On December 13, the U.S. House Judiciary Subcommittee on Courts, Intellectual Property, and the Internet held a hearing to examine the current state of copyright infringement on the Internet, especially issues related to illicit streaming services.
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It doesn’t take a Leonardo-level intellect to figure out that the pandemic has been devastating for the arts economy. Live events were the first things to stop, and they will be the last to return. That means musicians, actors, and dancers, plus all the people who enable them to take the stage playwrights and choreographers, directors and conductors, lighting designers and makeup artists, roadies, ushers, ticket takers, theater managers have no way to make a living from their work, and haven’t for more than a year.
Still, I don’t think most of us appreciate just how bad things are. The crisis goes well beyond the performing arts. Surveys published last summer found that 90 percent of independent music venues were in danger of closing for good, but so were a third of museums. In a survey by the Music Workers Alliance, 71 percent of musicians and DJs reported a loss of income of at least 75 percent, and in another, by the Authors Guild, 60
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Streaming is a widespread form of entertainment for millions of Americans and its popularity has soared during the pandemic. However, according to a study by the U.S. Chamber of Commerce and the Global Innovation Policy Center from June of 2019, “global online piracy costs the U.S. economy at least $29.2 billion in lost revenue each year.” This significantly affects the stakeholders of major motion pictures, television programs, music, audiobooks, live sports, and pay-per-view programming. After years of pressure from many copyright owners and other entertainment content stakeholders, Congress passed the Protect Lawful Streaming Act (the Act) as part of the December 2020 COVID-19 relief package. The new law addresses a “loophole” in criminal copyright law, under which infringing acts of reproduction or distribution triggered felony penalties yet infringing public performances (such as streaming) merely amounted to