How to Make a Living from Music in the Philippines

Last week, I participated in a WIPO-IPOPHL seminar on 'How to Make a Living from Music'.

The key lecturer was Mr. David Stopps, author of the book with the same name. Stopps has had a long experience in music management in the UK, having worked with some of very best acts in the world like U2, the Police and David Bowie among many others.

What Stopps discussed were both familiar and new. Conceptually, I had been trained to understand copyright and collective management to the closest detail. But Stopps was able to drive the nail home by talking about his real-life experiences and how he witnessed independent artists earn income in so many different ways, as long as intellectual property was respected and complied with. 

Stopps discussed how music is placed in advertisements, films, TV shows, video games, apps and others, earning royalty income for the artist and the producer. He also talked about making derivate income from selling merchandise and product placement during shows. 

This was very interesting stuff that reminded me of how much time and sacrifice we need to put in to elevate the Philippine music business up to that level. 

Mark Thursday Alciso of the Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP) talked about collective management of copyright and the challenges faced, including the unwillingness of businesses to pay license fees and the confusion caused by having several different organizations collect license fees for different rights over the same music.

Royalty collection also gets harder when one has to deal with large networks or organizations that have a ton of leverage. Artists in the Philippines seldom get paid for the use of their music in films, TV shows or advertisement, a common practice in more developed economies. What ought to be a significant source of income is reduced to zero and a shallow promise of 'artist exposure'... something they would get anyway whether or not they're paid.

Many other concerns were raised like the massive competition we get from foreign acts, the lack of radio airplay and the proliferation of substandard music in the mass market. 

In the end, we find ourselves back where we started. If we want this country to be a source of and a hub for great music, we need to make real changes in our understanding and respect for intellectual property and business. No more pushovers. No more compromise. As artists, we mean business.

_____

For those who missed the seminar, you may still benefit from David Stopp's experience by reading his book, published by the World Intellectual Property Organization (WIPO):

Download the PDF version of David's book from the WIPO Website

Pinoy Blogfest 3.0

Copyright and the Visual Artist

FOR IMMEDIATE RELEASE

Contact: Precious Leano, FILVADRO Executive Director

Mobile: 0917 828 8690

Email: precious.leano@gmail.com

FILVADRO UPHOLDS COPYRIGHT OF VISUAL ARTISTS

Collective Management Organization to be launched in Copyright Forum at the CCP

The Filipino Visual Arts and Design Rights Organization (FILVADRO), the country’s collective management organization (CMO) for the visual arts, will be launched in a copyright forum at the Cultural Center of the Philippines (CCP) on 22 September, 2-5 pm.

International copyright expert Atty. KT Ang from the Confederation of International Societies of Authors and Composers (CISAC) will speak to visual artists about how to manage the licensing of artworks and how CMOs, with focus on models abroad, support the visual artist’s work.  Also speaking during the forum will be Atty. Mark Robert Dy of the Intellectual Property Office of the Philippines who will present the Copyright law including, the national system of Registration.

FILVADRO was organized by key visual artists and cultural workers after a series of consultations was conducted in 2009 by the Intellectual Property Office of the Philippines. Visual artists, including painters, photographers, sculptors, and graphic artists,  have stated in the consultations that there is a need for a visual arts CMO that would assert copyright for the individual. An informal survey conducted during the consultations showed that 100% of visual artists who participated in the survey have not received resale royalties.  

 “FILVADRO acts on behalf of its members to address copyright concerns, mainly the collection of resale rights for artwork sold after the first purchase, the licensing of art images for publication on all kinds of print and digital media, and the reproduction of art on items used for profit and promotion.  It will represent artists in the collection of royalties from copyright users and will be able to extend this representation to other countries where FILVADRO has  partner CMOs,” said Karen Ocampo Flores, noted visual artist and President of FILVADRO.

FILVADRO has recently signed a sister society agreement with the French La Societies Des Auteurs Dans Les Arts Graphiques Et Plastiques (ADAGP), the oldest visual arts CMO in the world. Likewise, FILVADRO is working closely with BONO, the Norwegian CMO for the visual arts.

