How US Olympian Amber Glenn Resolved a Copyright Dispute Over Her Figure Skating Music

Introduction: From Legal Hurdle to Harmonious Partnership

In the high-stakes, aesthetically precise world of competitive figure skating, the selection of music is not merely an artistic choice—it is a critical component of an athlete’s performance identity, deeply intertwined with scoring under the International Skating Union (ISU) Judging System. For U.S. Olympian and 2022 Olympic Team Gold Medalist Amber Glenn, the journey to perfect her free skate program for the 2025-2026 season hit an unexpected legal snag: a copyright factor concerning the rights to one of her chosen pieces. This article details how Glenn navigated this complex music licensing challenge, ultimately resolving the dispute directly with the artist, forging a new creative friendship, and securing the rights to skate to the music she loved. Her experience serves as a vital case study for athletes, coaches, and choreographers on the importance of proactive copyright clearance in sports.

The core issue was not about the music’s quality but its legal status. Using a copyrighted musical work for a public, competitive performance—which is broadcast internationally and often later sold on DVDs or streaming platforms—requires explicit permission, typically via a synchronization license (for syncing music with choreography) and a public performance license. Glenn’s initial assumption that the track was freely usable or covered by a blanket license was corrected through direct negotiation, highlighting a common knowledge gap in the skating community regarding intellectual property law.

Key Points: The Amber Glenn Copyright Resolution at a Glance

• The Dispute: U.S. Figure Skater Amber Glenn discovered that the music selected for her 2025-2026 free skate program was protected by copyright, and she had not secured the necessary licenses for competition use.
• The Resolution: Glenn initiated direct contact with the rights-holding artist, negotiated the terms, and successfully obtained the required permissions to use the music.
• The Outcome: The copyright factor was fully resolved, allowing Glenn to skate to her chosen program. The process resulted in an unexpected positive: a personal friendship and creative rapport with the musician.
• The Lesson: This incident underscores that music rights clearance is a non-negotiable, early step in program creation. It demonstrates the power of direct artist engagement over relying on assumptions or third-party platforms.
• The Context: The issue is part of a broader, ongoing conversation within figure skating about music copyright compliance, especially with the rise of digital music platforms and independent artists.

Background: The Complex World of Music Copyright in Figure Skating

Why Music Rights Are a Critical, Often Overlooked, Issue

Figure skating is a unique blend of sport and art. The ISU explicitly states that competitors must use music that respects copyright laws. Rule 612 of the ISU Constitution & General Regulations 2024 mandates that “all music used in competitions must be free of any copyright or neighbouring rights which could prevent its use in the competition and any subsequent communication to the public.” This is not a mere formality; it protects the ISU, event organizers, broadcasters, and the skater themselves from costly copyright infringement lawsuits.

The process typically involves two main licenses:

1. Synchronization License: Required to pair the music with choreography and the skater’s performance. This is usually negotiated with the music publisher or record label.
2. Public Performance License: Required for the live performance at the event and its broadcast. This is often handled by the event organizer via blanket licenses with Performing Rights Organizations (PROs) like ASCAP, BMI, or SESAC in the U.S., but these blanket licenses do not cover the synchronization right.

Many skaters, especially at lower levels or in non-broadcast events, operate under a false sense of security, believing that purchasing a song on iTunes or streaming it on Spotify grants them performance rights. It does not. This gap in understanding is what tripped up Amber Glenn.

Historical Precedents and Common Pitfalls

The skating world has seen several high-profile music copyright issues:

• Denied Programs: Skaters have been forced to change programs at the last minute when rights were denied or fees were prohibitively high (e.g., some cases involving iconic film scores or popular rock songs).
• Post-Competition Removal: Videos of performances using unlicensed music are routinely taken down from platforms like YouTube due to Content ID claims, eroding an athlete’s digital archive and promotional material.
• Financial Liability: While rare for individual amateur skaters to be sued, the liability ultimately falls on the performer if proper clearance is not obtained. Event organizers and the ISU have stringent policies to avoid being held responsible.

Glenn’s case is notable because it was resolved proactively and amicably before competition, avoiding public scandal or program withdrawal.

Analysis: Dissecting Amber Glenn’s Successful Resolution Strategy

The Direct Approach: Contacting the Artist vs. Navigating the System

Glenn’s key strategic move was bypassing the often-impersonal, slow-moving machinery of music publishers and rights clearance agencies to contact the recording artist directly. This approach, while not guaranteed to work (as artists may not own the master recording or publishing rights), can be highly effective for several reasons:

• Personal Connection: An athlete’s passion for the music can resonate with an artist. Glenn’s genuine desire to skate to the piece, coupled with her Olympic status, presented a compelling promotional opportunity for the artist.
• Simplified Negotiation: Dealing directly with the creator can clarify who holds which rights and potentially lead to more flexible, goodwill-based terms, especially for non-commercial or “brand-building” uses like an Olympic performance.
• Speed: It avoids the bureaucratic delays of traditional licensing channels, which is crucial during a tight competitive season.

This method highlights a modern shift: in the digital age, artists often have more direct control via their own platforms (Bandcamp, personal websites) and may be more accessible than through a major label’s legal department.

