Friday, August 18, 2017

Join us tonight for the Library Music Sessions - Newark Library Fridays 5-10pm FREE


We're taking the party inside tonight! No rain will stop us. Come join us at The Library Music Sessions Fridays 5-10pm FREE at the Newark Public Library - 5 Washington Street, Newark! With Duce Martinez Butchie Nieves yours truly DJ Adam Cruz Taz Trinidad and Millie Milz on the decks!

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YouTube and its awkward relationship with music


Written by Micah Singleton — For the past few years, the biggest fight in the music industry has been against ad-supported music. Apple attempted to kill Spotify's free tier before it launched Apple Music; the industry has railed against what it perceives as low payments from YouTube for years; and SoundCloud, one of the most popular ad-supported streaming sites in the world, is on the brink of collapse. But the truth is that ad-supported streaming isn't going anywhere. YouTube is too big to fail at this point, and labels have largely come to terms with Spotify’s free tier due to its high conversion rate. Getting to scale, everyone acknowledges, requires bringing in users who might not pay at first.

So how will it coexist in a music industry increasingly dominated by paid streaming services like Spotify and Apple Music? Executives from Warner Music, YouTube, SoundExchange, Pandora, and iHeartMedia sat down for a panel at the New Music Seminar in New York on Wednesday night. The event was moderated by Tom Silverman, the founder and chairman of Tommy Boy Records and the founder of the New Music Seminar. The group discussed why ad revenues aren’t growing as fast as expected, the benefits of ad-supported services, and why the music industry should be more supportive of streaming services.

“It takes time,” Lyor Cohen, YouTube’s head of music said, when Silverman asked why YouTube isn’t monetizing its ads at a higher rate. Last year, ad-supported streaming like YouTube and SoundCloud’s free service brought in $469 million in revenue for the music industry, according to the RIAA. Paid streaming services pulled in $2.47 billion. Cohen pointed toward the slow adoption of hip-hop within the music industry in the ‘80s — he was president of Def Jam Records in the late ‘80s — as a correlation to what’s going on now with advertisers and streaming music.

“I remember there was at least seven years of incubation for Russell [Simmons], Rick [Rubin], and myself at CBS. Rap music was exploding, the supply outpaced the demand, and it was happening all over the city. CBS was a New York-based company, and all they had to do was drive about 60 blocks and realize how many kids were trying to get into a venue, and they would’ve said, ‘Oh my god, this stuff is really incredible and special. Let’s invest in it.’ They didn’t invest in it.” Cohen said CBS didn’t catch on to what was happening in hip-hop until the son of then-Columbia Records president Donnie Ienner wanted to go to a Public Enemy concert instead of a Bruce Springsteen show that the label finally woke up.

Streaming now brings in the majority of revenue for the music industry. In 2016, ad-supported streaming grew 26 percent from the previous year, while paid streaming grew 95 percent year over year.

Cohen also noted that the music industry needs to forge better relationships with streaming services in order to build better products, instead of just signing over licensing deals and leaving everything up to the tech companies. He pointed toward SoundCloud as an example of where collaboration could have helped.

“We're scared to death and we typically stomp them out,” Cohen said. “Look at what's happening with SoundCloud. What a sad experience that they're experiencing right now. To me, we needed to collaborate with them in order for them to help build a business, whether it's an advertising business or an opportunity for them to shepherd their consumers to a potential subscription.”

The longtime music executive went on to note that YouTube is working on combining YouTube Red with Google Play Music to give users a single offering — which, given his statements during the evening, the music industry may have a hand in shaping more than ever before (if Cohen gets his way).

As talks shifted to whether ad-supported services help or hurt paid streaming services, Warner Music’s chief digital officer Ole Obermann noted that ad-supported services are so good that there may not be enough incentive to upgrade to paid services, a point that was echoed by Mark Eisenberg, SoundExchange’s senior vice president of strategic initiatives.

“I think ad-supported and paid streaming are complimentary, and they will always exist together,” Eisenberg said. “Some people will never pay for a subscription for a variety of reasons, but it doesn't mean that [streaming services aren’t] monetizing them. We just have to figure out a way to make an ecosystem work for all. I think the difficulty is segmentation. If you’re offering the exact same product and features and experience — paid or ad-supported — I think some will go to the lower-cost consumer product. So you have to do that differentiation, which I don’t think we’ve done yet in the industry. I think we’re starting to get there, in terms of segmentation of catalog, feature sets, and mobility.”

