#Music Licensing for Creators

[jassicarich-blog]

Audiosocket: Your Creative Partner in Music Licensing

Partner with Audiosocket to unlock a rich music catalog and streamlined licensing experience. Whether you're a creator or a business, Audiosocket has the right sound for your story.

[iphisnextdoor]

took a two month break, but your boy is back on tiktok? anyway, I’m a very flexible and deceptively strong little guy 🤷‍♂️

[soysaucevictim]

Oh the the fun of royalty free music and primacy effect.

I forget the artist of the track - the one that swells dramatically as a big reveal happens in SaSi- like when Virgil went "I was one of them"?

I just heard that play in an Attorney Tom video and just went, "wat."

[loviestudio]

MUSIC LYRICS TEMPLATES PACK by @loviestudio

​The templates were made in Photoshop CC; it will work on Photopea!

TERMS

Like and/or reblog to help a creator.

Don’t repost, re-upload or put it on packs and/or google drive. Don’t claim my resources as your own, and don‘t share them without my consent! Don’t use my resources as a base or copy them.

Credits are not mandatory, although I’d love to see your edits!

My resources are free for personal or non-commercial use only. For commercial use, you must pay for the download. If you paid for the download, you are authorized to use it commercially. Reach out to me for more information or if you have questions about my resources licenses.

Follow me for more resources! ♡

This is a free resource, you can download it on Ko-Fi. Thank you!

DISCLAIMER: I have no affiliation, endorsement, or sponsorship by Apple Inc., Spotify AB, or their affiliates. Logos are registered trademarks of their respective owners and are used under fair use principles for non-commercial, creative projects. This is a free template intended for personal or educational use. Do not redistribute or sell this design.

[lilhawkeye3]

A Crash Course to the BeyoncéBowl Performance, from a Black Woman

Note: this is NOT an in-depth deep dive into her recent albums or the songs specifically. I highly recommend you listen/read the lyrics on your own time and conduct your own research! This is just to get you thinking.

So now that we live in a post-Kendrick Super Bowl society, I wanted to revisit Beyoncé's halftime performance during the Christmas Day NFL bowl game, aka BeyoncéBowl. While this did have less viewers live (it was on Netflix, it was Christmas, it was not the Super Bowl), I think her performance still had some very important takeaways, even if they were more subtle in comparison to Kendrick.

Let's discuss, starting with...

COWBOY CARTER -- yes, the name of Beyoncé's ACT II album, but also displayed prominently on her sash and on a banner as she rides into the stadium. In western US history, cowboy had racist connotations. After the Civil War, approximately 25% of cattle workers in the Wild West were Black... and a lot of people weren't happy about that. White cattle workers were cowhands. The Black men in their same roles were cowboys.

This is a demeaning practice that still exists today. Black men are often called "boys" to take away from their legitimacy. The reverse is true as well: Black boys are elevated to "men" to signify that they are a threat.

THE COWBOY -- we see this in the very first visual. Beyoncéis Cowboy Carter of course, riding in on her white horse, but she is accompanied by a Black cowboy guiding her horse. The imagery is accompanied by a fleet of lowriders (cars with hydraulics to make them bounce, it's really cool) as Beyoncé rides through them. Considering that we see this same Black cowboy later driving her in a car in the stadium set, I think it's fair to see the parallel here-- here, she shows, are our modern city cowboys. This does not mean we have lost our western cowboy roots however, as we then see our modern Texas cowboys standing on top of their horses. This is a high-level skill.

BLACKBIIRD -- (COWBOY CARTER is entitled ACT II. Most songs include II in their title, I didn't misspell it.) Beyoncé is joined by four rising artists: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Rayna Roberts. She walks in line with them as they sing about "learning to fly" -- she sees them as equal to her, not competition to pull down. They're spreading their wings. I will call out Tanner Adell in particular as she is a rising country music star (if you've seen Twisters, you may recognize her music) but in one of her songs "Buckle Bunny", she mentions "looking like Beyoncé with a lasso". She's come full circle!

YAYA -- Her license plate is BNCNTRY (been country). When Beyonce first broke into the industry, she was belittled by being called "too country" as from Houston. When she finally made a country song and performed with the then-named Dixie Chicks at the Country Music Awards with a Black band... white people were not happy. This is the same CMA community that recognized Billy Ray Cyrus for the success of "Old Town Road" instead of the main artist and creator LilNasX, because LilNasX is Black.

The story of YAYA is that music transcends genre and should not be limited by these pigeonholes people try to force artists into. Keep that in mind.

My family lived and died in America / Good old USA / Whole lot of red in that white and blue / History can't be erased

HBCU BAND -- this is a staple of many of Beyoncé's public performances (see her Coachella performance, Coldplay's Super Bowl halftime show). Texas Southern's Marching Band joins Beyoncé on the field for this event. If you are new to the term, HBCUs are historically Black colleges & universities. This is in contrast to PWIs, or predominantly white institutes. Beyoncé performs "MY HOUSE" for the first time alongside them and her daughter Blue.

SHABOOZEY -- Another rising artist in country, Shaboozey has also faced backlash for being a Black man with one of the most successful country songs of 2024, "A Bar Song (Tipsy)". As he sings: Still going up like a ladder / I'm still in the field.