FILVADRO was founded by noted artists Alex Baluyut, Yael Buencamino, Tina Colayco, Noel Cuizon, Egai Talusan Fernandez, Karen Ocampo Flores, Emmanuel Garibay, Jeannie Javelosa, and cultural worker Precious Leano.   Sculptor and new media artist Josephine Turalba and ceramicist Rita Badillo has recently joined the current Board of Trustees of FILVADRO.

The FILVADRO Forum and Launch is supported by the Cultural Center of the Philippines, Intellectual Property Office of the Philippines, CISAC, and the Norwegian Copyright Development Association (NORCODE).

iSchools SAPOT develops IP sensitive Content for Students; IPO status Scored

Original article found at:

http://www.ischools.ph/project_updates/ischools-sapot-develops-ip-sensitive-content-for-students-ipo-status-scored.html

by: Kairos Dela Cruz

“Safeguarding the rights of others is the most noble and beautiful end of a human being”.

We all know our rights, sometimes we even overshoot on assuming them. The latter even makes some of us neglect the existence of others and the rights that are intrinsic to them. In cases of violence, people know about their human rights. In cases of trials, even the accused parties have the guts to assume their rights to remain silent. In the cases wherein students duplicate or photocopy resource materials, the Philippines appear to be blatant in transgressing intellectual property issues.

Should this be the case and future of Philippine education? Students stealing to become educated?

iSchools Project says NO.

iSchools Project, a government-funded ICT-education integration program, seeks to educate students not just by giving them free computer laboratories and training workshops; but also by providing them with intellectual property- sensitive educational materials.

SAPOT Participants (institutional/individual partners and project staff) pose for a group pick at Angels' Hills, Tagaytay last July 20-22, 2011.

The project seeks to provide high-quality educational content to the project’s high school recipients through its Content Mapping Initiative (CMI), more popularly coined as Supplementary Academic Philippine Online Treasury (SAPOT). The initiative is part of the project’s thrust in empowering the major stakeholders (teachers, students, and community members) of its recipient schools.

Representatives from iSchools partner institutions meet up with iSchools Project Manager, Toni Torres (in maroon) to insure the smooth flow of SAPOT.

As Toni Torres, iSchools Project Manager, puts it “iSchools Project believes that ICT can propel the Philippine education system but the project will not compromise any values in doing so. 

Content, especially in education, comes at a price that not everyone can afford. To help in solving the problem, iSchools would provide free content materials in different subjects, materials that will undergo rigorous academic scrutinizing. Permissions from the “whose” end of these content materials will be coordinated and negotiated by the project”.

In the recent outlining and primary mapping workshop for CMI, iSchools Project joined hands with major academic, cultural and legal institutions at Angels’ Hills, Tagaytay City last June 20-22, 2011. Among the many subject matter experts, Atty. Mark Dy of the Intellectual Property Office (IPO-Phils.) was given the chance to explain the need and implications of insuring that CMI would not transgress any level of the intellectual property rights of the proponents of the content materials that the initiative wishes to include in the final content map.

According to Atty. Dy, “Respect for intellectual property is a strong indicator of quality creative & educational content. Designing world-class educational material always includes proper referencing, attribution and copyright clearance for all the components used in the project. This way, credit is given to those who deserve it and the entire project is kept fresh and original”.

iSchools SAPOT will distribute the content materials to project recipient high schools tentatively through three major media- an online portal, portable external hard disk, and a magazine-type catalog. All of these materials will be distributed free of charge.

Atty. Mark Dy from the Intellectual Property Office (IPO) briefs SAPOT participants about the possible IP implications of the initiative.

During Atty. Dy’s lecture he came across why initiatives such as SAPOT are pushing a holistic change for intellectual property in the Philippines. iSchools SAPOT is one of the first of its kind but it would not be the last of iSchools’ attempts in bridging the digital divide.

“The creative, scientific and academic communities must demand greater institutional support for copyright in the Philippines if we want our creative content to flourish. Senate Bill 2487, once passed into law, will create the Bureau of Copyright under the Intellectual Property Office, dedicated to copyright policies and programs. Presently, our Intellectual Property Office only has an ad hoc team composed of two lawyers and about 10 support personnel manning the entire copyright system of the country. In contrast, South Korea has about 800. We urge everyone to support the passing of Senate Bill 2487 and lift Filipino creativity to the very top”, Dy added.

Attributing the author with due recognition is a basic in respecting intellectual property; here is an example.