Streaming services like Spotify would point out that its free product has been quite limiting, with users only being able to listen to music on shuffle, and now that it nearly has its label deals wrapped up, artists and labels will also have the ability to limit new releases to the premium tier for up to two weeks, giving them more flexibility and control.

But even if ad-supported services do everything the music industry wants, it would still be incredibly difficult to close the revenue gap on paid streaming, which grew 95 percent year over year. So how do they increase their value? According to Cohen, YouTube will use its machine learning capabilities — which Cohen says drives 80 percent of watch time on the platform — to help break new artists. “YouTube is not only going to build a fabulous subscription business to complement its advertising business, but it's going to work with the industry to help break their acts.”

Distribution, in other words, is a carrot YouTube is holding out during these negotiations, something beyond revenue that tech platforms might provide to their partners in the music industry. For now, however, YouTube still has a long way to go before it gets to a place where it can shift its negative reputation in the music industry into a positive one.

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Thursday, August 17, 2017

What you need to know about the 'Royalty Black Box' - it's a $2.5B hustle!


Written by Paul Resnikoff — It’s an entire underground economy that nobody likes to talk about. Especially the people making billions off of it.

Delve into the music industry’s sordid past, and you’ll find tawdry details of mobbed-up labels and Soprano-style venues. Indeed, crooners like Frank Sinatra were notoriously implicated with organized crime. But the way he explains it, there wasn’t any alternative.

So who’s replacing the mobsters in the digital economy? Welcome to a more sophisticated racket that’s just as lucrative. And it involves billions in unclaimed, unmatched, delayed, or otherwise unpaid digital royalties. And holding the golden bag is a mish-mosh of well-positioned middlemen, including a gaggle of PROs, mechanical rights licensing administrators, and others who mysteriously can’t figure out where that check should be sent.

So who’s holding all this cash?

Like the problem itself, the answer is complicated. And it’s hard to pick out the bad guys. Many times, it’s just simple incompetence instead of actual malice.

Like SoundExchange. Over the years, we’ve blasted SoundExchange for holding hundreds of millions in unclaimed royalties. Indeed, the deeper we clawed into SoundExchange’s unclaimed database, the more we found glaring examples of obvious copyright owners not getting paid. We’ve even found fraudulently claimed royalties — lots of them — fueled by disorganization and maybe even purposeful obfuscation.

Intentional or not, the result ends up being the same. And it turns out that’s just scratching the surface. Now, as Spotify battles hundreds of millions in unpaid royalty claims, a little startup in London wants to shine the light on this dirty butt-crack of the business.

The company is called Paperchain, and their mission is to clean up an estimated $2.5 billion in blocked funds. They’re ready to seriously rock the boat.

+ Live Concerts + Streaming = 73% of the US Music Industry

Paperchain was started in Sydney, Australia, and migrated their HQ to London. That’s still far from the epicenter of the music industry (pick one: New York or LA); though its closer to the rat’s nest of overlapping European PROs (more on that cesspool later).

Here’s just some of the depressing info that Paperchain emailed Digital Music News this morning.

More than 46 million instances of unidentified songwriters or unknown copyright owner ‘Notice of Intents (NOIs)’ have been digitally filed with the US Copyright Office by streaming services since April 2016.

Royalties are unpaid and go into “royalty black boxes” until the owner is identified or dispersed into the industry.

The global value of these royalty black boxes is estimated to be $2.5 billion.

That’s right: $2.5 billion, with a ‘b’. And given an absolute avalanche in plays and associated metadata, this is a problem compounding exponentially every year.

So ask yourself: where’s this $2.5 billion going?

In the case of Spotify’s unpaid mechanical licenses, the answer is absolutely nowhere. At least until recently. That’s because Spotify simply wasn’t paying any of it (much less matching it to anybody). But in many other cases, the cash is paid by radio stations, apps like Pandora, and streaming music services to a range of royalty collection agencies.