LEVII'S JEANS -- It's important to note Levi's was one of the early supporters of Destiny's Child. Jeans have also always been a symbol of the working class, and including Post Malone on this song (IMO) shows crossing that bridge: the white working class and white country have more in common with the Black community than not. Like Kendrick said, the culture war is to distract from class warfare. (I understand Post Malone is rich now, but this was my takeaway.)

JOLENE -- Dolly Parton is the queen of country and she gave her blessing on this song to the point of introducing it on the album. Hers is the only opinion that maters. That other white artists and audiences have voiced issues with Beyoncé doing this song is telling.

NRG STADIUM -- a brief interlude here to say that NRG Stadium in Houston, Texas, is home to the NFL team the Houston Texans (yes really lol) but also is home to the Houston Livestock Show and Rodeo. I was there during last year's rodeo, and this was right when the next song I'll talk about released... y'all, when I tell you Black people showed up just for the vibes? It was so fun. The stadium also half-emptied after Beyoncé's halftime performance ended, so the city really showed up for her.

TEXAS HOLD 'EM -- Let's line dance y'all! Texas Hold 'Em is an unapologetic country anthem and shows the range: the same dancers that hip-hop and twerking for earlier songs now rallies together to line dance. Country music was created by Black people, and we haven't forgotten. The album crossed a number of genres and showed how country is related to, inspired by, and built off of other genres just like many genres built up by Black musicians are.

You don't have to like COWBOY CARTER, you don't have to like country music, you don't even have to like Beyoncé. But her ACT II takes a lyrical and musical path through Black musical history and her own personal history to create a work of art. Her style is not the same as Kendrick's nor should it be, but her NFL halftime performance was still an act of resistance and celebration of our culture.

Thank you for coming to my TED Talk, and this has been another Tea Time with Hawk. ☕🦅

[vergess]

Anonymous asked @arionwind:

(this is an ask for vergess; since their inbox is closed right now they said to direct asks to you instead) people on reddit are so stupid about AI…apparently some of the backgrounds in the new touhou game turned out to be AI-generated and everyone is flipping their shit to reiterate: it’s not any of the art. not any of the music. it’s some fucking BACKGROUNDS. how is using a couple of AI images grabbed off the internet different from using stock images (which zun has done for past games!)

On the one hand, I'm inclined to say it would be good to, if you're using AI generated assets with no human editing (eg a background image), to credit that in your credits like, "additional backgrounds generated with this model" or whatever, so people can know where to find more Like That if they want to. So, IDK, did the Touhou team do anything like that? (Editor's note: Yes, they did)

Because, of course, unaltered AI generations are public domain in my jurisdiction and thus you don't need to pay to use them and you aren't obligated to credit them as long as you aren't doing a Fraud with them (eg, as long as you aren't saying you were the sole creator of an original work), but it's still polite to let your audience know where to go for more.

That would be my only real criticism though, and I'm. I don't. I don't have the wherewithal to deal with Touhou itself or the Touhou fandom on a good day, let alone if they're having a witch hunt. So I have no way of knowing if such a credit exists.

In terms of "how does it differ from using a stock image" I will say, it differs because a stock image is not public domain and thus must be licensed, eg used with explicit permission from the author or used under a contract. You can infringe the copyright of a stock image; you can't do that to an AI image. So, to some extent, the difference is that all AI image usage is permissible, but some stock image usage is not permissible.

And, of course, there's also the fact that most stock images used more resources (electricity, time, etc) to create than most AI images.

Like, the differences that exist are either neutral or mildly in favour of the AI.

But anyway, it's fascinating that something clearly made by human artist(s) that uses a handful of public domain assets is being denigrated for Killing Real Art And Destroying Artists' Lives.

It's always really interesting (read: miserable) when artists are being obliterated in the name of protecting artists. Happens all the time, but this latest iteration is still Very Fucking Annoying.

ETA: The good folks at @are-we-art-yet have been discussing this too, fortunately, so I am now aware that the creative team (it's a team!) was very up front about what assets were made with AI and which model was used.

It was a model with a paid license fee which itself was trained on paid licensed images, managed by the adobe photoshop company. So whatever arguments one might be tempted to make about "theft" don't apply, as the training data was all legally licensed.

Now, the law is not a replacement for ethics or morality, but if you're seeing people say the Touhou backgrounds were "stolen" no the fuck they weren't.

[odysseyeurobeat]

Eurobeat On Its Own Terms

(Written in WAY too broad of strokes since I'm tired)

The path forward for eurobeat as a genre will not be built on re-establishing its connection with Initial D/MF Ghost, nor will it be through associations with dance games or fandoms such as My Little Pony or Touhou. The path forward for eurobeat will be built on eurobeat's ability to exist and be loved on its own rights and merits.

Because of the isolation the genre experienced after exclusivity became successful, the world outside of Japan experienced eurobeat almost exclusively through associated properties— specifically, anime (Initial D) and video games (DDR, other rhythm games, and... well, Initial D). Because of this, the rest of the world didn't experience eurobeat (or its associated dance style, parapara) as its own distinct cultural phenomenon the same way Japan did. Instead of a eurobeat song release being its own cultural unit, a eurobeat song is instead associated with its attachments.