Khalil Gibran, an internationally acclaimed philosopher, and author may sound too noble and too ideal when he published the opening line. In all honesty, maybe the world can use a little of this nobility and idealism.

Diner Dash in the Flesh

Copyright & Trademark Infringement in One Strike

spotted along Bayani Road, Taguig City, Philippines

Guidelines on Copyright Registration and Deposit

The Copyright Registration and Deposit System (CoRDS) of the Intellectual Property Office of the Philippines (IPOPHL) will be operational by July 14, 2011. You may then begin registering your copyright-protected works at IPOPHL or any of our ten IP Satellite Offices.


The Guidelines have been published online today at the IPOPHL Website.


You may download a PDF copy of the Guidlelines here.


Copyright is the legal protection over an original literary, scholarly, scientific or artistic work. Registration is not necessary to gain copyright-protection but your registration certificate may serve as evidence of such protection. Registration is also needed to complete the records of the National Library of the Philippines (NLP). 




To learn more about copyright and how to protect your original creations, you may email me at markrobertdy@gmail.com

An Important Letter to Anvil Publishing

Dear Ms. Galvez & Anvil Publishing,


Greetings.


My name is Mark, a creative industries lawyer working for the Intellectual Property Office of the Philippines (IPOPHL).


Last April 15, 2011, at the World Book and Copyright Day held at the UP Technohub, I bought a book from you entitled 100 Kislap by Abdon M. Balde, Jr. Since Mr. Balde was beside me during that time, I took the opportunity to have him personally sign the copy that I bought.


While talking to Mr. Balde, I absentmindedly grabbed the wrong (unsigned) copy of the book and took it home with me.


The following day, I received a text message from your employee, Nelson or 'Nhyl' Eleda. He informed me that I left my signed copy and offered to deliver the book for swapping at the nearest National Book Store. I thanked him for his efforts and told him to leave the book at NBS Buendia cor. Makati Ave. (the one near the gas station). 


This morning, I was able to swap the wrong copy I had for the one signed by Mr. Balde, which I consider personally valuable.


For all these things, I commend Mr. Eleda and thank Anvil Publishing for having such a diligent and customer-centered employee. I appreciate the effort Mr. Eleda took to find my contact number, inform me of my mistake and deliver the book to a place most convenient for me.


I realized that the least I could do was write this letter of commendation to the company for Mr. Eleda's outstanding work. I have never experienced such care and diligence from someone working in this industry. This is the kind of person you want in management. I hope that he will be given that opportunity someday.


On the surface, this may appear to simply be about a P200 book, but for me, it's another story worth telling -- a reminder that there are people out there who do their work excellently no matter how simple they may seem on the outside. There's a lesson here somewhere.


God bless you all and best regards.




Respectfully,


Mark Robert A. Dy, J.D.








P.S. To share this story, I am furnishing Mr. Abdon Balde, Jr. (the author of the said book), Atty. Louie Calvario (Copyright Head of IPOPHL), Atty. Andrea Pasion-Flores of NBDB and Mr. Alvin Buenaventura of FILCOLS.

Who You Calling Spineless? -- The Collective Management of Copyright for Books in the Philippines

I just came from a forum by the Filipinas Copyright Licensing Society (FILCOLS) where they presented a solution to illegal photocopying of copyright-protected works. 

FILCOLS Executive Director Alvin Buenaventura says that copyright is a human right and is necessary to protect the way of life and dignity of the author.

Entitled 'Copyright: Empowering the Research University', the forum was actually a pitch to De La Salle University (DLSU) to convince them to become the first university in the Philippines to enter into a licensing agreement with FILCOLS, as the Philippines' recognized Reprographic Rights Organization (RRO). If the negotiations proceed as planned, DLSU would effectively be the first institution in the country to declare its respect for the intellectual property of authors.


It all sounds so grand, but several questions must come to mind. What is an RRO? What is the deal all about? Why is it so important?


An RRO is an organization that acts as an agent for publishers and authors in order to manage their copyrights. Also known as a Collective Management Organization (CMO), these organizations are tasked to collect royalties from users of copyright-protected works and distribute the same to the authors of these works. This way, the user obtains the freedom to make copies of works without the fear of committing copyright infringement, while the authors receive income for the use of their work.


