Yeah he did actually really appreciate it - I think he is a genuine artist in the sense that he is expressing his true self and story through his music. I don’t personally like it or think it’s interesting musically or particularly well delivered but I can’t fault his spirit and drive.
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Thanks for the enlightenment 
That reminds me of a Chris Rock standup talking about the meaning of wealth and who owns the color blue 
edit
sent the wrong vid link earlier, my bad 
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Thanks lot’s of new stuff coming soon! 
Nice, that’s always a rewarding experience 
Awesome I’ll check back - keen to hear it!
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And back on topic… What’s the sample from your track ED?? Love it and want to watch the film if it’s from one!
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It WAS NOT from a film called “A King in New York” from (1957) , which may have included a conversation between Charlie Chaplin and his son, in what would be Chaplin’s last on-screen role. Thank you btw!
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Ethically, I only agree as long you don’t publish and for that I am strictly referring to recognisable elements such as melodies and lyrics. And if you do publish, attribution is the minimum. It’s nice to be copied and then it should also be recognisable as a copy.
Cory Doctorow on sampling, copyright and covers:
https://doctorow.medium.com/united-we-stand-61e16ec707e2
In a very important sense, songs do not belong to the creators who create them — they belong to every musician. When Sid Vicious wanted to record My Way,” he didn’t have to negotiate with Paul Anka for permission — he just paid the statutory fee and grabbed the mic.
While this might strike you as weird, there’s a good reason for it — every musician became a musician by performing the songs that were around them, and they always have.
As Jenkins and Boyle describe in their incredible book about the collective nature of music production, “THEFT: A History of Music,” Brahms’s First Symphony is commonly referred to as “Beethoven’s Tenth” because Brahms was basically a Beethoven tribute act —at least, at first (THEFT is open access, free to read and share, and you will never think about music the same way again).
[…]
Take sampling: when sampling appeared on the scene, musicians assumed that they didn’t need a license to sample. After all, when a jazz trumpeter blows a couple bars of a standard in the middle of a solo, that’s not a licensed use. Why should looping a couple seconds of a popular song be any different?
This permission-free, license-free regime produced incredible music. Albums like Public Enemy’s It Takes A Nation of Millions to Hold Us Back and the Beastie Boys’ Paul’s Boutique plundered hundreds of samples without clearing them, inspiring a generation of musicians and pleasing millions of fans.
Clearing these samples wouldn’t just be hard — it would be impossible. If PE and the Beasties had paid for all their samples at the going rate, they would have had to price their CDs at $150 per disc to have a hope of breaking even.
Today, no one makes (legal) music the way the Beasties and PE did in the late eighties. A string of disastrous court decisions, backstopped by the cornering of the music market by three giant labels (Sony, Universal and Warner, who bought out all their competitors, amassing a collective market share of 70% of all music copyrights worldwide), means that today, anyone who hopes to release music with a sample in it must clear that sample.
Typically, the Big Three labels will only license samples to each other, which means you have to sign up with a label if you want to sample popular music — and all three labels require you to sign away your right to control your samples as part of their standard deal.
Giving creators the individual right to control their samples was just a slightly roundabout way of giving the Big Three labels the right to control nearly all sampling.
We could have continued to treat sampling as a permissionless activity, the way we treat dropping a snatch of a popular song into a jazz solo. We could have turned it into a collective right, one that anyone could use, by paying a set fee — just like Sid Vicious covering Paul Anka.
BRB to read THEFT …
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The license of that Theft book is CC with restrictions of Attribution, Share Alike and Non Commercial … How ironic! Doesn’t add to the credibility of the book’s main message 
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wtf
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Yeah man this shit is getting way out of hand. I’ve heard from one producer who’s looked into legalities of it all say that their are people going around on Soundcloud, copyrighting other peoples stuff without their knowledge, and the actual producers, who produced the track were getting flagged when they uploaded to YT. Add to that how it’s nearly impossible to sample anything anymore, what with all the AI that can go in and decide with in a few hundredths of a second what track was sampled, and then automatically process a copywrite strike. Only problem is that the accuracy on these AIs isn’t 100%, as is the case with most AI, and so people are getting hit, because their chord progression sounds similar, or the drum beats they used is so popular and standard that it’s on a 1,000 other records. The music business is going to fuck it’s own self if it keeps traveling down that road.
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looks like the forecast is headaches for the foreseeable future, unless Ai can get better sooner or artist with enough influence and power start a bunch of lawsuits over the issue
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apparently soon you’ll need to clear not only samples but chord progression as well
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Well, if that case is lost by Ed & co., music streaming platforms’ geo-blocking will turn against the US.
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the last sentence of the article is pretty grim:
When asked on the stand Monday what he would do if the plaintiffs win the case and own the chord progression, Sheeran said, “If that happens, I’m done.”
OWN THE CHORD PROGRESSION
it’s insane
I mean, what’s next? someone will own notes? and tempo?
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Bagsy 128bpm!
Edit: I’ll also take C#
hello, police? yes, I want to report copyrights infringement, yes sir right here 
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Please note, due to repeated lawsuits our hold music has been replaced by a screeching blast of noise … SSCCRRRRRRRRR
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