Artist Rights Watch COUNTDOWN TO MODERNITY (11/16): Key Dates and Accomplishments for the Mechanical Licensing Collective Under the Music Modernization Act
As best we can tell from the outside looking in, this chart has the dates for key events in the critical path to launch for the Mechancial Licesing Collective as required by the Music Modernization Act. We have called the chart the “Countdown to Modernity.”
UPDATE: Recall that the Register of Copyrights gets to pick the entity to operate as the Mechanical Licesning Collective. According to Digital Music News, the first fully-formed candidate to emerge is the American Music Licensing Collective or the “AMLC”. (AMLC’s website is songrights.net.) Digital Music New reports AMLC’s public statements about its organization:
“We believe all song owners, from the kid in their bedroom, to the major music publishers, should be paid what they have earned,” the group declares in its manifesto.
“We are songwriters, artists, music publishers, musicians, composers and technologists. We get song owners paid.”
So who’s behind the American Music Licensing Collective, exactly?
We’ll start with one of the founders: Stewart Copeland, best known as the drummer for The Police. Also on the creative side is hit songwriter Rick Carnes, whose songs have propelled more than 40 platinum albums from the likes of Garth Brooks, Reba McEntire, Alabama, Pam Tillis, and Dean Martin.
Other founding members include:
- John Barker (founder, president & CEO of ClearBox Rights, LLC).
- Brownlee Ferguson (founder, Bluewater Music).
- George Howard (co-founder of both Music Audience Exchange and TuneCore and CIO of Riptide Publishing).
- Lisa Klein Moberly (founder and president of Optic Noise).
- Benji Rogers (singer-songwriter, founder of PledgeMusic and co-founder of dotBlockchain Media)
- Jeff Price (founder of Audiam and co-founder of TuneCore)
- Henry Gradstein (music industry attorney at Gradstein & Marzano, P.C.)
- Larry Mestel (founder, Primary Wave)
- Ricardo Ordoñez (founder and president of Union Music Group)
Listed as ‘observers’ are Grammy-nominated songwriter and producer Phil Galdston, and Grammy- and Emmy-nominated songwriter and producer David Wolfert.
“The board of directors of the AMLC have a profound and extensive knowledge of music publishing, mechanical license administration, big data, mapping and matching technology, payment processing, copyright ownership identification, conflict resolution, education, law, songwriting, architecture of technology systems and more,” the group notes.
This chart is a work in progress, and if anyone sees anything wrong in it or something that should be clarified or corrected, please let us know. It should be considered a draft, but we hope that it will solidify over the next few weeks.
Due to the formation of the AMLC, there are now two candidates for the MLC. The COUNTDOWN TO MODERNITY chart needs to distinguish AMLC from the competing NMPA/NSAI MLC which does not have a name as far as we know. Until the NMPA/NSAI collective adopts a name, we will refer to it as the NMPA/NSAI collective.
UPDATE: Black Box Invasion! MTP readers will recall that the MLC is allowed to invade the black box to cover certain administrative costs:
INTERIM APPLICATION OF ACCRUED ROYALTIES.—In the event that the administrative assessment, together with any funding from voluntary contributions…is inadequate to cover current collective total costs, the collective, with approval of its board of directors, may apply unclaimed accrued royalties on an interim basis to defray such costs, subject to future reimbursement of such royalties from future collections of the assessment.
The “black box” may have already begun accruing at all of the services, although the accrual will no doubt vary from one service to another. However, what should be clear is that since there are now two candidates for the MLC, neither should be able to tap the black box prior to final designation of the MLC by the Copyright Office or otherwise.
The main takeaway from this chart should be the clock is ticking and time is going by. Our prediction? Time will become the MLC’s biggest enemy, if that hasn’t already happened in the drafting of the Music Modernization Act. What we don’t see in the MMA is any discussion of what happens if a deadline is blown for whatever reason.
But mark your calendars–we see the first key date as January 7, 2019 when the Copyright Office will request filings from MLC candidates, which so far include the AMLC and the collective to be formed by NMPA/NSAI. That’s 52 days from now and holidays count. The countdown to the License Availability Date: 777.
