19 Fla. Coastal L. Rev. 169 (2018-2019)
Bad Blood: Reconciling the Recording Industry and Copyright Protections on the Internet

handle is hein.journals/fclj19 and id is 181 raw text is: 









   BAD  BLOOD:   RECONCILING THE RECORDING INDUSTRY AND
            COPYRIGHT   PROTECTIONS ON THE INTERNET1

                            Nikki R. Breeland*

    The  recording industry is dealing with a crisis. Revenues are down,
artists are angry, and other recording industry insiders are pushing back
against the current system of revenue  sharing. The  culprit: internet
streaming services.  With the advent  of these websites, the recording
industry has  found  no  successful way  to fight back  against profit
hemorrhage.   With the creation of the new Music  Modernization   Act,
however,  music  copyright  will again see a  change  and  increase to
available protections. This Article delves into the original recording
industry revenue sharing infrastructure and the copyright rights that went
along with it, while also parsing through the proposed legislation aiming
to increase those rights.

                            I. INTRODUCTION

 Music  is art, and art is important and rare. Important, rare things are
            valuable. Valuable things should be paidfor. 2

    Imagine  for a moment that your whole life changed. You went from
gleefully playing at neighborhood bars and practicing in your parents'
garage to signing the record deal of your dreams.   You've  grown  up
knowing  that record deals mean  stardom, and  stardom means   money.
You've  beaten the odds and  managed  to attain stardom-now   where's


* Nikki R. Breeland, J.D., magna cum laude, University of Mississippi School of Law
2018; B.A., summa cum  laude in History, Missouri University of Science and
Technology 2015; B.A. in Political Science, Mississippi University for Women 2013.
The author wishes to thank Professor Stacey Lantagne for her constant support and
guidance on internet and entertainment law; the Florida Coastal Law Review for all
their efforts; and the most special thank you to my husband, Brennan P. Breeland, for
supporting this endeavor and always giving excellent feedback.
1  TAYLOR  SWfFT, KENDRICK LAMAR, MAX MARTIN, & SHELLBACK, Bad Blood, on
1989 (Big Machine Records and Republic Records 2015).
2  Jack Linshi, Here's Why Taylor Swift Pulled Her Music From Spotify, TIME (Nov.
3, 2014), http://time.com/ 3554468/why-taylor-swift-spotify/ (quoting Taylor Swift).

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