Then it simply lands in a big black box.

+ Why Donald Trump Should Destroy the US Copyright Office

Sadly, those ‘black boxes’ often become massive, interest-bearing accounts. After all, a pile of $100 million doesn’t just sit there. Rather, it’s fodder for financial markets and lenders, all eager to put that money into play. All of which generates comfy dividends to cover administrative overhead, CEO salaries, and expensive company lunches.

See how this works?

Enter Paperchain’s founding duo, who want to break that racket apart. “We now have 46 million instances of ‘author unknown’ from the US Copyright Office ingested into our database and we’re helping publishers find out if their catalog has been affected and what the financial impact is,” explained Paperchain founder and CEO, Daniel Dewar.

Actually, the broader digital supply chain isn’t broken. It works pretty well. It’s just that little part that involves payments. “Our focus is not to replace the current digital supply chain, but to make the flow of rights data work better,” said Paperchain’s co-founder and CTO, Rahul Rumalla.

+ Google’s Amazingly Simple Plan to Destroy Piracy Forever

Obviously, these guys have identified a massive problem in the music industry. But by attempting to solve that problem, Dewar and Rumalla are about to make themselves into a massive problem themselves. That is, for an underground industry economy that has grown fat over accounting chaos and subterfuge.

So will these guys last?

In the old days, these two would probably ‘be disappeared’. But in a less mobbed-up digital music industry, maybe ‘disruption’ is less life-threatening. Though fair warning: entrenched middlemen rarely give up so easily. In fact, their very existence depends on stalling cute little upstarts like Paperchain.

That said, there’s already hope for a better tomorrow. Over the past year, Paperchain has been in ‘closed beta testing’ with select labels, publishers and some undisclosed intermediaries. Now, success depends on seriously rattling the cage, come what may.

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Wednesday, August 16, 2017

Go to the Movies All You Want for $10 a month?


Written by Isabel Gottlieb — As movie theaters struggle with tepid sales, Mitch Lowe has an extreme proposal for how to get more people into seats: Let them come to all the showings they want for about the price of a single ticket each month.

Lowe, an early Netflix Inc. executive who now runs a startup called MoviePass, plans to drop the price of the company’s movie ticket subscriptions on Tuesday to $9.95. The fee will let customers get in to one showing every day at any theater in the U.S. that accepts debit cards. MoviePass will pay theaters the full price of each ticket used by subscribers, excluding 3D or Imax screens.

MoviePass could lose a lot of money subsidizing people’s movie habits. So the company also raised cash on Tuesday by selling a majority stake to Helios and Matheson Analytics Inc., a small, publicly traded data firm in New York. The companies declined to comment on terms of the financing but said MoviePass intends to hold an initial public offering by March. Helios and Metheson shares rose 5.7 percent to $2.95 at the close Tuesday in New York.

Ted Farnsworth, chief executive officer at Helios and Matheson, said the goal is to amass a large base of customers and collect data on viewing behaviors. That information could then be used to eventually target advertisements or other marketing materials to subscribers. “It’s no different than Facebook or Google,” Farnsworth said. “The more we understand our fans, the more we can target them.”

Theater operators should certainly welcome any effort to increase sales. The top four cinema operators, led by AMC Entertainment Holdings Inc., lost $1.3 billion in market value early this month after a disappointing summer. The number of tickets sold in the U.S. and Canada last year declined slightly, while box office revenue rose just 2 percent thanks to pricier tickets, according to the Motion Picture Association of America, a trade group. The cost of a ticket has almost doubled in the last two decades, according to the website Box Office Mojo. The average price is about $8.89 this year, though it can be much higher in some cities.

Shares of theater companies fell Tuesday on concerns that MoviePass’s pricing would hurt studios or exhibitors. AMC’s stock declined 2.6 percent to $13.25 at the close.

Investors may be misinterpreting the MoviePass business model, Eric Wold, an analyst at B Riley & Co. wrote in a note to clients. If MoviePass can drive more people to theaters that would benefit the exhibitors, although the overall impact is “more negligible than anything,” Wold wrote.

