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Case Study: Swedish Music Industry Views as European Union Countries Work on Drafting Home Laws for Enacting EU Copyright Directive
The European Union passed its new Copyright Directive in 2019. Within the mandate set out by the provisions of the directive, each EU member nation has two years to enact legislation for it in their own countries. This article examines the Copyright Directive and music-industry structure issues through the lens of Sweden, which has both a robust music business and a strong technology sector, two divergent perspectives in the development of the directive. Entertainment Law & Finance Editor-in-Chief Stan Soocher conducted the interviews that appear in this article, in Stockholm at the offices of the featured executives.
Alfons Karabuda is President of the European Composer and Songwriter Alliance (ECSA), President of SKAP — the Swedish Society of Songwriters, Composers & Authors — and a music composer. He also serves as President of the International Music Council and is a United Nations Human Rights Council expert on artists' and free speech rights. In addition, he is Chair of the Award Committee for the Polar Music Prize and a board member of STIM — the Swedish Performing Rights Society.
Q: What was the process like from your perspective for how the Copyright Directive was developed?
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