Night of Fire by Niko and Deja Vu by Dave Rodgers get lumped in with Initial D. John Desire's cover of Hot Limit (by TM Revolution) gets associated with a Flash Animutation ("We Drink Ritalin"). Fantasy by Melissa and Nori Nori Nori by Judy Crystal are part of Bemani music games. Fans and indie creators introduce the genre to the Touhou fandom and later the My Little Pony: Friendship is Magic fandom (*ahem*), and new associations get built.

So now, eurobeat has a strange double identity. In Japan it is its own distinct thing— a dated genre with positive associations of the bygone Heisei era struggling to find its footing in the modern Reiwa era, but a distinct thing nonetheless. In the rest of the world, however… "meme music". "DDR music". "Brony music". "Initial D is the artist".

I should indicate now, having associations with eurobeat through something else is not a bad thing. Life is short— if you like Initial D's soundtrack, if Touhou Eurobeat makes you happy, if the song "Discord" introduced you to the genre or if DDR or Beatmania showed you this style, then cling to that. Love it. Embrace that with your heart. It is okay to like eurobeat THROUGH something. FAR too often in this space I see folks shamed for liking eurobeat through something else, or implying that the eurobeat that caters to those spaces is lesser (or even synth rock not eurobeat at all). As someone who has spent over half of her life in the genre, it's... really okay to like it THROUGH something.

But for those interested in the longevity of the genre itself, for those who want to see the genre in a prospering here-and-now, see its potential realized… what comes afterwards is even better. The next step is to love and celebrate Eurobeat as it is. Not through the lens of Initial D or Touhou or MLP or even Vtubers as of late (again *ahem*), but in its own light. The next step is seeing eurobeat as a genre that is wholly itself, beholden not to external franchises or licenses, but to itself. Eurobeat CAN be about those things, but what makes it wonderful is what it has to itself.

Energy. Whimsy. That fast tempo. That delectable arrangement. The breadth of sub-styles it can contain (guitar-driven? Aishu/bittersweet? Poppy? Masculine? Feminine? Other themes? Blending with other genres?). There's so much to eurobeat on its own that's worthy of adoration, celebration, sharing with the world.

The world has had enough time to experience eurobeat THROUGH something else. Hell, I haven't stopped creating eurobeat about or with certain subjects, and probably won't. However, it's a BIG reason I've focused on originals, done few songs specifically about cars/racing, avoided the Initial D Takumi AE86 leaning thumbnail... I'll confess, even when discussing the music video of "Night Cover" with Matara Kan, I requested that the AE86 would NOT be used. This is not out of some hatred for Initial D; rather, I wanted folks to enjoy the song on its own merits, as a Matara Kan song and not as a "knockoff Initial D" song. The decision to use the motorcycle with the extra cab for the Momo she brings with her is a brilliance I did not introduce, and I think Teru's execution of that idea shaped the experience of that song beautifully.

(On the subject of Vtubers, I should indicate that I understand my own work could be seen as "through the lens of the Vtuber community". I do not shy away from that criticism; Vtubing has deeply shaped my brand recently, and I enjoy this new shape. However, I also firmly believe that Vtubers are sufficiently broad in scope AND uniquely fascinated with the genre, to where such an association will not pigeonhole or typecast the genre as deeply as its associations with drift racing have. I see it as an opening up, not a closing in.)

In closing, I think the path forward for a eurobeat that is capable of withstanding the test of time is putting the genre in front of new audiences. Existing eurobeat fans already love eurobeat. Initial D and MF Ghost fans already love eurobeat. Touhou fans already love eurobeat. Bronies already love eurobeat. Vtubers themselves love eurobeat, though their audiences are still fresh and new to it. Vtubers aren't the only path forward; rather, my point is this:

Put Eurobeat In Front Of New Audiences, Exactly As It Is & As It Can Be.

People who don't know what eurobeat music is, seem to love it in all its flavors. Older and slower/still Italo Disco-flavored, newer and faster and EDM-flavored. Old synths and samplers, new sounds and influences. It doesn't tend to matter-- the song itself tends to be fantastic. It doesn't need to change to reach an audience (singular), all of its flavors need to be brought to more audiences (plural). The availability, the marketing, the presentation— fix these, and focus them on loving eurobeat as it is; and I foresee the genre prospering.

That's enough out of me, I've been up for hours and haven't had breakfast. I'm gonna do that.

[doyoulikethis-videogame-song]

Ask Masterpost 2/1/2025

Fourth edition! I changed some formatting things for better readability.

Summary:

Permissibility of creator-leaked/teased soundtracks (Not allowed)

Proposal of demographics poll

Permissibility of Simlish covers (Allowed)

What franchise has the most polls?

Permissibility of remixes of licensed music (Allowed)

Inquiry about duplicate submissions

Permissibility of pinball soundtracks (Not Allowed) and Inquiry about ports of older games

Permissibility of unused tracks in the game files (Allowed)

Permissibility of roblox game tracks (Allowed)

Highest "I like & I know it" song?

Inquiry about revealing the composer before the reveal

Proposal of demographics poll

"Can we submit 'leaked' soundtracks from games if the creator leaked/teased them?"

I'm going to say no, because there's a broad spectrum of scenarios that could happen in between the 'leak' and the official launch of the song that would technically make the 'leak' not indicative of the final product and of course you don't know that until the final product is released :').

