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The Indonesian government issues Regulation Government Number 56 of 2021 concerning Management Royalty Right Create Song and or Music as well as Regulation of the Minister of Law and Rights basic Man Number 20 of 2021 concerning Regulation Implementation Regulation Government Number 56 of 2021 concerning Management Royalty Right Create Song and or Music as regulation implementation from Law No. 28 of 2014 concerning Right Create. One points urgent from second regulation the is mandate formation and development System Information Song and or Responsible music answer on administration and management royalty right create on songs and music used by users as a system integrated information. System Information Song and or Music is one effort government for give protection law on right create songs and music owned by creator. This post will use method study qualitative with approach descriptive comparing evaluation existence System Information Song and or Relative music new in Indonesia with practice international, in Thing this is United States of America as a country with industry music largest and commercialization. right create digital song has been recognized by wide.

Rank-and-file supporters of the Bangsamoro rebellion (1972-1977) articulated their personal sentiments about the war in a genre called "rebelsongs." The lyrics reveal that fighters' personal aspirations often diverged from the official aims of separatist leaders. This article examines how rebel songs transitioned into "Moro songs" in the post-martial law era and why they came to more narrowly reflect the movement's official goals of Moro unity and Islamic renewal. While Muslim separatists hinged their ideology on the concept of a shared religion and history distinct from the rest of the Philippines, the musical vehicle they approved to convey aspirations for political and religious autonomy was not, however, indigenous genres, such as tudtol or dindiken. Rather, Moro songs set Magindanaon lyrics to the melodies of American folk, country and rock ballads—such as Bryan Adams's "Straight from the Heart"—to frame protests against the Philippine government's incursion into the homeland, the fight for religion and calls for Muslim unity. By endorsing this hybrid genre to broadcast separatist goals, the movement opened up a communicative space for its message to internal and external audiences, across cultural and national boundaries.

'Weavers of Song: Polynesian Music and Dance' by Mervyn McLean is reviewed.

Camping on the borders of Europe / Ivan Raykoff -- Return to ethnicity : the cultural significance of musical change in the Eurovision Song Contest / Alf Björnberg -- Eurovision at 50 : post-Wall and post Stonewall / Robert Deam Tobin -- Chanson, canzone, schlager, and song : Switzerland's identity struggle in the Eurovision Song Contest / Michael Baumgartner -- Chasing the "magic formula" for success : Ralph Siegel and the Grand Prix Eurovision de la Chanson / Thorsten Hindrichs -- Fernando, Filippo, and Milly : bringing blackness to the Eurovision stage / Lutgard Mutsaers -- Finland, zero points : nationality, failure, and shame in the Finnish media / Mari Pajala -- The socialist star : Yugoslavia, cold war politics and the Eurovision Song Contest / Dean Vuletic -- Lithuanian contests and European dreams / Bjorn Ingvoldstad -- "Russian body and soul" : t.A.T.u. performs at Eurovision 2003 / Dana Heller -- Gay brotherhood : Israeli gay men and the Eurovision Song Contest / Dafna Lemish -- Articulating the historical moment : Turkey, Europe, and Eurovision 2003 / Thomas Solomon -- "Everyway that I can" : auto-orientalism at Eurovision 2003 / Matthew Gumpert -- Idol thoughts : nationalism in the pan-Arab vocal competition Superstar / Katherine Meizel -- "Changing Japan, unchanging Japan" : shifting visions of the Red and White Song Contest / Shelley D. Brunt