MoviePass was founded in 2011, originally with a business model similar to a gym membership. The company hoped to turn profit from subscribers who paid $30 or more per month but didn’t use the service often enough to justify the cost. Lowe, a fixture of the home video business who helped get Netflix off the ground and served as president of rental-kiosk operator Redbox, was named CEO last year. The privately held company declined to disclose subscriber numbers or financial information. Lowe said the data-based business model is still “years in the future.”

With the new strategy, MoviePass hopes to resolve what Lowe sees as the biggest factor to blame for the theater industry’s decline. He said the high price of tickets, not competition from Netflix or Amazon.com Inc.’s Prime Video service, is a big part of what’s keeping people away. “People really do want to go more often,” Lowe said. “They just don’t like the transaction.”

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Tuesday, August 15, 2017

Soundcloud Survives...for the moment, but what's next?


Written by Leah Kardos — Audio streaming website SoundCloud has survived its do or die moment. In the face of serious financial trouble, it secured US$169.5m of investment from merchant bank The Raine Group and investment firm Temasek Holdings. As its CEO and co-founder Alexander Ljung said: “Soundcloud is here to stay.”

Ljung is not, however. He’s to be replaced by Kerry Trainor, former CEO of video-sharing site Vimeo. And, perhaps more importantly, it is unlikely that the SoundCloud that many musicians have known and loved (myself included) will live on.

Prior to securing the cash injection it desperately needed, SoundCloud’s future was hanging in the balance. The tech company, founded in 2007, recently closed two of its offices and laid off around 40% of its workforce. To survive it desperately needed to monetise and clear its debts. With new investment and new management, the focus is likely to shift even more to sound business choices over the community of users that the site has long fostered.

Since its inception, SoundCloud was a popular home for outlaw music on the web – DJ sets, remixes, mashups, underground hip hop mixtapes, sound collages. The kind of music that can’t be sold or broadcast anywhere else due to binding copyright rules.

But it didn’t just service outlaws. For independents, amateurs and industry outsiders, it provided a space for marginal new music and sound-art scenes to not only exist, but flourish in a global network. SoundCloud incubated and encouraged new music styles that are now recognised in today’s cultural landscape: Dubstep, Chillwave/Glo-Fi, Vaporwave, EDM, Witch House, the recent resurgence of Deep House, the emergence of lo-fi influenced “Soundcloud Rap”.

It allowed users to make their music streams private and invite-only (accessible by a link). It made the sharing of not-yet-released new music easy for record labels, independent artists and publicists to access. Its waveform widget, with its ability to place a comment anywhere on the track’s timeline, encouraged listener engagement. It was also easy to embed in websites and social media pages – saving music creators the hassle of hosting the audio on their own websites, and with the convenient bonus of collecting listener data in one place.

Never good with money

SoundCloud made it easy to share your musical creations with millions of potential listeners on the web. For listeners, SoundCloud was a valuable tool for discovery; their “suggested tracks” feature, uses machine learning to analyse listening habits and suggests new music from artists from every level, not just the mainstream or most popular.

But for all of the ways in which SoundCloud has been popular with users and successful in terms of its cultural contribution, it has never been good with money. Just like those outlaw music formats that SoundCloud found a home for – music that exists outside of the music industry system – SoundCloud itself had difficulty monetising its service.

It has had numerous rounds of investment in the past ten years but failed to provide a return, failed to extract subscription money from users, failed to provide a transparent royalty-based income stream for its music creators and copyright holders. And where SoundCloud struggled, its rival Spotify went from strength-to-strength. Ultimately, many music creators found that they could earn more money from their music on Spotify and another one of SoundCloud’s competitors, Bandcamp. Following deals with the major labels, it began to clamp down on illegal copyright infringements – pushing away a number of its original user base, DJs, to other platforms such as Mixcloud.

Never the same again

I’m a composer that uses SoundCloud as a portfolio, a way of sharing my work with the world. I embed the SoundCloud player on my website and social media accounts, and I use it as a means to connect with my listeners and discover other musicians that I otherwise would never have known about. I also use SoundCloud in my teaching and for listening research, to explore underground cultures; to get inspired.

For me, the magic of SoundCloud was that it existed outside of the music industry and its obsession with money. It seemed to be about sharing and community, about evolving culture, creating global networks based on aesthetics, practice, creative philosophy.

