LVNDR IS A MUSIC FOCUSED CREATIVE HOUSE.
LVNDR IS A MUSIC FOCUSED CREATIVE HOUSE.
In partnership with IIPSJ (Institute for Intellectual Property and Social Justice), artist/activist Hollis Wong Wear and Google, we brought the hyper relevant panel discussion and event series Take Creative Control, founded by Kim Tignor, to LA for the first time in March 2019 at the renowned cultural/tech incubator Vector 90 in South Central. Take Creative Control connects creatives and entrepreneurs to intellectual property lawyers and resources to help you exercise your intellectual and creative rights (yes, for free). Check out our family here http://www.takecreativecontrol.org/
Our founder is a proud member of L.I.M.A. (Latinos in Media and Arts coalition). On October 12, 2018 L.I.M.A. hosted Diego Rivera High School’s first career day featuring an inspiring group of seniors to whom we spoke about our career paths and current endeavors. Here are a few pics!
Creates a compulsory blanket mechanical license that covers limited downloads and interactive streaming of musical works. Permanent downloads of musical works may be voluntarily licensed under this new blanket license or individually licensed per song by record companies while physical configurations of musical works (vinyls, CDs) will continue to be individually licensed. The blanket license does not cover certain uses of musical works such as displaying and reprinting lyrics/sheet music or using musical works in audiovisual works. Parties may continue to strike licensing deals on their own regarding activities and musical works covered by the blanket license.
The blanket licenses will become available on January 1 following the second anniversary of the enactment of the bill.
Before the blanket licenses are made available, digital services who make good-faith efforts to identify musical work owners with accrued, unmatched royalties will only be liable for actual royalties owed. After the blanket licenses are made available, digital services that obtain and comply with these licenses will not be liable for infringement of the reproduction and distribution rights of musical works for activities covered by the license.
The Copyright Office will no longer accept Notices of Intention (NOIs) for digital uses once the blanket license is available. NOIs are currently required under §115 when a party requests a compulsory mechanical license.
The Copyright Royalty Board (“CRB”) will use the willing buyer/willing seller standard (a market-based standard) when determining the rates for this new blanket mechanical license.
The bill creates a new mechanical licensing collective (“MLC”) whose board is composed of voting music publishers, voting self-published songwriters, a nonvoting trade association representing music publishers, and a nonvoting member of the digital licensee community. The MLC and its board will establish and maintain an operations advisory committee to address technology and data issues, an unclaimed royalties oversight committee to overlook the distribution of unclaimed royalties, and a dispute resolution committee to resolve song ownership and royalty disputes.
This new collective is funded by administrative assessment fees paid out by blanket licensees and by “significant” non-blanket licensees (those who earn $500,000 plus in revenue/year and operate under the voluntary or individual permanent download licenses). These fees are determined by the CRB judges.
The MLC will administer the new blanket licenses and will also collect, distribute, and audit the royalties generated from these licenses to and for the respective musical work owners. Music publishers and songwriters may also audit the MLC to ensure that royalties are being properly paid out.
The MLC will create and maintain a public database that identifies musical works with their owners along with ownership share information. The MLC will also provide information to help match musical works with their respective sound recordings.
The MLC will hold unclaimed royalties for at least 3 years before distributing them on a market-share basis to music publishers. Market share is determined by the royalty reports provided by digital licensees. When music publishers receive their market-share of these royalties, they must pay at least 50% of it to their songwriters.
District court judges from the Southern District of New York will be randomly assigned to oversee the public performance royalty rate proceedings that ASCAP and BMI are subject to. Currently, ASCAP and BMI are each assigned a judge who oversees these rate proceedings for life. Those assigned judges will continue to oversee non-rate proceedings, such as questions of consent decree interpretation.
Permits performance royalty rate setting judges to consider sound recording royalty rates when determining the rates for musical works. o In addition, the CRB must use the willing buyer/willing seller standard (marketbased standard) when determining rates for the new, compulsory blanket mechanical licenses.
Founder / EXEC Producer
David began his love of music through hip hop beat making, record digging and attempting to craft the perfect beat as a teenager growing up in South LA. After spending countless hours in studios in LA and NY, being mentored by legends in the craft of producing and nurturing artists’ development, he established himself as a producer cutting records for numerous major labels and publishers. In the early 2000’s he found a unique lane in being able to bring the traditional record making skills and life long knowledge of hip hop culture into what was then an emerging relationship between large brands and hip hop. He found himself at those intersections regularly and became a “voice for the culture” for brands like Red Bull, Scion and Reebok to name a few, producing, consulting and curating original music and event experiences.
In 2006 David began composing, producing and licensing music for large commercial campaigns and serving as a mentor for up and coming artists and producers looking for entry ways into the ad music arenas. He established LVNDR Music in 2012 to provide the growing roster of talent a platform and studio to get their music made and heard by agencies and brands while remaining true to their artistic vision. He’s also a Project Management Institute certified PMP from Caltech which is a long way of saying he knows how to get things done.
CMO / EXEC PRODUCER
Professor Moses is a cultural tastemaker. Growing up in Minneapolis, home to artists like: Prince, Jimmy Jam & Terry Lewis; he was heavily influenced by their funky sounds along with Motown, Michael Jackson and all things Hip Hop. Professor Moses is traditionally trained on the saxophone, his love for music traces back to his early childhood.
Professor Moses uses his unique upbringing to create his one-of-a-kind sound and epic live experiences as a producer/artist/songwriter and DJ. You can find Professor Moses DJing and performing at some of the best events and private parties Los Angeles has to offer.
His diverse background as an African American/Native/Jewish man gives him the connection to bring people together around the Universal love for music and dance. His name Moses was chosen by his African American ancestors once they were freed from the bondages of slavery. Professor Moses represents the liberation of all people to be free of the mental slavery that keeps us from dancing, having fun and enjoying the moment.