What if accepting federal broadband money meant your state couldn’t protect students, artists, or consumers from unregulated AI for the next 10 years? This episode unpacks the dangerous AI moratorium buried in the One Big Beautiful Bill Act (OBBBA). Framed as a “temporary pause,” it blocks state and local laws that might restrict AI—even laws like Tennessee’s ELVIS Act or school policies safeguarding student data. We break down the constitutional concerns, the threat to local autonomy, and the growing resistance across the country.

Why are U.S. vinyl pressing plants struggling while foreign records sail through tariff-free? In this episode, we unpack how outdated trade rules are quietly undermining America’s vinyl comeback—and what it will take to fix it.

A hidden AI moratorium in Trump’s must-pass bill could gut state power. Here’s why both parties are fighting back.

Can the AI Moratorium Survive the Byrd Rule on Germaneness https://musictech.solutions/2025/05/22/now-what-can-the-ai-moratorium-survive-the-byrd-rule-on-germaneness/ One Big Beautiful Bill Act, Latest Version https://www.congress.gov/bill/118th-congress/house-bill/91 Meet Adam Thierer, an architect of the AI Safe Harbor https://musictechpolicy.com/2025/05/29/meet-adam-thierer-an-architect-of-the-ai-safe-harbor-moratorium/   The information provided in this video is for informational purposes only and does not constitute legal advice or a solicitation for legal services. The views and opinions expressed are those of the moderators and guests and do not necessarily reflect the views of any organization or legal entity. If you need legal advice, please consult with a qualified attorney. Copyright 2025, Artist Rights Institute. All Rights Reserved. Neither this video nor any transcript may be used for text or data mining or for the purpose of training artificial intelligence models or systems. Subject to Terms of Service at https://artistrightswatchdotcom.wordpress.com/wp-content/uploads/2025/04/arw-podcast-terms-of-use-v-2-e-tx.pdf

Planning the release of your record is one of the most consequential events in an artist's career. Music marketing expert Jay Gilbert of Label Logic gives you tips on planning that release https://www.jaygilbertconsulting.com/label-logic/ Go to the ARI Financial Education vertical for the slides and release planner https://www.artistrightsinstitute.org/financial-education/an-artists-guide-to-record-releases-part-3-jay-gilbert-on-marketing-plans-and-scheduling The information provided in this video is for informational purposes only and does not constitute legal advice or a solicitation for legal services. The views and opinions expressed are those of the moderators and guests and do not necessarily reflect the views of any organization or legal entity. If you need legal advice, please consult with a qualified attorney. Copyright 2025, Artist Rights Institute. All Rights Reserved. Neither this video nor any transcript may be used for text or data mining or for the purpose of training artificial intelligence models or systems. Subject to Terms of Service at https://artistrightswatchdotcom.wordpress.com/wp-content/uploads/2025/04/arw-podcast-terms-of-use-v-2-e-tx.pdf

Music attorney Chris Castle presents the record release checklist.  In part 2, he covers artwork, credits and legal lines.  For the part 2 checklist, visit the ARI website https://www.artistrightsinstitute.org/financial-education/an-artists-guide-to-record-releases-part-2-1, and also listen to Episode 4 https://www.artistrightsinstitute.org/financial-education/a-artists-guide-to-record-releases-part-1 The information provided in this podcast is for informational purposes only and does not constitute legal advice or a solicitation for legal services. The views and opinions expressed are those of the moderators and guests and do not necessarily reflect the views of any organization or legal entity. If you need legal advice, please consult with a qualified attorney. Copyright 2025, Artist Rights Institute. All Rights Reserved. Neither this podcast nor any transcript may be used for text or data mining or for the purpose of training artificial intelligence models or systems. Subject to Terms of Service at https://artistrightswatchdotcom.wordpress.com/wp-content/uploads/2025/04/arw-podcast-terms-of-use-v-2-e-tx.pdf  

