The Jamaica Association of Composers, Authors and Publishers (JACAP) is a Jamaican not-for-profit [1] membership collective management organization [2] which was established in 1998. JACAP administers the public performance and, if assigned also, the mechanical (reproductive) rights and synchronization rights of lyricists (authors), music composers and music publishers in Jamaica. JACAP is a member of the umbrella organisation for copyright societies CISAC - The International Confederation of Societies of Authors and Composers. [3] JACAP is also a founding member of The Association of Caribbean Copyright Societies (ACCS). [4]
An elected board of directors, which includes a chairman, oversees JACAP's policy and administration on behalf of its members. In addition, the Board has external directors selected by PRS [5] and the Government of Jamaica. The day-to-day affairs are handled by the general manager. The administrative personnel include the general manager, membership officer, distribution officer, accounts officer, licensing officers, membership clerk, distribution/documentation associate, and licensing inspectors.
JACAP's categories of membership are writer (composers and authors) and publishers, proprietors or successor members (beneficiary, personal representative or trustee of a deceased member). The heirs of deceased composers, authors and music publishers are also eligible for membership.
Membership normally lasts for the member's lifetime. However, a member may, by giving three months prior written notice, terminate membership.
JACAP has reciprocal agreements with similar performing right societies throughout the world. [6] By agreement with them, JACAP represents their members in its territory and is represented by them in theirs. JACAP looks after the performing right (and if the members agree also the mechanical/reproduction right) in their works. JACAP monitors public performances and broadcasts of music across Jamaica.
A licence from JACAP allows users to access JACAP's repertoire. A JACAP licence is a legal requirement in Jamaica.
JACAP uses the BMAT digital monitoring system, which was introduced in 2013. The BMAT system monitors music usage of all media houses in Jamaica and keeps records of all musical works composed by JACAP members and affiliated societies.
JACAP collects license fees from music users and distributes the money as royalties to writers and publishers of music. Royalties are only paid on active repertoires, i.e. works that are actually used by the licensees (music users), and only to registered members of the society. Royalties are paid twice per year for the preceding year. After music users submit logs and playlists to JACAP, these are used to ascertain the rights owners in the works who are then compensated for the use of their creation through the fees collected. JACAP pays over royalties after administration expenses are deducted. To date, JACAP has paid out over $180 million to members [7]
JACAP has reciprocal agreements with its overseas affiliates and through these agreements represents over 2 million creators of music. JACAP members receive royalties for performances of their works that take place around the world, not just in Jamaica. JACAP maximizes the income of primary rights holders from licensing copyright works.
Each year JACAP publishes and distributes its annual report in the form of a magazine to its members. This physical publication is primarily distributed to members at the yearly annual general meeting during the last quarter of each year. [8]
As of 2015 JACAP has over 3400 members.
JACAP has drawn negative attention for joining with the Jamaican Police Force in cracking down on licensing fees by ensuring that events promoters must show a JACAP license before a police permit is issued. This order was rescinded in September 2013, resulting in a reduction in compliance level [9]
JACAP has also been criticized by broadcasters as well as premises/music users in Jamaica who have refused to take out a licence.
In 2015 JACAP filed lawsuits against several Jamaican media houses for breaches of the copyright laws. The media houses before the Supreme Court as of 2015 include CVM Television Limited, Nationwide News, News Talk 93 FM, Grove Broadcasting Limited (IRIE FM and ZIP 103 FM), KLAS Sports Radio, and Island Broadcasting Services Ltd. [7]
The American Society of Composers, Authors, and Publishers (ASCAP) is an American not-for-profit performance-rights organization (PRO) that collectively licenses the public performance rights of its members' musical works to venues, broadcasters, and digital streaming services.
Copyrights can either be licensed or assigned by the owner of the copyright. A copyright collective is a non-governmental body created by copyright law or private agreement which licenses copyrighted works on behalf of the authors and engages in collective rights management. Copyright societies track all the events and venues where copyrighted works are used and ensure that the copyright holders listed with the society are remunerated for such usage. The copyright society publishes its own tariff scheme on its websites and collects a nominal administrative fee on every transaction.
A performance rights organisation (PRO), also known as a performing rights society, provides intermediary functions, particularly collection of royalties, between copyright holders and parties who wish to use copyrighted works publicly in locations such as shopping and dining venues. Legal consumer purchase of works, such as buying CDs from a music store, confer private performance rights. PROs usually only collect royalties when use of a work is incidental to an organisation's purpose. Royalties for works essential to an organisation's purpose, such as theaters and radio, are usually negotiated directly with the rights holder. The interest of the organisations varies: many have the sole focus of musical works, while others may also encompass works and authors for audiovisual, drama, literature, or the visual arts.
PRS for Music Limited is a British music copyright collective, made up of two collection societies: the Mechanical-Copyright Protection Society (MCPS) and the Performing Right Society (PRS). It undertakes collective rights management for musical works on behalf of its 160,000 members. PRS for Music was formed in 1997 following the MCPS-PRS Alliance. In 2009, PRS and MCPS-PRS Alliance realigned their brands and became PRS for Music.
