EA’s stance on “Digital Performance Right in Sound Recordings and Ephemeral Recordings” from 2002.
You can learn the background of this on Copyright.gov (they mention EA briefly near the end).
Declaration of Emilie Autumn
￼I, Emilie Autumn, declare as follows:
1. I am making this declaration in support of the motion of Live365 for a Stay the Librarian of Congress’s Order setting rates for webcasting royalties. Except as stated, I have personal knowledge of the facts in this declaration and could testify competently to them in a court of law.
2. I am an independent recording artist and performer. I began performing professionally as a classical violinist at age 12, and now record both classical music and adult alternative rock music I call “fantasy rock.”
Silverfox: How did you get your start in the music industry and what made you decide to go in a different direction with classical music?
EA: When I was four, I decided I wanted to play the violin. I didn’t have any concept of what that meant, the competition, the concert halls; I just thought it looked like fun. As I grew up, my dream was to travel the world playing Mozart and Prokofieff, but as I got nearer to my goal, it began to look less and less attractive to me. Much of the music we term “classical” is brilliant, far more brilliant than anything that’s being created now, in 2002, but the classical industry itself is a horrible machine, soul-killing and manipulating. They (professors, critics, etc.) take these musical masterpieces and tell everyone to play them in exactly the same way, and they do their best to stomp out any flame of creativity in anyone, for fear of being overthrown. I know I sound like a conspiracy theorist, but any classical music student who hasn’t been utterly brainwashed (a lot of them have) can tell you the same thing. Then, the industry complains that they have lost the interest of the general public, when the fact is that they are collectively so boring it’s bloody painful. I could not work within the constrictions of the classical industry, so, after a lot of heartache, I chose to embrace everything that made me different from them and see where that took me. It was at that point, in my teens, that I began to sing, write songs as well as symphonies, and develop my knowledge of electronics and recording. The result is, I think, a mixture of everything that I love, from the ancient music that I grew up on, to the rock music that inspired me, to the futuristic sounds I hear in my head.
I was going to respond with a simple “you’re welcome,” then I realized you might have to go back (or forward) a bit to find a snapshot with a working link.
So, even though I posted the whole interview on this tumblr here’s a link that still works for those who like to go to the source: EA Silverfox Interview 2004
SFR-What has changed in your music since we last spoke with you in 2002?
EA: That’s difficult in that I’ve got a few musical directions going on at once, so while my direction as a classical musician is still similar to what it was, my direction as a jazz artist has veered off from my direction as a rock artist, so that the jazz now has it’s own record coming out in the form of ‘The Jane Brooks Project,’ and the rock is focusing on her next album and going a bit more electronica this time.
Silverfox Radio isn’t around anymore (I think). They interviewed EA in 2002 and then again in 2004-ish. This newsletter mentions the addition of the 2004 interview to EA’s press page. I may have both interviews knocking around somewhere, I’ll post them if I find them.02.05.13