ARTIST RIGHTS WATCH
COUNTDOWN TO MECHANICAL LICENSING COLLECTIVE LAUNCH
WEEK 5
KEY DATES SCHEDULE FROM ENACTMENT DATE (10/11/18)
TO LICENSE AVAILABILITY DATE (1/1/21)
| EVENT | ACCCOMPLISHED | WHO OWNS? | TIME EXPIRED BEFORE LAD | TIME REMAINING TO LAD |
| REQUEST FILING TO BE MLC | STATUS UNKNOWN—Deadline 1/7/2019 | COPYRIGHT OFFICE | 90 DAYS | 726 days |
| DESIGNATION OF MLC | STATUS UNKNOWN—Deadline 7/7/2019 | COPYRIGHT OFFICE | 270 days | 545 days |
| FORMATION OF MLC NONPROFIT | AMLC nonprofit formed
NMPA/NSAI STATUS UNKNOWN |
MLC | 36 days | 782 days |
| SUBSTITUTION OF BLANKET LICENSE FOR ALL EXISTING COMPULSORY LICENSES | AUTOMATIC 10/11/2018
|
COPYRIGHT OFFICE | 782 days | |
| MLC BUDGET | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/DLC/CRJ | 782 days | |
| INITIATE ASSESSMENT PROCEEDING w/CRJs | [MUST COMMENCE NO LATER THAN 7/7/2019]
STATUS UNKNOWN |
MLC/DLC/CRJ | 233 days | 545 days |
| ASSESSMENT RULING | [PUBLISHED IN FR NO LATER THAN 7/7/2020] | MLC/DLC/CRJ | 599 days | 179 days |
| APPEAL OF ASSESSMENT RULING | 30 DAYS AFTER PUBLICATION OF ASSESSMENT RULING | MLC/DLC/CRJ/ DCCOA | 667 days | 149 days |
| MLC BUSINESS PLAN | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/CO | 90 DAYS | 726 days |
| ANNOUNCED BOARD NOMINEES | AMLC board announced (see DMN and above)
NMPA/NSAI called for nominations. The deadline for NMPA nominations passed on November 15 see NMPA. NSAI are accepting nominations for songwriter board member seats with a December 15 deadline. (these are nonstatutory deadlines) Songwriter board selection by Steve Bogard (NSAI), Rick Carnes (SGA), Lynn Gillespie Chater (SGA), Dallas Davidson (BMI), Chris DeStefano (NSAI), Bob DiPiero (BMI), Dan Foliart (ASCAP), Adam Gorgoni (SONA), Michele Lewis (SONA), Paul Williams (ASCAP) (Assume final deadline of 1/7/19) |
MLC | 90 DAYS | 726 days |
| APPOINTED BOARD | AMLC Board Announced:
John Barker (founder, president & CEO of ClearBox Rights, LLC). Brownlee Ferguson (founder, Bluewater Music). George Howard (co-founder of both Music Audience Exchange and TuneCore and CIO of Riptide Publishing). Lisa Klein Moberly (founder and president of Optic Noise). Benji Rogers (singer-songwriter, founder of PledgeMusic and co-founder of dotBlockchain Media) Jeff Price (founder of Audiam and co-founder of TuneCore) Henry Gradstein (music industry attorney at Gradstein & Marzano, P.C.) Larry Mestel (founder, Primary Wave) Ricardo Ordoñez (founder and president of Union Music Group) NMPA/NSAI: STATUS UNKNOWN (Assume deadline of 1/7/19) |
MLC/CO | 90 DAYS | 726 days |
| APPOINTED DLC | STATUS UNKNOWN—Deadline 7/7/2019 | COPYRIGHT OFFICE | 270 days | 545 days |
| ENGAGED MLC VENDORS | AMLC: Clearbox Rights, Audiam (others)
NMPA/NSAI: STATUS UNKNOWN (Assume deadline of 1/7/19) |
MLC | 90 DAYS | 726 days |
| PAID MLC VENDORS | AMLC: See board members above
NMPA/NSAI: STATUS UNKNOWN (ASSUME 7/7/2020 IF NO APPEAL OF ASSESSMENT) |
MLC | 270 days | 545 days |
| ANNOUNCE MLC DATA STANDARDS | STATUS UNKNOWN | MLC/DLC | ||
| REGULATIONS* | STATUS UNKNOWN | COPYRIGHT OFFICE | ||
| COMMENTS AND REPLY COMMENTS ON REGULATIONS | STATUS UNKNOWN | ALL | ||
| EXPLANATION OF OPERATIONS: HOW TO REGISTER WITH MLC AND COST OF REGISTRATION | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/CO | 90 DAYS | 726 days |
| REGISTRATION START DATE | STATUS UNKNOWN |
MLC=Mechanical Licensing Collective
DLC=Digital Licensee Coordinator
CRJ=Copyright Royalty Judges
DCCOA=District of Columbia Circuit Court of Appeals
CO=Copyright Office
LAD=License Availability Date
*Topic areas to be updated as announced
Wendy! Wendy! Peter’s Off His Meds Again! CEO Madness Sets in At Facebook
According to a team of long-time tech reporters in the New York Times (see Delay, Deny and Deflect: How Facebook’s Leaders Fought Through Crisis):
[Apple CEO Tim] Cook’s criticisms [of Facebook’s well known intrusive data harvesting for its addiction machine] infuriated Mr. Zuckerberg [aka the boy who wouldn’t grow up], who later ordered his management team to use only Android phones — arguing that the operating system had far more users than Apple’s.