----------

@pomrania asked:

Is there any chance we could get a poll on what people mean when they vote for that they like a song, or that it sounds familiar? For me, "I like this song" means "I'd want to listen to it again once it's revealed", and "it sounds familiar" generally means "I'm not sure whether I've heard it before but I might have" also sometimes it's "I know I haven't heard this SPECIFIC song before, but I recognize the motifs in it".

Or if that's not something you'd want to make a poll for, then I'd still be interested in seeing what people say for how they vote on things, like in the comments.

I think this would be super interesting to do for a special event or something like that! I've been curious about demographics and other general statistics for a while now. I'm actually starting to have quite a good rhythm with managing the blog now so I may begin implementing the fun side ideas I've had sometime soon (or at least, I hope so, this semester is looking rough LOL)

----------

Can we submit simlish versions of popular songs, like simlish Katy Perry?

They're remixes for a game so absolutely! I think we already have some in the submissions queue.

----------

Which franchise/game has the most polls?

It's probably destiny (forlorn, distant stare).

----------

@haellen-o asked:

Is licensed music created/remixed for video games allowed?

(examples being the version of rob zombies dragula in the original jet set radio. And ludens by bring my the horizon)

It's an official remix for the game's soundtrack, so absolutely :).

----------

Out of curiosity, how often do you get duplicate requests from different people (or maybe the same person, worried you never got their first response, lol)? I think you've said you have around 7,000 requests, is that after removing duplicates or before?

We honestly have a lot of duplicate requests for popular games, and we've been shaving down the duplicates as we go along and queue new submissions. I think we've cut down AROUND ~1000 duplicates so far (we're not done!) and these are mostly very popular (at least on tumblr) games such as disco elysium, sonic series games, in stars and time, final fantasy, pokemon, tf2, mass effect, hollow knight, legend of zelda, just off the top of my head. The 7000 number was from before removing duplicates.

----------

for older games where the music is ported to different consoles, would the soundtracks be considered separate if the soundfonts impact them enough, or do they have to be very, VERY different? Like if a game was released on pc vs a 32x port.

Also, if a pinball cabinet includes a soundtrack, is that considered a video game soundtrack?

I would honestly just submit your PREFERRED version (if the soundfonts did differ), and I would put BOTH versions into the reveal, since I don't think this is a common enough occurrence to be significantly obnoxious/unfair for whatever reason. As for the pinball question, last masterpost answered overwhelmingly 'no', so I'm going to say no as well :').

----------

Are unused vgms allowed for submission? So in the files but never added to the game itself.

If you can credit the creator of the tracks then yes! (provided they're in the files in the final publicly released version and not from a demo/waiting for a future update to be implemented in a live service game/etc)

----------

are roblox games allowed?

Yes, if you can credit the creator of the tracks and they were made for that roblox game :).

----------

what song had the highest "I like it and I've definitely heard it before" percent?

I think it is still #100, which was Megalovania from Undertale (85.20%) Correction: It's Death By Glamour, #460, at 87% :)

----------

@enderlordisadumbusername asked:

are we allowed to mention song composers before the song has been revealed?

Absolutely!!!!!!!!!!!!!! And please do!!!!!! (This will literally only give away the game if you were already familiar enough to know the composer, so it's actually very perfect)

----------

Would you or have you ever run a poll to gauge how much of a song your followers listen to before voting?

Definitely considering it after learning a lot of people don't listen to the full song or even at least the first minute...

[jassicarich-blog]

The Ultimate Guide to Music Licensing & Content Creation – Elevate Your Projects with Audiosocket

In today’s fast-paced digital world, content creators, filmmakers, and brands need high-quality music to enhance their projects. However, navigating the world of music licensing can be overwhelming. Audiosocket is a premium resource that simplifies this process, offering creators the perfect soundtrack for their content.

Why Music Licensing Matters

Music licensing ensures that artists receive fair compensation while giving creators the legal rights to use their work. Unauthorized use of music can lead to copyright claims, demonetization, and even legal action. With Audiosocket, users get access to a vast, curated music library with easy licensing solutions, making it an essential platform for professionals.

Audiosocket’s Extensive Music Library

Audiosocket provides a meticulously curated collection of tracks across various genres, moods, and styles. Whether you’re looking for cinematic scores, electronic beats, or indie acoustics, their extensive selection ensures you find the perfect match for your project. Each track is created by talented artists, ensuring top-tier sound quality.

Key Benefits of Using Audiosocket

Simple Licensing Solutions – Choose from a range of licensing options that fit your specific needs, from personal use to commercial projects.

High-Quality, Curated Music – Every track is handpicked to ensure it meets professional industry standards.

Flexible Pricing Plans – Whether you’re a solo creator, a marketing agency, or a filmmaker, Audiosocket offers plans that suit every budget.

Custom Music Services – Need a unique sound? Audiosocket’s team of experts can craft custom compositions tailored to your vision.

TikTok & Social Media Ready – With a focus on modern content platforms, Audiosocket ensures your licensed music is safe for use across social media.

Stay Ahead of Industry Trends

The Audiosocket Blog is a must-read for anyone looking to stay updated on music licensing, industry insights, and content creation strategies. From understanding the psychology behind catchy hooks to maximizing revenue on Patreon, the blog covers a wide range of valuable topics.