Music attorney Chris Castle presents the record release checklist.  In part 1, he covers sound recordings and songs, work for hire agreements, union issues, guest artists and step outs, courtesy credits, song split agreements and producers.  For the checklist, visit the ARI website https://www.artistrightsinstitute.org/financial-education/a-artists-guide-to-record-releases-part-1 The information provided in this podcast is for informational purposes only and does not constitute legal advice or a solicitation for legal services. The views and opinions expressed are those of the moderators and guests and do not necessarily reflect the views of any organization or legal entity. If you need legal advice, please consult with a qualified attorney. Copyright 2025, Artist Rights Institute. All Rights Reserved. Neither this podcast nor any transcript may be used for text or data mining or for the purpose of training artificial intelligence models or systems. Subject to Terms of Service at https://artistrightswatchdotcom.wordpress.com/wp-content/uploads/2025/04/arw-podcast-terms-of-use-v-2-e-tx.pdf  

AI Legislation, A View from Europe: Helienne Lindvall, President of the European Composer and Songwriter Alliance (ECSA) and ARI Director Chris Castle in conversation regarding current issues for creators regarding the EU AI Act and the UK Text and Data Mining legislation.

Artist Rights Institute Director Chris Castle and music attorney Kevin Casini discuss union organizing, collective bargaining and health care issues for songwriters.

Attorney Tim Kappel won the landmark copyright termination case for his client Cyril Vetter who got a reversion of the worldwide copyright in his song Double Shot of My Baby's Love. He discusses the case with publisher Abby North and music lawyer and Artist Rights Institute director Chris Castle. For court documents see https://musictechpolicy.com/2025/02/13/mtp-interview-attorney-tim-kappel-and-abby-north-discuss-vetter-v-resnick-case-with-chris-castle/ The information provided in this video is for informational purposes only and does not constitute legal advice or a solicitation for legal services. The views and opinions expressed are those of the moderators and guests and do not necessarily reflect the views of any organization or legal entity. If you need legal advice, please consult with a qualified attorney. Copyright 2025, Artist Rights Institute. All Rights Reserved. This video or any transcript may not be used for text or data mining or for the purpose of training artificial intelligence models or systems.  

On the this episode of the Artist Rights Watch, Nik, David, and Chris sit down to talk about the recent developments with the CRB and mechanicals with lawyer and advocate, Kevin Casini. The Copyright Royalty Board who herein will more than likely be referred to as the CRB, ‘is a US system of three copyright reality judges who determines rates and terms for copyright statutory licenses and make determinations on distribution of statutory license royalties collected by the US Copyright Office.’ The US mechanical royalties are determined by the CRB and they meet every 5 years to determine the rate. Songwriter groups argued for a higher rate, and the CRB agreed. On March 29, 2022 the CRB agreed to unfreeze the $0.091 mechanical royalty rate which would commence a fight for a new rate in the 2023-2027 period. Over the past few years, there has been numerous criticisms about the constant rule for freezing the mechanical royalty rate. The royalty rate currently is $0.091 which was set back in 2006, and frankly, songwriters are making less  money due to economic inflation.   Below are some links about Kevin Casini: https://twitter.com/KCEsq https://kcesq.medium.com   Selected Frozen Mechanicals Comments: Rosanne Cash Helienne Lindvall, David Lowery, Blake Morgan David Poe Abby North, Erin McAnally, Chelsea Crowell Kevin Casini NMPA, NSAI, Sony, Warner, Universal Comment with Copy of MOU4   Below are some links for further reading: Copyright Royalty Board’s Rejection of NMPA, NSAI, Sony, Warner, Universal settlement   https://completemusicupdate.com/article/us-copyright-royalty-board-rejects-proposal-to-keep-mechanical-royalty-on-discs-and-downloads-unchanged/   https://variety.com/2022/music/news/copyright-royalty-board-crb-rate-1235219872/   https://musictechpolicy.com   https://www.crb.gov   https://variety.com/2022/music/news/songwriters-win-copyright-royalty-board-mechanical-royalties-1235259518/   https://www.musicbusinessworldwide.com/record-labels-and-publishers-ink-major-settlement-moving-from-9-1-cents-to-12-cents-per-track-for-us-mechanical-royalties-on-physical-sales1/   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20   Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf   Intro/Outro song: “All My Years” by Nik Patel