True, except Android sucks and scrapes worse than Friendster. I mean, Facebook.
Some people refer to the music business as being run by the same five crazy uncles–but truth, they don’t hold a candle to the FANGsters.
But Sheryl Sandberg’s performance in the role of Wendy Darling is getting a bit hard to watch as Peter Pan self destructs on the way to his own version of Casa Neverland. But Zuck has that special stock that gives him 10 votes for every share (copied by Daniel Ek, by the way) so unless he wants to step down, Zuck ain’t going nowhere no matter how crazy his crazy gets.
Well…maybe there is a limit to crazy. No koolaide for Facebookers.
The TAZ, Pirate Utopias and YouTube’s Obsession with Safe Harbors
“[A]s you begin to act in harmony with nature the Law garottes & strangles you – so don’t play the blessed liberal middleclass martyr – accept the fact that you’re a criminal & be prepared to act like one.”
Hakim Bey from “T.A.Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism”
YouTube’s CEO Susan Wojcicki is frantically wheeling around Europe this week in a despairing effort to establish a US-style safe harbor in Europe and undermine Article 13, the Copyright Directive for a Digital Single Market.
Let’s understand that the very concept of a safe harbor for YouTube has its roots deep in the pirate utopias of Internet culture–a fact that may get overlooked if you aren’t a student of the Silicon Valley groundwater.
The Value Gap really owes its origins to the anarchist Peter Lamborn Wilson who wrote the seminal text on pirate utopias under the nom de plume “Hakim Bey” entitled “The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism” (1991) or, as it is known perhaps affectionately in hacker circles, simply “TAZ.” I for one am not quite sure what makes “poetic terrorism” different from unpoetic terrorism, utopian terrorism, anarchic terrorism, or just plain old terrorism, but it may explain why YouTube just can’t bring itself to block terrorist videos before they find an audience.
But the TAZ helps illuminate my own more truncated term for the Value Gap–the alibi. An alibi for a pirate utopia where the pirates run cults called Google and enrich themselves from the prizes they go a-raiding.
In the early days of online piracy there was a fascination with locating servers in some legal meta-dimension that would be outside of the reach of any law enforcement agency. Sealand, for example, captured the imagination of many proto-pirates, but Sealand is a little to clever to put themselves in a position requiring evacuation by the Royal Navy before the shelling begins. So Sealand was ruled out.
Instead, Google–largely through YouTube–created its own pirate utopia through manipulation of the DMCA safe harbor, one of the worst bills ever passed by the U.S. Congress–and that’s saying something. Google busily set about establishing legal precedents that would shore up the moat around their precious TAZ. None of Google’s attacks on government should be surprising–anarchy is in their DNA. As former Obama White House aide and Internet savant Susan Crawford tells us:
I was brought up and trained in the Internet Age by people who really believed that nation states were on the verge of crumbling…and we could geek around it. We could avoid it. These people were irrelevant.
And “these people” were stupid enough to give a safe harbor to protect the TAZ. Because here’s the truth–the safe harbor that has made Google one of the richest companies in the world while they hoover up the world’s culture actually is the quintessential temporary autonomous zone. It only exists in a changeable statute and the judicial interpretations of that statute, whether the DMCA or the Copyright Directive. And like HAL in 2001: A Space Odyssey, they’re not going to allow that disconnection without a fight.
But YouTube’s CEO Susan Wojcicki will not be singing “A Bicycle Built for Two” as she flails about in the disconnect of YouTube. Her basic argument is that “imposing copyright liability is destructive of value” for “open platforms” like YouTube. “Open platforms” bear a striking resemblance to the TAZ, yes? Ms. Wojcicki , of course, purveys a counterintuitive fantasy because unauthorized uses for which copyright liability accrues is what destroys the value of the infringed work. What Ms. Wojcicki is harping about is how copyright infringement destroys value for YouTube and its multinational corporate parent, Google. This is what happens when stock options invade a pirate utopia.