Conclusion

If you’re a creator looking for high-quality music with hassle-free licensing, Audiosocket is the ultimate solution. Their diverse catalog, industry expertise, and seamless licensing process make it the go-to platform for content creators worldwide. Elevate your projects today with Audiosocket’s premium music collection!

For more information about Audiosocket’s music licensing services or to explore our exclusive collections, please visit our website or contact us directly:

Website: Audiosocket

Phone: (206) 701–7931

[yourdndstories]

Hello, I am trying out doing these with video. If you like this, please consider subscribing to my new YouTube channel: youtube.com/@ACStuart Based on a DnD Story submitted by 2Boot on Tumblr. Submit your own at yourdndstories.tumblr.com. 

Music from #Uppbeat (free for Creators!) https://uppbeat.io/t/kevin-macleod/deuces License code: AWNEWXGGNU92ZOJE

[veal-exe]

YOU'VE ACTIVATED MY TRAP CARD [excuse to talk]

Everyone strap in because while I talk about a lot of queer issues this is actually my biggest beefiest thing that I am personally passionate about.

I. Copyright Abolishment: An Introduction

Copyright is widely believed to be a system designed to protect artists, writers, and creators. In practice, however, its origins and current implementations tell a very different story. Rather than being a tool for empowering individuals, copyright was historically created to control the dissemination of information, and today, it overwhelmingly serves the interests of large corporations. As technology evolves and culture becomes increasingly collaborative, the case for abolishing copyright grows stronger. I'm going to explore the historical roots of copyright, its economic implications, its role in stifling creativity, and the potential for alternative systems that better serve both creators and the public.

II. The Origins of Copyright: A Tool for Control

Copyright law did not begin as a way to protect the individual rights of creators, artists, or anyone who matters. The earliest example of copyright-like regulations is the Licensing Act of 1662 in England, which empowered the Stationers' Company, a guild of printers, to control all printed material. The primary goal of this law was not to reward creativity, but to prevent the spread of subversive or unapproved information. This act effectively granted the Stationers' Company a monopoly on publishing, which served both commercial and political purposes.

In 1710, the British Parliament passed the Statute of Anne, often considered the first modern copyright law. While it ostensibly granted rights to authors, it was still heavily influenced by the interests of publishers. Authors typically sold their rights to publishing houses, who then controlled the reproduction and sale of the work. Far from empowering creators, the Statute of Anne solidified the dominance of publishers in the literary and artistic marketplace.

Thus, from its inception, copyright was not designed to uplift the individual artist or protect their labor, it was a tool to control and profit from art. That legacy continues today.

III. Who Benefits from Copyright?

In the contemporary world, copyright law continues to primarily benefit corporations rather than individual creators. In industries such as music, film, and literature, artists often sign contracts that transfer their copyright to corporations in exchange for limited upfront payments. Record labels, publishing houses, and film studios then enjoy decades of control over these works, profiting far more than the creators themselves.

The extension of copyright terms, from the original 14 years to the current 70 years after the death of the author in many jurisdictions, serves to keep works out of the public domain for as long as possible. This benefits the estates and corporate owners of intellectual properties like Disney and my deeply beloathed much hated Nintendo, rather than fostering a thriving cultural commons. The prolonged duration of copyright effectively locks away knowledge and art from public use, especially in the educational, archival, and creative sectors.

And remember, Copyright doesn't protect small artists, we've seen time and time again small artists be bulldozed by people and corporations who have the money to use copyright as a weapon to bully. By abolishing copyright, we remove these weapons from the hands of our artistic oppressors. Abolishing copyright won't hurt the average artist in a meaningful way, but it WILL kneecap corporations.

IV. Copyright is an Innovation Stifler

Copyright is often defended as a means of encouraging innovation, but many economists argue the opposite. Michele Boldrin and David K. Levine, in their book "Against Intellectual Monopoly," demonstrate how copyright and patent laws actually suppress innovation by limiting competition and the free exchange of ideas. By preventing others from building on existing work, copyright laws hinder the iterative process that is central to artistic advancement.

For example, consider the realm of fan fiction, remix culture, or parody, areas where creators produce transformative works based on existing properties. Under strict copyright regimes, these acts are often treated as infringement rather than legitimate creative expression. This not only silences many voices but also narrows the diversity of cultural output available to the public.

V. The Digital Age Dilemma

The rise of digital technology and the internet has dramatically altered the landscape of content creation and consumption. In a world where information can be copied and shared at virtually no cost, the traditional copyright model becomes increasingly untenable. Enforcing copyright online often involves draconian measures, such as mass takedown notices, algorithmic content flagging, and lawsuits against individuals for minor infringements.

Moreover, the digital age has brought about new forms of creative labor, memes, mashups, TikTok edits, and more, that often blur the lines of authorship and originality. Attempts to police this kind of expression through old copyright frameworks fail to account for how culture is now co-created in participatory and decentralized ways.

Instead of adapting, copyright law became more punitive, targeting individuals with outrageous lawsuits (remember the $222,000 fine for sharing 24 songs? What about that old man who went to prison for modding nintendo software? What about Palworld being nuked into the ground by Nintendo for daring to compete with them?). Meanwhile, corporations like YouTube and Spotify struck deals to monetize user-generated content, profiting off of the same people they once threatened with legal action.