No doubt, SoundCloud’s new investors will seek to transform the currently debt-ridden company into a money-making enterprise. This will require a radical restructuring.

As a result, SoundCloud is unlikely to be the same again. This is bad news for the listeners and music creators who rely on the service for documentation and discovery. So too for those who use the platform as a place to develop new music styles, push musical and sonic aesthetics and build online communities. Underground, outlaw, outsider, and any variety of unprofitable music will need to find somewhere else to live.

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Friday, August 4, 2017

Join Adam Cruz, Duce Martinez & Butchie Nieves TONIGHT - Newark!




Click on the link below for details about tonight Aug 4th!


DESCRIPTION:
Join Adam Cruz, Duce Martinez, Butchie Nieves, President of the Newark Puerto Rican Day Parade at the Newark Library!

The Library Music Sessions Presented by
DWILDMUSICRADIO Duce Martinez Adam Cruz along with
Butchie Nieves President of The Newark Puerto Rican Day Parade
at the Newark Public Library (courtyard)

5 Washington Street, Newark, NJ
Fridays beginning 8/4 5pm-10pm
FREE

Tuesday, June 27, 2017

Mixtape Sessions and Adam Cruz Bring You 'Healing'




Click on the link below to listen + buy "Healing" today!
mixtapesessions.bandcamp.com/album/healing


DESCRIPTION:
Mixtape Sessions is so proud to present "Healing," the brand new afro tech release from label head, DJ and artist Adam Cruz. From his forthcoming fourth album, Adam delivers a hard-hitting flute-filled techno jam! "Healing" is Adam's musical interpretation of the healing process and was produced like a therapy session - cathartic and refreshing! "Healing" is already supported by DJs Marques Wyatt, Ian Friday, Bradford James, Duce Martinez, Mr. V, Manchildblack and others – we thank you! Be on the lookout for more from Mixtape Sessions. Music for the People.


MUSICAL CREDITS:
Written and produced by Adam Cruz.
Mixed and mastered at EbbnFlow Studios, Bloomfield, NJ.
Cover art design by Adam Cruz.
Published by Mixtape Sessions Music (ASCAP), Adam Cruz (SESAC) and Adam Cruz Music (SESAC).

©2017 Mixtape Sessions Music, LLC. All Rights Reserved.
Distributed by The Cruz Music Group, a Division of Mixtape Sessions Music, LLC.

Tuesday, May 16, 2017

Rest in Peace to the MP3


Written by Kat Bein — MP3s were all the rage even before you got that giant, clunky, gen-1 iPod, but today, MP3s are officially a thing of the past.

Major developer Fraunhofer IIS held most licenses for the use of MP3s, and it has announced it is terminating those licenses in light of better, lower-bit files, such as AAC, and the industry shift toward those files. The company's official announcement can be read online, and reads as follows:

On April 23, 2017, Technicolor's mp3 licensing program for certain mp3 related patents and software of Technicolor and Fraunhofer IIS has been terminated.

We thank all of our licensees for their great support in making mp3 the defacto audio codec in the world, during the past two decades.

The development of mp3 started in the late 80s at Fraunhofer IIS, based on previous development results at the University Erlangen-Nuremberg. Although there are more efficient audio codecs with advanced features available today, mp3 is still very popular amongst consumers. However, most state-of-the-art media services such as streaming or TV and radio broadcasting use modern ISO-MPEG codecs such as the AAC family or in the future MPEG-H. Those can deliver more features and a higher audio quality at much lower bitrates compared to mp3.

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Thursday, May 11, 2017

TuneCore Launches New Service Offering Advances to Artists


Written by PR Newswire — TuneCore, the leading digital music distribution and publishing administration provider for independent musicians, today announced the launch of TuneCore Direct Advance. A unique collaboration with Lyric Financial, the leading financial services and technology company serving the global music industry, the innovative new service offers U.S.-based TuneCore artists automated advances on their future distribution sales revenue.

