The way music is licensed and songwriters are compensated for the digital age will be undergoing big changes under a bill making its way through Congress.
The Senate cleared a bill late Tuesday that creates a new independent entity that will license songs to companies that play music online. The nonprofit collective will then pay songwriters, including those who wrote pre-1970s classics before music copyrights protected their work.
Tennessee Republican Sen. Lamar Alexander championed the bill and sought to rename it the Orrin B. Hatch Music Modernization Act after the retiring Utah senator, who also backed it.
The measure enjoys unusually strong bipartisan support from the music industry. It now goes to the House with changes from an earlier version that already passed that chamber on a nearly unanimous vote.
“The passage of the Music Modernization Act by the Senate is a historic moment for the tens of thousands of music creators across the nation,” said Neil Portnow, president/CEO of the Recording Academy. “Since first proposing the music industry unite around a common bill in 2014, our members have lobbied in Washington and all 50 states to achieve this vision. When creators raise their voices for fairness, they make great progress.”
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More