An example of a working CMO in the Philippines is the Filipino Society of Composers, Authors, and Publishers (FILSCAP), which manages the copyright-protected works in the music business. FILSCAP has successfully collected income on behalf of artists and composers for several years and now FILCOLS is seeking to do the same for the publishing industry.


The basis for creating RROs or CMOs is found in our IP Code:

Section 183. Designation of Society. - The copyright owners or their heirs may designate a society of artists, writers or composers to enforce their economic rights and moral rights on their behalf. 

So what does FILCOLS offer the university? The freedom to photocopy any material from any publication without fear of incurring liability for copyright infringement. In exchange, the university will pay a per-student fee to FILCOLS per semester, which will be passed on to the students as a minimal increase in their tuition fees (about P100 or $2 per semester). This money will then be used to pay for the administrative costs of FILCOLS and then the remaining amount shall be distributed to the authors being represented by the organization.


In addition, the FILCOLS license acts as a quasi-insurance against liability for copyright infringement because FILCOLS will absorb liability up to a certain amount, even for works they do not represent. This effectively shields the university from legal liability and reputation damage. Theoretically, this license will even cover orphaned works, over which FILCOLS will hold the royalties in trust for the benefit of the missing author, in case he or she turns up.

Mr. Paul Wee, CEO of the Singapore-based Copyright Licensing and Administration Society of Singapore (CLASS), says that they are entering into an agreement with FILCOLS to protect Filipino works being used in Singapore and Singaporean works being used in the Philippines.

This elegant solution to copyright management has been found to be effective in the UK, France, Norway, Singapore, and many other countries. FILCOLS is a member of the International Federation of Reprographic Rights Organisations (IFRRO), which is a global network of CMOs for the publishing industry. To protect foreign works, FILCOLS has entered into agreements with RROs from the United States, Singapore, UK, and other countries to protect the works of their authors here in the Philippines. In turn, these foreign RROs have agreed to protect Filipino works used in their countries and hold any collected royalties in trust for them.


The licensing activities of FILCOLS is an effective first step in promoting respect for copyright in the academe. It bears noting, however, that this license is directed at university-sanctioned copying (e.g. the production of course packs or handout compilations) and does not limit legitimate fair use activities by students and faculty under our IP Code.

Ms. Karen Pitt, General Counsel of the Australia-based Copyright Agency Limited (CAL), says that the educational system in Australia takes copyright very seriously. You cannot be considered a serious institution unless you are copyright compliant.

In the international academic community, respect for intellectual property rights has become an essential condition to be considered among the very best. Quality education requires intellectual honesty, which in turn, demands respect for other people's copyright and hard work.


In this country, where photocopiers and "book-alike" services abound, a major attitudinal change has to yet to be put in place.


FILCOLS is attempting to destroy the myth that respecting copyright is too expensive for a third world country. By spreading out the cost among the entire student population, the personal expense we incur to support our authors and publishers becomes minuscule compared to what we spend on notebooks, pens or mobile phone credit.


Our authors need to feed their families too. We simply cannot choose to pay for electricity and food but not pay for our music, books, art and other intellectual creations. Ignoring the plight of our talented brothers and sisters is to sentence the creative and intellectual industries to a slow and painful death. 


As intelligent and talented as we are, unless we are paid fairly for our hard work, we will never be anything more than slaves. 


... and there's no dignity in that.

Is Copyright a Human Right?

Some writers are convinced that copyright is merely a statutory benefit -- that is, it cannot exist without the law.


Like many writers from Europe, however, I subscribe to the old world philosophy that copyright is a human right -- that it transcends business interests and embraces the sacred relationship between the creator and the creation -- the author and the work.


Although domestic laws and treaties do contain provisions on protecting intellectual property, they cannot be considered the ultimate source of these rights. They do not arise from agreements or legislation, but from human nature as creator.

Two important pieces of international law articulate this philosophy:


1. Article 27 (2) of The Universal Declaration of Human Rights (UDHR), known to be the document of authority for human rights, reads: 

Everyone has the right to protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author;

2. Article 15 (1) of The United Nations Covenant on Economic, Social and Cultural Rights (UNCESCR) also reads: 

The State Parties to the present Covenant recognize the right of everyone to benefit from the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.

Like any other person of any other profession, artists, authors and scientists deserve to make a living from their talents. More importantly, they must be acknowledged as the creators of their work. 