Not only has she got it wrong, but what she is actually whingeing about is the threat posed to her YouTube pirate utopia by the Copyright Directive and the united creative community. And as HAL might say, the YouTube mission is too important for me to allow you artists to jeopardize it.
What’s the Agenda at @TheAgenda?
Google’s European charm offensive on “Article 13” has come to Canada in search of earned media. They got it last night on a previously-credible news show called The Agenda in the “Struggling Artists and Copyright Rules” episode. (For readers outside of Canada, the Agenda is one of the top news magazine television programs in Canada, hosted by the erudite Steve Paikin.)
Both Canada and the European Union are going through very different copyright reform policy revisions which could not be more different, but The Agenda was determined to hold up Big Tech’s objections to the European Copyright Directive as some kind of example for the Canadian review of its 2012 Copyright Modernization Act which is being conducted largely in the normal course as required by statute.
By contrast, the Copyright Directive for the Single Digital Market (often called “Article 13”) bears little resemblance to the Canadian review.
If you watched The Agenda last night with the EFF’s Cory Doctorow, the Canadian science fiction author, and Canadian artists Miranda Mulholland and Donald Quan, you really would not have much of an idea.
I’ve actually appeared on The Agenda and was very impressed with the amount of objective preparation the show’s producers put in and the thoroughness with which they approached the subject. This kind of staff work is critical to preserving Steve Paikin’s credibility and how he conducts interviews with multiple persons, sometimes phoning in from out of the studio.
Given my experience with the program, I was quite taken aback by the sloppiness of the questioning that verged on propaganda from multinational corporations at several moments despite Miranda and Donald’s best efforts. What I saw was the complete opposite of my own experience. Here’s a few examples, more to come.
—Julia Reda represents Germany in the European Parliament? Let us be clear—Julia Reda may have a German constituency, but Julia Reda hardly “represents Germany” if the implication is—and I think it was—that Julia Reda’s views are representative of Germany as a whole. She is the sole Member of the European Parliament from the Pirate Party and her views are not only very pirate, but were also voted down by substantial majorities.
—the use of neuvoo.ca, which appears to be a crowd sourced job site as evidence of creator “annual income”. I’ve quickly looked over the neuvoo site and can’t find the name of a live person attached to it, so we don’t really know much about it. The site appears to be aggregating job postings from other sites (like Uber), so I’d really like to see the methodology. Having said that, the neuvoo annual income numbers (like $61,798 for a writer compared to the Writers Union of Canada number of $9,380) seem greatly inflated and counterintuitive. If there’s a good reason to believe a job aggregator as opposed to the union representing job categories, I’m all ears. But the real question I have is why The Agenda didn’t use government statistics as the comparison, or at least mention some of the research work done by the industry or other countries or cities (such as the Austin Music Census).
—the failure by Steve Paikin to mention Cory Doctorow’s long time involvement with the Electronic Frontier Foundation. The EFF lobbying group was not only disclosed by Google in court documents as a recipient of corporate donations but benefited to the tune of $1 million in a cy pres award that is of the type that is currently under review by the United States Supreme Court. Google, of course, is on Julia Reda’s side of the Article 13 vote and is today lobbying the European Parliament against Article 13, making many of the same arguments as Cory Doctorow did on The Agenda.
We’ll be looking into this deeper, but it doesn’t take much of a cynic to question why Steve Paikin would allow his program to be coopted in the effort to oppose Article 13. I for one don’t believe Mr. Paikin is that kind of guy, and I think that he’s very careful about being used. I know he certainly was careful when I was on the show.
This leads one to the inescapable conclusion that either his producer was in the tank for Google or was incredibly sloppy. Either conclusion is equally unfortunate.
We’ll come back to this soon.
Save the Date: Nov. 28 Music Modernization Act at the Dallas Bar Association
If you’ll be in Dallas, Texas on November 28, I will be discussing the Music Modernization Act at a luncheon sponsored by the Dallas Bar Association Entertainment & Sports Law Section. The meeting is scheduled for noon at the Belo Mansion,
2101 Ross Avenue in Dallas.
The talk will focus mostly on the Music Licensing Collective and Digital Licensee Coordinator in Title I, but will also cover the Wyden Loophole in Title II for pre-72 recordings.
More information on the Dallas Bar Association site.
Read Highlights of Managing Change Under the Music Modernization Act’s Music Licensing Collective in the current issue of the Texas Entertainment & Sports Law Section Journal.