On the this episode of the Artist Rights Watch, Nik and David sit down to talk about the MLC with Entertainment Lawyer, Stephen Carlisle. The MLC administers blanket mechanical licenses to eligible streaming and download services in the United States. The MLC will then collect the royalties due under those licenses from the DSPs and pay songwriters, composers, lyricists, and music publishers. In the simplest terms, it acts like a performance rights organisation, but just administers mechanical licenses instead of public performance licenses. Streaming services are for the MLC because it possibly covers them from any potential lawsuits. If a songwriter doesn’t get paid, well, that songwriter didn’t sign up for the MLC which is why they didn’t get paid which means it’s their responsibility.. not the DSPs. Registering with the MLC has become a standard process for songwriters establishing their claim much like it is registering with a PRO.   Below are some links for further reading on Stephen Carlisle: http://copyright.nova.edu http://copyright.nova.edu/mechanical-licensing-collective/        Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf

This episode was a conversation spurred from our talk with Abby North on songwriting agreements. Abby North primarily works in the music publishing space as a publishing admin and so this podcast is about her experience in admin. This episode goes a little deeper than our previous episode on songwriting/publisher agreements so you may want to check that episode out first.   Below are our social links and terms of use:   Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf Intro/Outro song: “All My Years” by Nik Patel

This week, Nik and David are going to continue the ARW publishing series with songwriting/publishing contracts. Whether you’re trying to write songs for major publishers or you’re just getting started, this episode will help you understand the content to look out for when being handed a songwriter contract. In a sense, songwriting contracts are the counterpart to record contracts. Record contracts tend to get more light shed upon them and are deals between the artist and the record label. Songwriting contracts are deals between songwriters and publishers. For songwriters, these deals may be advantageous as it alleviates most of the issues involving copyrights for a share in royalties. In addition, it allows the songwriter to focus on writing and not so much on the business end. There are typically 3 types of songwriter agreements. A single song agreement (TikTok deals are an example of this), an exclusive songwriter agreement (publisher owns 100% of the copyrights), and an exclusive co- publisher agreement (publisher and songwriter share copyrights). So what exactly are included songwriter agreements? What makes a good songwriter agreement? And what are the incentives for a publisher and a songwriter? That’s what this episode is all about!    Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf Intro/Outro song: “All My Years” by Nik Patel

On the this episode of the Artist Rights Watch, Nik and David sit down to talk about the basics of music publishing with the University of Georgia Music Business Director, David Barbe. This episode start the ARW publishing series where we’ll have a couple episodes directed to songwriters and publishers. Music publishing is all about the publishers and the writers of the underlying composition. When you hear a record, you’re listening to the sound recording which is the artist. The words that you hear are known as the composition which is the songwriter. There are many differences between a songwriter/publisher and an artist/record label. From the way you license works, the way works are treated, and the usage of works. In this episode we will dive into the basics of publishing so that you have a good overall understanding for our publishing series.   Below are some links about David Barbe: https://www.terry.uga.edu/directory/people/david-barbe https://news.uga.edu/the-show-must-go-on-2/   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf Intro/Outro song: “All My Years” by Nik Patel

On the first series 2 episode of the Artist Rights Watch, Nik and David sit down to talk about Record contracts with Entertainment Lawyer, Stephen Carlisle. Record contracts can be very daunting for a lot of artists and this episode is to help artists and anyone else understand the key clauses of a record contract. Often, record contracts touch on defining parties, term and ownership, territory, recording, grant of rights, royalties, mechanicals/controlled comps, publishing, video, tour support, release commitment/delivery, or if you’re in a band, you could have a “leaving member” clause. For the purpose of the podcast, we will just be discussing 3 key clauses, recording, royalties, and mechanicals/controlled compositions.   Below are some links for further reading on Stephen Carlisle: http://copyright.nova.edu   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf Intro/Outro song: "All My Years" by Nik Patel