A royalty payment is a payment made by one party to another that owns a particular asset, for the right to ongoing use of that asset. Royalties are typically agreed upon as a percentage of gross or net revenues derived from the use of an asset or a fixed price per unit sold of an item of such, but there are also other modes and metrics of compensation. A royalty interest is the right to collect a stream of future royalty payments.
The Mechanical-Copyright Protection Society (MCPS) is an organisation that collects royalties and protects rights for music publisher, song writer and composer members, when their music is reproduced, in any format – including online, physical and synchronised.
APRA AMCOS consists of Australasian Performing Right Association (APRA) and Australasian Mechanical Copyright Owners Society (AMCOS), both copyright management organisations or copyright collectives which jointly represent over 100,000 songwriters, composers and music publishers in Australia and New Zealand. The two organisations work together to license public performances and administer performance, communication and reproduction rights on behalf of their members, who are creators of musical works, aiming to ensure fair payments to members and to defend their rights under the Australian Copyright Act (1968).
The International Confederation of Societies of Authors and Composers is an international non-governmental, not-for-profit organisation that aims to protect the rights and promote the interests of creators worldwide. It advocates for strong legal protection of copyright and authors' rights. It is the world's largest international network of authors' societies, also known as Collective Management Organisations (CMOs), copyright / royalty collection societies, collecting societies, or Performing Rights Organisations (PROs).
The Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte is a government-mandated collecting society and performance rights organization based in Germany, with administrative offices in Berlin and Munich. GEMA represents the usage rights stemming from authors' rights for the musical works of those composers, lyricists, and publishers who are members in the organization. It is the only such institution in Germany and a member of BIEM and CISAC. Other collecting societies include the (AKM) Society of authors, composers and music publishers in Austria and SUISA in Switzerland.
Public domain music is music to which no exclusive intellectual property rights apply.
Teosto is a non-profit performance rights organization that collects royalties on behalf of songwriters and composers in Finland. Teosto is a member of the Confédération Internationale des Sociétés d'Auteurs et Compositeurs (CISAC). It represents 29 000 Finnish, and nearly three million foreign composers, songwriters, arrangers and publishers. The organization's clients are 29,000 music-using companies and communities.
KODA is the collecting society for songwriters, composers and music publishers of Denmark.
Collective rights management is the licensing of copyright and related rights by organisations acting on behalf of rights owners. Collective management organisations (CMOs), sometimes also referred to as collecting societies, typically represent groups of copyright and related rights owners, i.e; authors, performers, publishers, phonogram producers, film producers and other rights holders At the least, rights holders authorize collective rights management organizations to monitor the use of their works, negotiate licenses with prospective users, document correct right management data and information, collect remuneration for use of copyrighted works, ensuring a fair distribution of such remuneration amongst rightsholders. WMOs also act on legal mandates. Governmental supervision varies across jurisdictions.
Collection administration of copyrights describes the use in Canadian law of collective societies to manage licenses for copyrighted material belonging to more than one copyright owner. These collective societies are responsible for granting permission to use the works they manage and setting out what conditions users of their works must follow. Examples of collective societies in Canada include: Christian Video Licensing International and the Canadian Broadcasters Rights Agency
SAMRO, the Southern African Music Rights Organisation, is a copyright asset management society. It was established by the South African Copyright Act, and aims to protect the intellectual property of music creators by licensing music users, collecting licence fees and distributing royalties to music creators. SAMRO represents more than 15,000 Southern African music composers, lyricists/authors and music publishers. The organisation administers performing rights.
VAGA is an artists collective dedicated to improving mental health and fighting cognitive decline through art therapy. The organisation brings together artists, clinicians and academic psychologists to foster research collaboration and the development of new art therapies. Vaga separated from the Artists Rights Society in 2018 and is now a distinct entity with a separate mission focused on mental health.
The Society of Authors, Composers and Music Publishers in Israel, known by the acronym ACUM, is a non-profit copyright collective which engages in collective rights management for authors, poets, lyricists, composers, arrangers, and music publishers in Israel. As a member of the International Confederation of Societies of Authors and Composers (CISAC), ACUM is affiliated with more than 100 similar rights organizations around the world, with which it engages in reciprocal royalty collection agreements. It also holds an annual prize ceremony which honors authors and musicians in many categories, including lifetime achievement.
The Korea Music Copyright Association (KOMCA) is a South Korean non-profit copyright collective for musical works, administering public performance and broadcasting rights, and mechanical recording and reproduction rights. Founded in 1964, it is the second collective rights management organization for musical works in Asia, after JASRAC in Japan. It is also one of the largest in Asia, with over 40,000 members. In 2021, it collected ₩289 billion in licensing fees and distributed ₩256 billion in royalties to its members.
BMAT is a music company that index all music usage and ownership data. The company monitors and reports music usage globally across TVs, radios, venues and digital. The company provides 80 million identifications and 27 billion matches to CMOs, publishers, record labels, broadcasters and DSPs daily. BMAT monitors radio Airplay, RIM Charts and other charts.
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