The Friendship Outcome: How Collaboration Trumps Confrontation

The most remarkable aspect of this story is the transformation from a potential legal adversary to a creative partnership and personal friendship. This outcome is significant for the skating ecosystem:

• Humanizing the Process: It moves copyright discussions from a sterile legal transaction to a human story of shared passion. The artist likely gained a new, dedicated fan in Glenn and exposure to the Olympic audience.
• Setting a Precedent: It encourages other skaters to see rights-holders not as obstacles, but as potential collaborators. A positive relationship can lead to future opportunities, such as the artist composing original music for a skater.
• Social Media as a Bridge: While details are private, it’s plausible that Glenn used platforms like Instagram or Twitter to reach out or publicly acknowledge the music, catching the artist’s attention. This demonstrates the power of social media for direct, public engagement that can lead to private resolution.

Practical Advice: A Step-by-Step Guide for Skaters and Coaches

Amber Glenn’s experience provides a blueprint. Here is a actionable framework for securing music rights:

Step 1: Research and Identify Rights Holders Early

As soon as a piece of music is considered, research who controls the rights. Look for:

• The music publisher (for the composition/songwriting rights).
• The record label (for the specific sound recording/master rights).
• For independent artists, they may hold both. Check their official website or contact page.

Resources: ASCAP, BMI, SESAC, and GEMA (internationally) have searchable databases for publisher information.

Step 2: Initiate Contact Well in Advance

Do not wait until your program is choreographed. Contact rights holders at least 6-9 months before your target competition season. Be professional and clear in your request:

• Identify yourself (name, country, skating level/achievements).
• Specify the exact track, version, and duration you intend to use.
• Detail the scope of use: specific competitions (e.g., “2026 U.S. Championships”), potential international events, and any planned video distribution (social media highlights, federation DVDs).
• Be prepared to discuss a budget. License fees vary wildly based on the song’s popularity and the scope of use.

Step 3: Get Everything in Writing

Even a friendly, verbal agreement is insufficient. Insist on a written license agreement or permission letter that states:

• The rights granted (synchronization, public performance).
• The specific territories and events covered.
• The duration of the license.
• The fee (if any) and payment terms.
• Signatures from the authorized rights holder.

This document is your legal protection and may be required by your national federation or event organizers.

Step 4: Plan for Contingencies

Always have a “Plan B” piece of music that is either in the public domain, royalty-free (with a license that covers synchronization), or for which you have already secured rights. Do not become emotionally attached to a single track until the legal paperwork is complete.

Step 5: Understand “Fair Use” and Its Limitations

Some skaters mistakenly believe a short, competitive performance qualifies as “fair use” under U.S. copyright law. This is a dangerous myth. Fair use is a complex legal defense determined by courts, considering factors like the purpose, nature, amount used, and market effect. A highly creative, public, commercial broadcast of a substantial portion of a song is very unlikely to be deemed fair use. Do not rely on it.

FAQ: Common Questions About Skating Music Copyright

Q: If I buy a song on iTunes, can I use it in a competition?
A: No. Purchasing a digital file grants you a private listening license only. It does not include the public performance or synchronization rights needed for competition.

Q: Does my national skating federation handle music licensing for me?
A: Generally, no. While federations may hold blanket public performance licenses for events they organize, the responsibility for securing the specific synchronization license for your program typically falls on the skater or their coach/management. Always confirm in writing.

Q: What if the artist I want to use is impossible to contact or doesn’t respond?
A: That is a clear signal to move on to your Plan B music. Non-response is a de facto denial. Continuing to use the music without permission exposes you to significant legal and reputational risk.

<strong:Q: Are classical music pieces always safe to use?
A: Not necessarily. While the composition of a piece by Beethoven (d. 1827) is in the public domain, a specific modern recording of that piece (e.g., by the London Symphony Orchestra) is a new copyrighted sound recording. You must license the specific recording you intend to use, unless you hire musicians to create a new, original recording.

Q: Could this happen to an amateur or recreational skater?
A: The legal principles are the same, but the risk profile is lower for non-broadcast, club-level events. However, with the prevalence of social media, any public performance (like a recital streamed online) can trigger copyright claims. It’s best practice to always secure rights.

Conclusion: Proactive Clearance as a Pillar of Professionalism

Amber Glenn’s story is more than a footnote in skating news; it is a masterclass in copyright problem-solving. By taking initiative, communicating respectfully with the rights-holder, and understanding the stakes, she transformed a potential career-disrupting legal factor into a positive narrative of artistic connection and mutual respect. Her experience reinforces that in modern figure skating, music licensing is an integral part of athletic and artistic preparation, on par with jump training or costume design.

The takeaway for the skating community is clear: Assume you need permission. Integrate rights clearance into your program development timeline from day one. Build relationships with music supervisors or clearance experts if your budget allows. And remember, as Glenn demonstrated, the person on the other side of the copyright is often a fellow artist who may be thrilled to see their work brought to life on the ice. Approaching them with professionalism and passion can open doors you never expected, turning a legal necessity into a creative opportunity.

Sources and Further Reading

• International Skating Union (ISU). (