On this sixth bonus episode of the Artist Rights Watch, Nik, David, and Chris sit down to talk about Facebook and its latest issues with the recent whistleblower and how it relates to music licensing. We cover content ID in other social platforms as well as give a quick update on Twitch.    Below are some links for further reading on Facebook and music licensing: Twitch Makes Deal With NMPA, But Streamers Still Can’t Play Licensed Music by Nathan Grayson https://www.washingtonpost.com/video-games/2021/09/21/twitch-nmpa-streamers-licensed-music/ Here are 4 Key Points from the Facebook Whistleblower’s Testimony on Capitol Hill by Bobby Allyn https://www.npr.org/2021/10/05/1043377310/facebook-whistleblower-frances-haugen-congress Facebook ‘operating in the shadows’ says whistleblower lawmakers demand probes by David Shepardson and Diane Bartz https://www.reuters.com/technology/facebook-whistleblower-say-former-employer-an-urgent-threat-us-2021-10-05/ The Facebooks Files - Wall Street Journal https://www.wsj.com/articles/the-facebook-files-11631713039   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf Intro/Outro song: "All My Years" by Nik Patel

Nik Patel, David Lowery, and Chris Castle feature in this podcast where they discuss the current issues of artists’ rights in the music industry. Don't forget to subscribe, rate, and share!   In the final episode of series 1 of the Artist Rights Watch Podcast, Nik, David, and Chris sit down to discuss antitrust laws and consent decrees in the music industry. Antitrust laws are regulations that encourage competition and protect consumers from anticompetitive mergers and business practices. Supporters of the antitrust laws say that they are necessary for an open marketplace. Competition among sellers gives consumers lower prices, higher-quality products and services, more choices, and more innovation. There are three acts of antitrust: Sherman Act of 1890, Clayton Act of 1914, and Federal Trade Commission Act of 1914. Sherman Act allows the federal government to take companies to court if it believes they are partaking in anticompetitive practices and abusing their monopoly power. Clayton Act prohibits anticompetitive mergers, acquisitions, price-fixing, or any practice that weakens competition. Federal Trade Commission Act further banned unfair competitive practices such as those that go against consumer protection laws. In this episode we delve deep in why this matters to songwriters, ASCAP and BMI consent decrees, fractional vs 100% licensing, the District of Justice, and where antitrust laws will lie in the future.   We’ve thoroughly enjoyed having these five serious talks about current issues in the music industry, and we’re so glad you listeners have tuned in! We will be back with series 2 of the Artist Rights Watch soon. Stay tuned and thanks for listening! Nik x David x Chris   Below are some links for further reading on Antitrust and consent decrees: Federal Trade Commission. https://www.ftc.gov/tips-advice/competition-guidance/guide-antitrust-laws. Guide to Antitrust Laws. Alexandra Twin. https://www.investopedia.com/terms/a/antitrust.asp. Facebook was just hit with 2 big Antitrust Lawsuits. Katie Canales. https://www.businessinsider.com/what-is-antitrust-laws-big-tech-hearing-2020-7. What Songwriters Need to know About the DOJ’s Review of Consent Decrees. Nate Hertweck. https://www.grammy.com/advocacy/news/what-songwriters-need-know-about-dojs-review-consent-decrees. The United States Department of Justice. https://www.justice.gov/atr/antitrust-consent-decree-review-ascap-and-bmi-2019.   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf

