot refuse to license their music to a service operating pursuant to the statutory license. See, for instance, our articles here and here about why Pandora and other Internet radio stations could play songs by performers like the Beatles, Adele and Taylor Swift, even when those artists were withholding their songs from interactive services like Spotify that allow listeners to play songs on demand, because on-demand services do not get the benefit of a statutory license.
Congress enacts statutory licenses when it appears that there will be many copyright holders whose rights need to be obtained for a copyright user to operate their service, but where the number of copyright holders is great, or the identity of the rights holders is so obscure or difficult to obtain, that direct licensing would not be practical. In dealing with musical works (the musical compositions that the PROs administer), where songwriting credits are split often among multiple songwriters who can be part of different collectives, and where catalogs of copyrights are bought and sold all the time, obtaining all necessary rights to use a song can be difficult. This is especially true as there is no definitive database as to who owns what songs (though one is promised under the Music Modernization Act), so determining who to pay in some cases can be all but impossible.
In the past, even with a statutory royalty for mechanical rights under Section 115 of the Copyright Act (the rights needed to use a musical composition in making physical copies or digital downloads of a recording of that song, or to provide on-demand streams of a recorded song), large digital services had difficulty determining who to pay for the statutory right, leading to lawsuits against major players like Spotify by songwriters who claimed that they did not receive their royalties. Recognizing the difficulty of finding the proper party to pay, under the recently enacted Music Modernization Act, Congress has provided for a collective to receive and distribute all of these royalties. Thus, for the reproduction right for musical compositions, there will be one collective to distribute all of the royalties collected pursuant to the statutory license.
Having recognized for the purposes of the MMA that these copyrights for musical compositions are so difficult to obtain without a statutory license and a one-stop collective, it is difficult to imagine that Congress would allow performance rights to move in the opposite direction – away from a collective licensing regime to one where the parties have to rely on imperfect information to determine who to pay. This is particularly important as the performance rights administered by the PROs are used by many small services including small broadcasters and even bars, restaurants and retail outlets that play music for their customers. These users simply don’t have the resources to determine who to pay if performance rights further fracture – and they have difficulty enough figuring out why they should pay 4 different organizations now for what is perceived as the same right – the right to play music. If huge music services like Spotify can’t figure out who to pay for the musical compositions that they use, how can a Mom and Pop radio station or a small coffee shop with open mike nights once a week figure out who to pay? For more on these concerns, see our article here.
Thus, moving toward an unregulated system simply does not seem possible in the current world of music rights. The consent decrees were first adopted because it was feared that one organization, representing thousands of songwriters, could exact higher than market prices by threatening to withdraw all music from a service that did not buy a license. Those same concerns have been identified by antitrust settlements with SESAC (see our articles here and here), and are currently being sought with GMR (see my article here on the disputes between GMR and the RMLC, with links to other articles on the subject). Compounding those concerns are the marketplace inefficiencies that would result from a world with no collectives – smaller music users could simply not afford the costs to clear the rights to play music. Collectives are necessary for the marketplace to function efficiently, but they need to be regulated to keep prices in line.
At least that has been the theory up until now – and we will see if that changes following the DOJ’s completion of its review of these decrees. Keep watching as this important issue for broadcasters and digital media companies unfolds in coming months.
from Broadcast Law Blog https://ift.tt/2u6eMe0
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V rising platform
V rising platform update#
V rising platform Pc#
There’s also mention of an ENFORCER MODE, where you can replay the story in a “warped timeline” that will “subvert your expectations and challenge your resolve. Compound Fracture aims to replicate that, in addition to alluding to other potential injuries that will affect your mobility (such as a broken leg). The description also calls back to a feature with Dino Crisis where Regina would bleed, leaving a blood trail behind. Set right something that should never have happened. Take on the role of the enforcer as he cuts a path through a hostile world. A health and safety enforcer was dispatched to investigate the claims, but found that the situation was more urgent than anyone could have predicted. An anonymous whistleblower contacted OSEA, claiming that ChronoGas had violated the federal laws banning the use of time travel. It’s 1996, and the sky over New Manitoba City is choked with pollution.
V rising platform update#
There’s still no update as to when we’ll see Compound Fracture arrive on Steam, but at least the Steam page has fleshed out a better description of the story: The shooter made an appearance over the weekend at the Realms Deep 2022 showcase with a brand-new trailer that once again nails the throwback PS1-era graphics and the “Panic Horror” mood. Luckily, when you have Iteria Games and their upcoming Survival Horror title Compound Fracture, it’s not so bad. It seems Capcom still can’t get around to giving fans a sorely-needed revival to Dino Crisis. It's official! 500,000 Vampires out there have stepped foot into Vardoran! Thank you all for joining us on this journey! /35pLD6DQW2 In your rise to become the next Dracula, you’ll feed on blood to gain new powers, hide from the scorching sun, and engage in real-time PvE and PvP combat set in a dark fantasy realm. The latest V Rising update now includes new.
V rising platform Pc#
If you still are in the dark about V Rising, it’s an open-world survival game where as a newly-awakened vampire, you’ve got some empire-building to do. V Rising has sold over 1 million copies on the PC gaming platform since its release, demonstrating the game’s positive reaction from the public. That’s currently beating out the likes of titles such as Elden Ring and Dead by Daylight. When looking at the statistics for the game, the game at the moment ranks among the top titles for most concurrent players on the platform with over 109,000 players. Sales are only part of the surprise for V Rising. The game is still in Early Access, and there have been a few hiccups, but Stunlock has committed to squashing bugs and improving the game ahead of its 1.0 release. Stunlock Studios’ vampire survival game was released this past Tuesday, and had racked up 500,000 units in sales on Steam in just three days. But not to be outdone, the recently-released V Rising has also made quite the impression, as it too has racked up the sales in just a short amount of time. Yesterday (May 24), Stunlock Studios revealed that V. Evil Dead: The Game has certainly met players’ expectations with its sales so far ( and ours, too!). As V Rising hits alternative PC platforms, the developer has celebrated the huge success of the game.
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How To Sleep To Increase Your Height Prodigious Unique Ideas
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