VI. Or, 'How I learned to Embrace The Public Domain'

The public domain is the collective cultural heritage of humanity, works that are freely available for anyone to use, adapt, and build upon. Abolishing copyright would rapidly expand this commons, encouraging creativity, collaboration, and accessibility. Artists could draw from a much wider range of influences without fear of litigation. Educators, archivists, and historians would gain unfettered access to materials that are currently locked behind paywalls or legal barriers.

We already see the benefits of a rich public domain in projects like Wikipedia, Project Gutenberg, and community-created media platforms. These repositories of knowledge and art flourish when content is not monopolized but shared. Far from diminishing creativity, a robust public domain supports it by removing artificial scarcity.

Abolishing copyright would return culture to the people. The public domain is the lifeblood of creative evolution. Think about how many beloved works came from reusing old stories: West Side Story (Romeo and Juliet), The Lion King (Hamlet), Clueless (Emma). Shakespeare himself borrowed heavily from older plays and historical texts, because he could!

Imagine a world where musicians could freely sample anything, where indie filmmakers could use old movie clips freely, where children could remix books and stories without worrying about lawsuits. The creativity unleashed would be immense.

Moreover, access to information is a human right. Students often can't afford academic textbooks or journal articles because they’re locked behind copyright paywalls. Libraries are sued for digitizing books. Even dead authors’ works are sometimes kept under lock and key by estate holders who contribute nothing to the creative process.

Art and knowledge should not be commodities controlled by a few.

II. Alternative Models for Supporting Creators

Opponents of copyright abolition often ask, “How will artists make money?” There are, in fact, many viable alternatives to copyright-based revenue models:

Patronage Systems: Platforms like Patreon enable creators to receive direct support from their audiences. This model fosters a more personal and sustainable relationship between artists and fans.

Crowdfunding: Services such as Kickstarter or GoFundMe allow creators to secure funding before completing a project, ensuring both creator autonomy and audience investment.

Public Funding: Governments can support the arts through grants, subsidies, and public commissions, recognizing the societal value of culture without tying it to market dynamics.

Merchandising and Experiences: Many creators make money through live performances, merchandise, commissions, and events, forms of income not reliant on intellectual property control at all.

These models not only exist but are already in wide use. They offer a more ethical and artistically free way of compensating artists than corporate-mediated copyright monopolies. In short, you don’t need copyright to get paid. You need visibility, community, and infrastructure that values your work.

VIII. Conclusion

Copyright has long been misconstrued as a system that champions creators. In reality, it has served as a mechanism for control, first by the state, then by publishers, and now by global media conglomerates. It restricts access to culture, hampers innovation, and disproportionately benefits those with the resources to enforce it.

Abolishing copyright would not end creativity, it would liberate it. With robust public support systems, direct audience engagement, and the vast potential of a truly open cultural commons, we could build a more equitable and vibrant creative world. It is time to imagine a future beyond copyright, one where culture is free, accessible, and shared by all.

Frankly? We are long past the age when copyright was even arguably helpful. Today, it’s a tool of enclosure, turning shared culture into corporate real estate. It limits access, stifles remix, criminalizes creativity, and prioritizes profit over people and Art.

Abolishing copyright doesn’t mean creators won’t get paid, it means we will have to build better systems that support artists directly, without requiring them to control every instance of how their work is used.

It’s time we stop clinging to an outdated system that was never designed for artists, and start building one that actually supports them.

And remember, kids.

Copying Is Not Theft.* {*I do not support the takes of Nina Paley on LGBTQ issues, in this we are enemies and she must die, but in copyright abolition we agree, every so often someone I hate has one good take, this is that time}

[miyakuli]

Summary of the 2nd live interview with B&L crew

About the show

Colorbord shared by Justine, the artistic director of the show

A second season is definitely a possibility, at least the creators would love for it to happen. The series has already seen some success in France, and now they’re waiting to see how it performs internationally. If the audience numbers are good abroad as well, their partners are more likely to provide funding for the continuation, and they’ll have the green light for season 2. They’ve already started talking about the budget soooo... it’s definitely moving in the right direction :)

In the case season 2 won't happen, the story could continue through the comic book, among other things. For example, Teddy mentioned the idea of a novel format, with a more mature tone. Otherwise, why not make a collaboration with the fandom to imagine their new adventures ;DD

The most challenging scene to create was the cart chase scene in the La Glacière episode. It was inspired by the wildebeest stampede scene from The Lion King and required a lot of precision with all the details and movement. Some "simple" scenes also took time, like the emotional moment in Le Tableau de Famille, when Lupin comforts Belfort. In fact, there were several storyboards and then multiple animated versions of that scene (at least six or seven) to make sure they would find the shot that worked the best emotionally. The animator even worked on it while listening to the Schindler’s List soundtrack but apparently it made her cry way too much x'DD

Several characters went through multiple designs before their final one.

Art by Philippe Duval, the animation director of the show

For example, Gazette went through different stages… she was originally a mom ;DD

Art by Philippe

But they decided to "remove the baby" (I QUOTE IT SORRY lol), to only keep the idea of a young mouse who could therefore be closer to the main characters.