The M. H. Ross Papers contain information pertaining to labor, politics, social issues of the twentieth century, coal mining and its resulting lifestyle, as well as photographs and audio materials. The collection is made up of five different accessions; L2001-05, which is contained in boxes one through 104, L2002-09 in boxes 106 through 120, L2006-16 in boxes 105 and 120, L2001-01 in boxes 120-121, and L2012-20 in boxes 122-125. The campaign materials consist of items from the 1940 and 1948 political campaigns in which Ross participated. These items include campaign cards, posters, speech transcripts, news clippings, rally materials, letters to voters, and fliers. Organizing and arbitration materials covers labor organizing events from "Operation Dixie" in Georgia, the furniture workers in North Carolina, and the Mine-Mill workers in the Western United States. Organizing materials include fliers, correspondence, news articles, radio transcripts, and some related photos. Arbitration files consist of agreements, decisions, and agreement booklets. The social and political research files cover a wide time period (1930's to the late 1970's/early 1980's). The topics include mainly the Ku Klux Klan, racism, Communism, Red Scare, red baiting, United States history, and literature. These files consist mostly of news and journal articles. Ross interacted with coal miners while doing work for the United Mine Workers Association (UMWA) and while working at the Fairmont Clinic in West Virginia. Included in these related files are books, news articles, journals, UMWA reports, and coal miner oral histories conducted by Ross. Tying in to all of the activities Ross participated in during his life were his research and manuscript files. He wrote numerous newspaper and journal articles on history and labor. Later, as he worked for the UMWA and at the Fairmont Clinic, he wrote more in-depth articles about coal miners, their lifestyle, and medical problems they faced (while the Southern Labor Archives has many of Ross's coal mining and lifestyle articles, it does not have any of his medical articles). Along with these articles are the research files Ross collected to write them, which consist of notes, books, and newspaper and journal articles. In additional to his professional career, Ross was adamant about documenting his and his wife's family history in the oral history format. Of particular interest are the recordings of his interviews with his wife's family - they were workers, musicians, and singers of labor and folk songs. Finally, in this collection are a number of photographs and slides, which include images of organizing, coal mining (from the late 19th through 20th centuries), and Appalachia. Of note is a small photo album from the 1930s which contains images from the Summer School for Workers, and more labor organizing. A few audio items are available as well, such as Ross political speeches and an oral history in which Ross was interviewed by his daughter, Jane Ross Davis in 1986. All photographic and audio-visual materials are at the end of their respective series. ; Myron Howard "Mike" Ross was born November 9, 1919 in New York City. He dropped out of school when he was seventeen and moved to Texas, where he worked on a farm. From 1936 until 1939, Ross worked in a bakery in North Carolina. In the summer of 1938, he attended the Southern School for Workers in Asheville, North Carolina. During the fall of 1938, Ross would attend the first Southern Conference on Human Welfare in Birmingham, Alabama. He would attend this conference again in 1940 in Chattanooga, Tennessee. From 1939 to 1940, Ross worked for the United Mine Workers Non-Partisan League in North Carolina, working under John L. Lewis. He was hired as a union organizer by the United Mine Workers of America, and sent to Saltville, Virginia and Rockwood, Tennessee. In 1940, Ross ran for a seat on city council on the People's Platform in Charlotte, North Carolina. During this time, he also married Anne "Buddie" West of Kennesaw, Georgia. From 1941 until 1945, Ross served as an infantryman for the United States Army. He sustained injuries near the Battle of the Bulge in the winter of 1944. From 1945 until 1949, Ross worked for the International Union of Mine, Mill and Smelter Workers, then part of the Congress of Industrial Organizations (CIO), as a union organizer. He was sent to Macon, Georgia, Savannah, Georgia and to Winston-Salem, North Carolina, where he worked with the United Furniture Workers Union. He began handling arbitration for the unions. In 1948, Ross ran for United States Congress on the Progressive Party ticket in North Carolina. He also served as the secretary for the North Carolina Progressive Party. Ross attended the University of North Carolina law school from 1949 to 1952. He graduated with honors but was denied the bar on the grounds of "character." From 1952 until 1955, he worked for the Mine, Mill and Smelter Workers as a union organizer, first in New Mexico (potash mines) and then in Arizona (copper mines). From 1955 to 1957, Ross attended the Columbia University School of Public Health. He worked for the United Mine Workers of America Welfare and Retirement Fund from 1957 to 1958, where he represented the union in expenditure of health care for mining workers. By 1958, Ross began plans for what would become the Fairmont Clinic, a prepaid group practice in Fairmont, West Virginia, which had the mission of providing high quality medical care for miners and their families. From 1958 until 1978, Ross served as administrator of the Fairmont Clinic. As a result of this work, Ross began researching coal mining, especially coal mining lifestyle, heritage and history of coal mining and disasters. He would interview over one hundred miners (coal miners). Eventually, Ross began writing a manuscript about the history of coal mining. Working for the Rural Practice Program of the University of North Carolina from 1980 until 1987, Ross taught in the medical school. M. H. Ross died on January 31, 1987 in Chapel Hill, North Carolina. ; Digitization of the M. H. Ross Papers was funded by the National Historical Publications and Records Commission.

"Black Power Music! is a study about music and socio-political movements, aesthetics and politics, as well as the ways in which African Americans' unique history, culture, and struggles have consistently led them to create musics that have served as the soundtracks or 'mouthpieces' for their socio-political aspirations and frustrations, their socio-political organizations and movements. Drawing on thinking from a variety of disciplines whose discourses traditionally are kept mostly apart, the author finds the consilience that binds these disciplines together vis-à-vis black power music. The book will be essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science"--