So is copyright a human right? To give a yes or no answer to the issue would be a serious oversimplification that ignores the history and philosophy behind copyright.


The right answer would have to be "partially" -- copyright is partially a human right. At least in the Philippine legal system, it has to be understood this way. Why? Because our law fuses (or confuses) the concept of copyright in the civil law and the common law sense.


Civil law traditions treat copyright or author's rights (droit d'auteur to the French; Urheberrecht to the Germans) as a sacred bond between the author and the work. These rights form what we call in the Philippine IP Code as moral rights. Moral rights, particularly the right of paternity, ought to last forever (e.g. William Shakespeare's authorship to Hamlet will never expire by mere passage of time). 


This is the part of copyright which I am inclined to declare as a human right -- the right of paternity. Like any other human right, it is imprescriptible, inherent, inalienable and universal. Authorship, therefore, must be likened to a status rather than a right. For a right often disappears after the death of the owner while a status of paternity lasts forever.


So what is the right of Paternity? Section 193.1 of the Philippine IP Code describes it as 

the right to require that the authorship of the works be attributed to him, in particular, the right that his name, as far as practicable, be indicated in a prominent way on the copies, and in connection with the public use of his work 

The old intellectual property law (PD 49) correctly declared that the right of paternity lasts forever. The new law downgraded the right to last only for as long as the economic rights (generally the author's lifetime plus 50 years). This is unacceptable because it limits that part of copyright that is a human right. Today, a bill is being discussed in the Philippine House of Representatives to revert back to the old rule. I hope that the fruit of these discussions finds its way into law very soon.


Common law traditions, on the other hand, tend to focus on the economic benefits of copyright and how it can be used to generate wealth. In Philippine law, these are called economic rights. Economic rights necessarily last only for a certain period of time because they are only statutory grants used to secure a return on investment plus profits for the creator of a work and his or her heirs. 


This is the part of copyright that I consider merely a temporary grant by law, which may be removed or suspended for a greater public purpose. They are not imprescriptible, inherent, inalienable or universal. They, therefore, do not possess the essential characteristics of human rights. 


So here we have the Philippine copyright system. By way of Spain, we carry the long-standing traditions of civil law going back to the Roman Empire -- a philosophy which treats authorship with unique but well-deserved reverence. By way of America, we carry enterprising prowess of the common law tradition -- a philosophy grounded more on giving each creator a livelihood and a chance at survival. And somewhere in the middle of all this, we find ourselves still trying to figure out what to do with our inexhaustible creativity and how it can lift us up to better places. 


For now, we can rest better knowing that we do possess human rights as creators... Partially.

_____

For further reading:

See Mark Robert A. Dy, Teach the World to Sing: Restructuring Philippine Copyright Law under a Regime of Free Expression and Culture (2009) (unpublished J.D. Thesis, Ateneo de Manila University School of Law) (on file with the Ateneo Professional Schools Library). 

Simply Great

To become truly great, one has to stand with people, not above them.

- CHARLES DE MONTESQUIEU

In this world of greed and inflated egos, this is a story that must be told so that we might remember that there are still wonderful people out there... that there are still gestures of greatness, no matter how seemingly simple for the originator.


This week, some people from work and I were doing the final edit of a WIPO Copyright Book. We wanted to "Filipinize" the book by changing the examples to suit Filipino culture and experience.


One of the examples in the book was a comic strip by a famous American cartoonist. We wanted to transform the page, and one thing instantly came to mind: Pugad Baboy by Pol Medina, Jr.


I was hesitant at first in asking Mr. Medina for permission to use one of his book covers for the publication. Nevertheless, we sent him an email and formally asked for his permission.


He replied and said "yes" immediately. We were ecstatic. 


And so that was that... or so we thought... 


Three hours later another email arrives... and lo and behold... Mr. Pol Medina, Jr. sent us a strip specially customized for IP Philippines.

This was so much more than we could ask for. He was able, to sum up in four boxes what the office has been trying to do for many decades.


Medina is one of the biggest names, if not the biggest, in the industry. He reportedly earns five figures each day for a single strip on the Philippine Daily Inquirer... and yet, with this single stroke, he obliterated the mystique that surrounded his person and his empire... his generosity and humility is something that just gives me goosebumps each time I think about it.