For Louis XIV, his design was called "too handsome" by the producers xDD Even the team was already crazy about him, so they decided to keep it as it is (and personally he got also such an amazing voice for it ;D thank you Guillaume Beaujolais <333)

Art by Justine

There could potentially be new musical themes in season 2, for example to go with new characters, each with their own instrumental motifs.

Animation bloopers would be way too expensive to produce, but they would love to do a parody episode with the french voice actors, where they'd give them free rein to improvise anything xD

The series was a beautiful story of a meeting between Teddy, the creator, Philippe, the animation director, and Justine, the art director. They immediately clicked because they shared the same ideas and references. They were also very well supported by everyone who worked on the animation, communication, and budget negotiations with other countries. Above all, the series is a team effort. And Teddy was convinced Philippe was the guy for it after this art of them hehehehehe ENJOY

Teddy would like to include more historical women in season 2 because these figures are not always highlighted enough in the media >v<) <333

They already had a substantial budget for season 1, and they hope to have a similar or even better one depending on the success, since everything is a balance between quality and cost for an animated series like this. For example, Philippe would like to bring more creative ideas in terms of directing if he has the means, and make the scenes less static than in season 1. The team really wants to create what they themselves want to see, but once again, it all depends on the production limits.

A note on the financing system for the curious: Sketches, short animations, and designs are presented to foreign networks, who then decide whether or not to buy the license. Otherwise, funding can also come from fundraising through artistic agencies at the regional or even European level. That’s why having strong contacts and people on the team doing an amazing job in this area is so important :) big thanks to them!! <333

A live action? NEVER!!!!

About the characters

Louis XIV is a kind of father figure for Belfort, he represents both love and authority in his eyes. That’s why Belfort loves him so much, but also why he can disobey him at times (like in the Remus episode), since he also sees him as someone who can make mistakes. So, you can’t really compare the love he feels for Louis XIV to the love he feels for Lupin, for example. He loves them both equally, but in different ways ;))

As for Belfort and Lupin’s relationship, once again, they’re still too young and unaware to fully understand their feelings. And since the show is episodic, it wouldn’t be easy to develop a romance between them. The comic, however… that’s a possibility >v

Diane won’t really be able to get a full character development for now, again because of the episodic format (meaning the episodes can be watched in any order). That said, they did talk a bit about her psychology during the live. She loves all her children equally, but since Belfort is more sensitive, she tends to be a bit stricter with him. She wants him to make more effort because of his status. She’s torn between her duties and her role as a mother, which can make her seem cold, but deep down she’s actually very loving and maternal toward her son.

Overall, Teddy likes the idea that, in a way, the characters are eternal thanks to the episodic format. They remain the same while still learning new things in each episode. That's kinda comforting for him <333

About the BD, merchs etc...

For now, they’re planning at least three volumes of the comic, possibly with different artists for each one. The stories will be different from the show, with new characters, and with deeper thematic since It’s also a format that allows for more development, both in terms of story and artistic ideas (they could explore more settings, like different seasons, which are harder to adapt in animation).

They're also working on future merch, like plushies and other goodies. They're waiting to find the right creators to bring the project to life, with the level of quality we’ve come to expect from them (like with the comic, TRY IT IT'S VERY GOOD)

They’re open to ideas like a video game format. Teddy would like it to have a vibe close to the series, like an educational adventure for example. Also, there’s a game studio linked to their animation studio that has already developed games for their studio, like Marsupilami, for instance. So why not ;)

Random fact

The Molière play performed in the episode 'L'autre Belfort' was Le Bourgeois Gentilhomme.

[escapedaudios]

I've noticed a lot of people seem to think audio RP VAs make way, waaaay more money than we actually do. This is how much a YouTube VA my scale makes a month.

That's $492/month total, that's not even close to enough to pay my bills. When you count the money I spend on professional sound effects/art commissions/music licensing/etc I actually *lose* money on most videos.

This isn't me complaining about not making enough money by the way. I have a job, and if I really wanted more money I'd just paywall more of my content on Patreon. Trust, I would still make these videos even if they were making $0. I'm saying this because I just need for people to have a realistic perspective on what most VAs actually make. It's weird as hell when people act like we're celebrities with tons of money and massive public influence.

There are a few superstars with massive patreons and big YouTube followings that make bank, but most of us don't. Even then, the big boys don't make as much as you think. With all the hours I spend working on my channel, I could probably make more money doing DoorDash on the side. I promise you, like 99% of us aren't nearly as big as deal as you think we are. We're a community of niche, independent, passion-project creators. We aren't rich or famous, we aren't public figures. Please, stop acting like roleplay VAs are part of some powerful class it's fucking weird.

[redfathoment]

You’re not backing an idea. You’re backing full-scale audio drama cinema:

🎧 8 episodes of cinematic, emotionally charged audio storytelling 🎤 A cast of voice actors paid fairly for their time and talent 🎼 Licensed music from Chelsea Wolfe, Emma Ruth Rundle, and Secession Studios 🎙️ Award-winning sound design and mix

We’ve already sunk our own funds into licensing the music. We’re all in. This is not a vanity project. This is myth and grief, blood and bone.

We’re all in. Now we need you to complete the ritual.

[sherbertquake56]

if you hadn’t become a content creator, what did you want to do as a job? i know you got a film degree - was there something you wanted to do in the film industry specifically?