Preserving the Bond
France can be deceptively cold and really rather miserable in the late fall. This can be particularly true of the French mountains and the Vosges Mountains are no exception. They’re not particularly high mountains by comparison to Colorado, but they’re high enough to feel the altitude if you’re used to living at sea level.
A strategic fact about the Vosges Mountains is that towns like Bruyères and Biffontaine are about 75 miles from Strasbourg, and Strasbourg is a stone’s throw from Germany. And that’s where the 1st of the 141st (First Texas), a unit of the 36th Infantry Division (T-patchers), was heading in late October 1944 when they ran into the 244th Infantry Division of the German Army and other German units.
The Texans had fought their way through North Africa, Sicily and the Italian invasion, but got surrounded in the Vosges. They were cut off from resupply or reinforcements to the extent that they had to be supplied by air drops because no one could get to them. Vastly outnumbered, the 442nd Regimental Combat Team was ordered to rescue the Texas outfit.
In the Battle of Bruyères, the 442nd continued to distinguish themselves in brutal sacrifice for their brothers in arms. As Daniel Inouye told the story, the 442nd lost more men than they ultimately rescued. But let the citation of Barney Hajiro of the 442nd speak for him and his brothers:
For The President of the United States of America, in the name of Congress, takes pleasure in presenting the Medal of Honor to Private Barney F. Hajiro, United States Army, for conspicuous gallantry and intrepidity in action above and beyond the call of duty while serving with Company I, 3d Battalion, 442d Regimental Combat Team, attached to the 36th Infantry Division, in action against the enemy on 19, 22, and 29 October 1944, in the vicinity of Bruyeres and Biffontaine, eastern France.
Private Hajiro, while acting as a sentry on top of an embankment on 19 October 1944, in the vicinity of Bruyeres, France, rendered assistance to allied troops attacking a house 200 yards away by exposing himself to enemy fire and directing fire at an enemy strong point. He assisted the unit on his right by firing his automatic rifle and killing or wounding two enemy snipers. On 22 October 1944, he and one comrade took up an outpost security position about 50 yards to the right front of their platoon, concealed themselves, and ambushed an 18-man, heavily armed, enemy patrol, killing two, wounding one, and taking the remainder as prisoners. On 29 October 1944, in a wooded area in the vicinity of Biffontaine, France, Private Hajiro initiated an attack up the slope of a hill referred to as “Suicide Hill” by running forward approximately 100 yards under fire. He then advanced ahead of his comrades about ten yards, drawing fire and spotting camouflaged machine gun nests. He fearlessly met fire with fire and single-handedly destroyed two machine gun nests and killed two enemy snipers.
As a result of Private Hajiro’s heroic actions, the attack was successful. Private Hajiro’s extraordinary heroism and devotion to duty are in keeping with the highest traditions of military service and reflect great credit upon him, his unit, and the United States Army.
The 442nd was the most decorated unit in the history of the U.S. Army with 8 Presidential Unit Citations, 21 Medal of Honor recipients and 18,143 other medals. Barney Hajiro also received the French Legion of Honor, the British Military Medal and the Bronze Star. And all of the 442nd were made honorary Texans by Governor John Connally.
You can’t be in National Airport in Washington DC for very long (especially on a Friday) without noticing a few enlisted men and women, often Marines, hanging around a gate. If you have the time, you’ll soon see an “Honor Flight” disembarking from that gate and what is often a long line of veterans filing out to sustained and enthusiastic applause from the transiting passengers and staff. The enlisted service members are there to meet the flight and assist the vets in wheel chairs. These flights are often comprised of World War II vets who are visiting DC to view their new World War II Memorial. As some of you know all too well, there are fewer of them every year.
We always think of the 442nd a couple of special times each year as do many others who sent their boys off to Camp Bowie and then to World War II as T-Patchers. It’s easy to say that we owe a debt to the 442nd that can never be repaid, but I don’t think the vets look at it that way. It’s more of a bond that should be preserved by kindness, respect and devotion. Preserving their memory is a recognition of that bond.
Hill 555 Monument, Bruyeres, France
COUNTDOWN TO MODERNITY (11/5/18)–The Progress to Production Chart for the Mechanical Licensing Collective
As best we can tell from the outside looking in, this chart has the dates for key events in the critical path to launch for the Mechancial Licesing Collective as required by the Music Modernization Act–the “Countdown to Modernity.”