We don't need to save lives to be great. We don't need to die as martyrs or run for president to be remembered forever.


Sometimes, doing what you do every single day generously and with a humble heart is enough. This time, it truly was.


Mabuhay ka, Pol Medina, Jr.! Mabuhay ang Pugad Baboy!


To know more about the cartoon, see:
http://en.wikipedia.org/wiki/Pugad_Baboy

The Capiz Reflection: Traditional Knowledge and Indigenous Peoples' Rights

If This Is Your Land, Where Are Your Stories?

- J. EDWARD CHAMBERLIN

There is very little we know about ourselves in spite of the years and years of formal education we are compelled to accomplish... but ever so rarely, a moment comes when the horizon suddenly explodes into wide view for just a split second... and we are forever transformed by what greatness we see and what little we remember.

For me, this experience was not a first in its valuable components, but it was certainly a first in its combination. I have been an Indigenous Peoples' Rights Advocate for about five years now and an artist for much, much longer than that... but I never really had these two separate worlds fuse into a beautiful mesh of philosophical possibilities (this only goes to show how little we do with even the things we think we understand).

When you talk about Indigenous Peoples' Rights, one word immediately comes to mind: LAND. After that, everything else becomes a blur, an afterthought, a collateral matter. I fell into that same trap and found myself deprived of a wider area of understanding where I could have given more of myself. After all, what is land without the beliefs, the creations, the art, the epic tales, the science, the survival, the artifacts, the crafts and all that is produced by the minds of the dwellers of that land?

Human communities will never be limited to the physical act of building houses, planting crops and hunting game... All these things acquire meaning... all these things are jealously inseparable from human imagination. In every society, no matter how ancient, there will always a wealth of creativity... from the artisan, the alchemist, the healer, the inventor, the craftsman, the musician, the poet, the merchant, the weapon-smith, the carpenter, the builder, and even the town crier. 

The sun and the stars will never be just balls of flaming gas, but bodies that aid people in navigating through treacherous waters and explaining personalities, behavior and cosmic events... the land will never be just dirt, bugs, and roots but a sacred source of life, healing, and stability. Modern societies and religions reject these notions as "superstitious beliefs" and "heresies"... but today, in this chapter of global decay, this ancient wisdom and affinity to nature just might be what will save the human race.

Makes me think how ignorant we really are today.

When I entered IP Philippines to work, I feared one thing: that my advocacy for human rights would be in peril... that it would be just a pleasant memory (if not the only one) from my days as a law student. I tried to rationalize this by demonstrating that intellectual property is a human right (a fact that I think I proved in my graduate thesis... but was actually more of an attempt to convince myself). Then comes this opportunity... this gap in legal and philosophical understanding that allowed two of my great passions to step in together and shake my imagination.

I was humbled during these few days in Capiz... I was humbled by the T'boli weavers and musicians... by the Ati alchemists and the healers... by the Kalinga builders and percussionists. For these people, art and science have always been a part of life... not just source of cheap thrills. Everything I saw was celebration of hundreds of years of the diversity and unity of what we now know as the Filipino.  

After the reflection, comes the resolve. What I do with what I know must protect human creation... not only that which is new... but also the creativity that has been part of our history and heritage. We are who we are today because of these things... and only by looking back at them can we find a way to deeply know ourselves.

In the end, I had to step out of lawyer-mode to become part of the entire human experience of pure imagination. Doubts were kicked aside and disbelief was suspended. What I found humbled me and humbled me again as it expanded my mind further (and this didn't even involve Peyote).

Now it's time to come home, knowing that I am mounds richer today than I was a week ago. Thank you, Capiz.

A Bill of Rights for Songwriters & Composers

Created by ASCAP, the American Society of Composers, Authors and Publishers 

Original post at:

http://www.ascap.com/press/2008/0417_billofrights.aspx

Just as citizens of a nation must be educated about their rights to ensure that they are protected and upheld, so too must those who compose words and music know the rights that support their own acts of creation. Without these rights, which directly emanate from the U.S. Constitution, many who dream of focusing their talents and energies on music creation would be economically unable to do so – an outcome that would diminish artistic expression today and for future generations. 


At this time, when so many forces are seeking to diminish copyright protections and devalue artistic expression, this Bill of Rights for Songwriters and Composers looks to clarify the entitlements that every music creator enjoys. 