I am film nerd! very true! In terms of film industry stuff, I planned on doing screenwriting mainly at first but as i did school and stuff I think I’m a lot more likely to eventually get into directing music videos!

I sure started doing CMVs and then realized that there is in fact a whole section of the film industry for that! There’s a pretty good chance that I get into that later in life etc etc—

But the real fun fact about me is that I was very close to becoming a pilot! When I was a kid that was one of my main aspirations and right up until I actually started college that was the plan. (And there’s still about a 90% chance I get my pilots license sometime in the next 5 years at least lol)

There was also a good chance I ended up in the psychology field! But that got pivoted from pretty quickly to film—

[tsams-and-co-memes]

TSAMS Moondrop Canon Info

Updated - 6/26/25

Moon's likes:

Dogs

Anime

Pokémon

Webcomics

Imagine Dragons

Quietness

Spending time with his family

Magic (he's trying to have as little to do with it as possible now)

Technology

Coding

Six The Musical

My Little Pony

Palworld

Hot water

Minesweeper

Wolves

Historical shows/movies

Puzzles

Knitting (he's expressed an interest in it)

Crunchy food (specifically BBQ chips)

His favorite land animal is cheetahs, his favorite flying animal is falcons, and his favorite sea animal is blue whales

Moon’s favorite MLP character is Fluttershy

Shadow the Hedgehog

Ben 10: Alien Invasion

Cookies and cream ice cream (his favorite flavor)

Supernatural

Moon's dislikes:

Kids (<- he doesn't mind them as much anymore)

Witnessing any amount of affection between people or being subjected to it, even in a familial way (he always acts grossed out by it, but maybe he’s just messing around, I’m not sure)

Star Wars

Back to the Future

Eclipse

The creator

Bloodmoon

Cooking (Removing this, since he's expressed a desire to learn how to cook)

Flash (the TV series)

The bubbly sensation that comes with carbonated drinks

Pikachu

Miscellaneous:

Moon is aroace (but if he were to ever date anyone, he would want them to have the same sense of humor and sarcasm that he has, and he'd want them to be a little bit sadistic (for some reason))

If he could have a pet, it’d be a fruit bat

He takes a lot of inspiration from Rick Sanchez (from Rick and Morty)

He’s not good with directions

He can drive, he just hates doing so

He does not have a driver's license

Moon takes care of himself by taking a metal buffing drill and rubbing it across his face. He has a machine that cleans the rest of him (Unsure if this is only a New Moon/Nexus thing, if Old Moon does it too, or if they both do it)

New Moon/Nexus tended to/used to have a lot of sleepless nights, trying to relearn everything he knew from before he was reset, contemplating his mortality, how he could be reset, and wind up “dying” again

Moon is a fan of Rick and Morty, and he thinks Rick is the smartest person in the universe

He gets angry whenever anyone says the earth is flat

Moon talks to the Devil from the Bible quite a bit and they get along

When having conversations, Moon prefers it when people are blunt and direct with him

When confronted with problems, he tends to either shrug it off or get angry (this was Nexus, not Moon)

There was a kid at the daycare once that wasn't scared of Old Moon. The two talked back and forth, and upon hearing that the kid's home life wasn't great, Moon decided to sneak out of the pizzaplex. He followed the kid home, saw what his home life was like, and he took matters into his own hands, wanting to help the kid. The kid didn't survive whatever Moon did, and Moon (before being reset) carried a lot of regret with him over that incident

New Moon/Nexus (and apparently old Moon) makes and sells technology to the government

Old Moon once ate someone (during the episode where he and Sun fought, and he wound up punching Sun)

Moon knows the cure for cancer

Moon frequents a cannibal sushi shop in Japan where the employees all come to work in cosplay. The chef there is a furry/scalie (Unsure if this is New Moon or Old Moon, or both)

Moon has bad handwriting

Moon has always been bad with interior design

It was on the day of Sun and Moon's separation that Moon's Whacking Stick™️ entered the picture

Moon doesn't know how to cook (he's trying to learn, but all he seems to be able to make is sandwiches)

After coming back, Moon didn't know what was and wasn't food, so he just went around licking things

Moon used to work for the mafia, and they were the ones supplying him with most of the things he needed to work on his projects

Moon typically tries hanging out with mute kids more, when the daycare is open

The genre of music he primarily listens to would be like rock, metal, punk, and things similar to those (he does enjoy pop, too)

Moon seems to be a texture oriented person with his foods

Moon feels slightly better when he's in the dark (physically, I'm assuming)

Moon creates backups of Sun nightly

Moon prefers white or vanilla cake over chocolate cake

Moon is agender

Moon tinkers with things when he's nervous and he makes little barbie sized mechanical dolls/action figures

When they were still together in one body, Moon always woke up in the part of Sun's mind that's all negative emotions

Moon has a blow torch installed in his right wrist, because he doesn't want to have to stop his work to pick up tools (he's also turned his fingers into an assortment of tools)

Moon has a stash of rose champagne "for when he's feeling a little fruity"

Moon's body temperature runs colder than Sun's, and he uses roughly 5 (?) blankets during the winter

Moon used to listen to nightcore when he and Sun still shared a body

Moon drinks battery acid (as if it's an energy drink, if I remember correctly)

Moon knows how to sew, and according to him, he's the only one in his and Sun's household who utilizes that skill