This chart is a work in progress, and if anyone sees anything wrong in it or something that should be clarified or corrected, please let us know. It should be considered a draft, but we hope that it will solidify over the next few weeks.
To our knowlege, no one else has published a chart like this. The main takeaway from this chart should be the clock is ticking and time is going by. Our prediction? Time will become the MLC’s biggest enemy, if that hasn’t already happened in the drafting of the Music Modernization Act. What we don’t see in the MMA is any discussion of what happens if a deadline is blown for whatever reason.
But mark your calendars–we see the first key date as January 7, 2019. That’s 64 days from now and holidays count.
ARTIST RIGHTS WATCH
COUNTDOWN TO MECHANICAL LICENSING COLLECTIVE LAUNCH
WEEK 4
KEY DATES SCHEDULE FROM ENACTMENT DATE (10/11/18)
TO LICENSE AVAILABILITY DATE (1/1/21)
| EVENT | ACCCOMPLISHED | WHO OWNS? | TIME EXPIRED BEFORE LAD | TIME REMAINING TO LAD |
| REQUEST FILING TO BE MLC | STATUS UNKNOWN—Deadline 1/7/2019 | COPYRIGHT OFFICE | 90 DAYS | 726 days |
| DESIGNATION OF MLC | STATUS UNKNOWN—Deadline 7/7/2019 | COPYRIGHT OFFICE | 270 days | 545 days |
| FORMATION OF MLC NONPROFIT | STATUS UNKNOWN | MLC | 4 weeks | 112 weeks and 5 days |
| SUBSTITUTION OF BLANKET LICENSE FOR ALL EXISTING COMPULSORY LICENSES | AUTOMATIC 1/1/2021 | COPYRIGHT OFFICE | 789 days | |
| MLC BUDGET | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/DLC/CRJ | 112 weeks and 5 days | |
| INITIATE ASSESSMENT PROCEEDING w/CRJs | [MUST COMMENCE NO LATER THAN 7/7/2019]
STATUS UNKNOWN |
MLC/DLC/CRJ | 271 days | 545 days |
| ASSESSMENT RULING | [PUBLISHED IN FR NO LATER THAN 7/7/2020] | MLC/DLC/CRJ | 637 days | 179 days |
| APPEAL OF ASSESSMENT RULING | 30 DAYS AFTER PUBLICATION OF ASSESSMENT RULING | MLC/DLC/CRJ/ DCCOA | 667 days | 149 days |
| MLC BUSINESS PLAN | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/CO | 90 DAYS | 726 days |
| ANNOUNCED BOARD NOMINEES | STATUS UNKNOWN
Update on Nominations (Deadline November 15, 2018): NMPA and NSAI are accepting nominations for board seats. Songwriter board selection by Steve Bogard (NSAI), Rick Carnes (SGA), Lynn Gillespie Chater (SGA), Dallas Davidson (BMI), Chris DeStefano (NSAI), Bob DiPiero (BMI), Dan Foliart (ASCAP), Adam Gorgoni (SONA), Michele Lewis (SONA), Paul Williams (ASCAP) (Assume deadline of 1/7/19) |
MLC | 90 DAYS | 726 days |
| APPOINTED BOARD | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/CO | 90 DAYS | 726 days |
| APPOINTED DLC | STATUS UNKNOWN—Deadline 7/7/2019 | COPYRIGHT OFFICE | 270 days | 545 days |
| ENGAGED MLC VENDORS | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC | 90 DAYS | 726 days |
| PAID MLC VENDORS | STATUS UNKNOWN (ASSUME 7/7/2020 IF NO APPEAL OF ASSESSMENT) | MLC | 270 days | 545 days |
| ANNOUNCE MLC DATA STANDARDS | STATUS UNKNOWN | MLC/DLC | ||
| REGULATIONS* | STATUS UNKNOWN | COPYRIGHT OFFICE | ||
| COMMENTS AND REPLY COMMENTS ON REGULATIONS | STATUS UNKNOWN | ALL | ||
| EXPLANATION OF OPERATIONS: HOW TO REGISTER WITH MLC AND COST OF REGISTRATION | STATUS UNKNOWN
(Assume deadline of 1/7/19) |
MLC/CO | 90 DAYS | 726 days |
| REGISTRATION START DATE | STATUS UNKNOWN |
MLC=Mechanical Licensing Collective
DLC=Digital Licensee Coordinator
CRJ=Copyright Royalty Judges
DCCOA=District of Columbia Circuit Court of Appeals
CO=Copyright Office
LAD=License Availability Date
*Topic areas to be updated as announced
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