1. We have the right to be compensated for the use of our creative works, and share in the revenues that they generate.
2. We have the right to license our works and control the ways in which they are used.
3. We have the right to withhold permission for uses of our works on artistic, economic or philosophical grounds.
4. We have the right to protect our creative works to the fullest extent of the law from all forms of piracy, theft and unauthorized use, which deprive us of our right to earn a living based on our creativity.
5. We have the right to choose when and where our creative works may be used for free.
6. We have the right to develop, document and distribute our works through new media channels - while retaining the right to a share in all associated profits.
7. We have the right to choose the organizations we want to represent us and to join our voices together to protect our rights and negotiate for the value of our music.
8. We have the right to earn compensation from all types of "performances," including direct, live renditions as well as indirect recordings, broadcasts, digital streams and more.
9. We have the right to decline participation in business models that require us to relinquish all or part of our creative rights - or which do not respect our right to be compensated for our work.
10. We have the right to advocate for strong laws protecting our creative works, and demand that our government vigorously uphold and protect our rights.

_____


This is pretty straightforward, though some of the rights like #9 are against my stand. Nevertheless, it's a good start for ASCAP in clarifying the purpose of copyright law. 

Greed is the enemy of creativity.

- M.R. DY

The Rights of the Soul

Originally published in the February 2006 edition of ThePalladium for my column Legal Personality.


Being a fervent advocate of human rights, I am morally bound to speak about how much the marginalized need us and how little they have in both in life and in the application of the law. On a different note, twenty years of Jesuit education has taught me that one cannot truly give what s/he does not have. Jesus Christ, himself, said “If a blind man leads a blind man, both will fall into a pit.” And thus, I am equally bound to say that we, ourselves, have a solemn duty to protect our own rights – some of which we do not even recognize.


American psychologist, Abraham Maslow, taught us that the human person has a hierarchy of needs. From bottom to top, he listed them down as Physiological, Safety, Love/Belonging, Esteem, and at the apex, Actualization. One has to satisfy the lower-level needs in order to go up the next rung and satisfy the higher ones. The problem with human rights theory is that it is often restricted to the bottom two levels (food, shelter, clothing, education, safety, etc.) – ensuring people’s survival. But is it fair to end there? A full stomach with an empty heart?


This is where these higher-level rights come in, which I conveniently call “The Rights of the Soul”. Like human rights, these rights are inalienable, inherent and imprescriptible. They cannot be given away or sold, they are not granted by law but are part and parcel of one’s humanity, and they cannot be extinguished through time. One cannot separate them completely from human rights because they are, in fact, human rights and emanate from the same continuum of liberties and freedoms. For instance, the freedom of expression is expanded to form the freedoms of art and music – of beauty… not only to express but to also appreciate and judge the same. The freedoms of religious and political belief also go higher than mere organized beliefs but to personal ones – the right to hope, to dream, to have access to the ideal and the divine. The freedom to feel – to love, to laugh, to cry, to hate, to experience the broad spectrum of human emotions and to go through them again and again. The right to privacy also goes deeper and creates a right to keep one’s life compartmentalized without the fear of being accused of duplicity against the other aspects of his/her life… to be separate his/her career, family and passions from one another.


These are only instances and, no different from human rights, there can be no real possibility of enumerating them all because these are the things that make us human (a concept which might never be fully comprehended). Not only humans of flesh and blood but humans of soul and spirit – things that allow us to reach out into the unknown, the impossible, and the divine and, somehow, make them real.


So, when will we begin to assert these rights? Many people impliedly relinquish these rights by living their lives mechanically… they work, study, eat, sleep and do it all over again the next day and the next until on end. By doing this, no matter how wealthy or intelligent, are they not oppressed as well? One who does not live his/her life all the way to actualization cannot teach another about beauty or meaning or hope. The best that s/he could do is offer material things that inevitably perish in time.


The rights of the soul that we protect turn us into beings of power and by only protecting them, will we be able to empower others.


And here I am, just finished writing a new song while I swallow the last drops of my Starbucks peppermint mocha frapuccino as an unwashed little girl approaches me and begs for a few coins. I hand her a twenty and send her off with a smile and a prayer. I then put on my black jacket and walk home.


So much for higher level rights.