Nik Patel, David Lowery, and Chris Castle feature in this podcast where they discuss the current issues of artists’ rights in the music industry. Don't forget to subscribe, rate, and share!   On this episode of the Artist Rights Watch, Nik, David, and Chris sit down to talk about Twitch and its latest issues with music licensing. With the new development of the Soundtrack application, Twitch attempts to provide content creators to use copyright free music. However, Twitch’s licensing issues stretches far beyond just the introduction to Soundtrack. In this episode, we delve into what Soundtrack is and how it’s used, but also the implications of Twitch in their lack of proper music licensing. To conclude, we introduce a potential solution to Twitch’s problem.    Below are some links for further reading on Twitch and music licensing: Introducing Soundtrack by Twitch: Rights—Cleared Music For All Twitch Creators https://blog.twitch.tv/en/2020/09/30/introducing-soundtrack-by-twitch-rights-cleared-music-for-all-twitch-creators/ Soundtrack (Beta) Help Page & FAQ https://help.twitch.tv/s/article/soundtrack?language=en_US&utm_campaign=Soundtrack_Launch_9_30&_branch_match_id=853721964881314780&utm_medium=FAQ&utm_source=Soundtrack#distributors Twitch Launches a Rights-Cleared Music Catalog for Streamers, Soundtrack by Twitch By Sarah Perez https://techcrunch.com/2020/09/30/twitch-launches-a-rights-cleared-music-catalog-for-streamers-soundtrack-by-twitch/ Twitch’s Soundtrack feature debuts today, and it will let streamers play music while they’re live By Bijan Stephen https://www.theverge.com/2020/9/30/21495243/twitch-soundtrack-streaming-music-soundcloud-distrokid-facebook-gaming Let’s talk about Twitch Soundtrack By Nate Beck https://medium.com/pretzelrocks/lets-talk-about-twitch-soundtrack-fcaf11027dca   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/ www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf

Nik Patel, David Lowery, and Chris Castle feature in this podcast where they discuss the current issues of artists’ rights in the music industry. Don't forget to subscribe, rate, and share!   On this episode of the Artist Rights Watch, Nik Patel, David Lowery, and Chris Castle sit down with Alan Graham to talk about the latest trend in musicians releasing NFTs. NFT stands for non-fungible token. Purchasers are those who view NFTs as a way to support artists, actors, musicians, and athletes. Most NFTs can be reasonably priced for creatives to monetise their work; especially in a current climate of no live show revenues. NFTs can represent the ownership of an original copy of a song, album, Merch, or any unique item. They are held in the blockchain where it cannot be copied or deleted. Buyers hope that the NFT will increase in value over time and be a good investment. It is not something tangible that can be displayed like a work of art or trading cards. You need to store your NFTs in a digital space. NFTs are more about the digital token rather than the art itself. The value of owning something as scarce as a digital authentication of originality is what is really being bought.   Below are some links for further reading on NFTs relation to music: National Law Review https://www.natlawreview.com/article/coming-blockchain-revolution-consumption-digital-art-and-music-thinking-lawyer-s Artists are selling their music as NFTs - and they’re making millions. Sam Willings https://www.musictech.net/news/artists-selling-music-nft-making-millions/ The Weeknd’s ‘Acepthalous’ NFT features new music and limited edition art. Christopher Harris https://www.revolt.tv/news/2021/4/3/22365418/the-weeknds-acephalous-nft ASAP Rocky to Offer His First-ever NFT Collection. Joshua Espinoza https://www.complex.com/music/asap-rocky-first-ever-nft-collection NFTs Shift Power to Artists as the Music Business Evolves. Matthew Leising. https://www.bloomberg.com/news/articles/2021-06-07/nfts-shift-power-to-artists-as-the-music-business-evolves NFTs for Music Explained (in Musician Terms). Ari Herstand https://aristake.com/nfts-for-music   Below are our social links and terms of use: Chris: http://www.christiancastle.com/chris-castle David: https://twitter.com/davidclowery?s=20 https://www.instagram.com/davidclowery/ Nik: https://www.instagram.com/nikpatelmusic/        https://www.nikpatelmusic.com   Website: https://artistrightswatch.com Facebook: https://www.facebook.com/artistrightswatch Twitter: https://twitter.com/ArtistRights?s=20 Terms of Use: https://artistrightswatchdotcom.files.wordpress.com/2021/01/arw-podcast-terms-of-use-v-1-i-1.pdf