With many independent artists and labels operating as small to medium-sized businesses with sometimes minimal resources, TuneCore Direct Advance is a valuable new offering that allows them to take advances on future earnings to help fund new projects and further their careers. From recording new material to purchasing new equipment to funding a tour, TuneCore Direct Advance provides a simple way for artists to access advances at their convenience, 24/7 and on their own terms. In addition, this new advance model does not require artists to pledge ownership of their music, which is often the case with many competing services. With TuneCore Direct Advance, independent artists can have full control of their finances while still maintaining total creative control of their music.

"This is a one-of-a-kind integrated offering that gives artists a hassle-free, reliable way to access their future earnings quickly and easily, eliminating the difficulty often associated with obtaining advances," says Scott Ackerman, CEO at TuneCore. "We are deeply invested in the careers of our artists and are committed to ensuring they have the tools and resources needed to succeed."

TuneCore Direct Advance is the latest addition to the company's comprehensive array of artist tools and services that are made to help them build successful music careers. The new service is available for U.S.-based TuneCore artists that meet certain eligibility requirements, including sales history and earning thresholds.

Qualifying customers can request a cash advance directly from their TuneCore Balance Page, and for a low, one-time fee, they will quickly and easily receive the money through PayPal or ACH (Automated Clearing House). The advance is repaid directly from future sales and automatically deducted from streaming and download earnings. Since this service operates as an independent process, artists avoid additional, time-consuming tasks often associated with obtaining advances, including registration and negotiations.

Based on direct feedback from customers, TuneCore recognized the need for a service that gives artists easy access to future sales income.

"As an artist for more than 20 years, I know firsthand the need for a money advance to cover anything from production to personal expenses," says Lito MC Cassidy, TuneCore Artist. "For the first time in my career, I not only feel in full control of my money but also relieved to know that by simply choosing the amount of money I need, I can receive an advance in seconds."

TuneCore Direct Advance was developed in partnership with Lyric Financial Founder and Chief Executive Eli Ball to give independent artists the ability to budget and access their royalties and licensing income at their convenience.

"For the last two years, we have worked to automate what has historically been a cumbersome manual advance process in the music industry," says Ball. "TuneCore Direct Advance is a simple, easy-to-use application that provides creatives with a clear view of their current and forecasted earnings, allowing them to request advances in less than a minute. These basic tools will be invaluable to any music industry professional in budgeting and managing the ups and downs of their cash flow. The deal we have announced today with TuneCore is a huge validation of the platform we have all worked so hard to create."

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H.R. 1695 could signal pivotal year for music copyright


Written by Paula Parisi — The music industry-backed Copyright Accountability Act was introduced in the Senate Judiciary Committee this week with powerful bi-partisan sponsorship: chairman Chuck Grassley (R-Iowa), ranking member Dianne Feinstein (D-Calif.), and senators Patrick Leahy (D-VT.) and Orrin Hatch (R-Utah).

The fact that the Senate is moving forward with the same language as H.R. 1695, approved by the House of Representatives last week in a landslide vote of 378 to 48, bodes well for the measure, which proposes to make the Register of Copyrights a presidentially appointed, Senate-confirmed position.

Senate passage is trickier than moving a bill through the House, as individual senators have more power to obstruct, and more than a simple majority is required to advance most legislation. But the speed with which the senate has taken up a cause championed by music professionals has been noted and is seen to bode well for other recording industry initiatives.

Pending legislation includes the Fair Play Fair Pay Act, the Songwriters Equity Act, and the Allocation for Music Producers, or AMP Act. “We’re seeing some good momentum, and it feels like now is the time things are going to get going for the next year to year-and-a-half,” Recording Academy chief advocacy and industry relations officer Daryl Friedman said.

As the Copyright Accountability Act winds to the president’s desk, the next area of focus will likely Fair Play Fair Pay Act, which seeks equitable compensation for performers from broadcast radio stations.

“We’ve had significant movement on the performance royalty issue,” Friedman said, noting, “We’re the only country in the developed world where radio is exempted from paying for music,” putting the U.S. in the company of the U.S. is in the company of China, North Korea, and Rwanda. “This is our lead issue, and there’s momentum brewing to get performance royalties for artists,” Friedman added.

Under the present U.S. system, dating to 1934, songwriters are compensated for traditional radio airplay but the artists performing the songs are not. The estimated $17 billion a year over-the-air radio market and its National Association of Broadcasters trade group have been aggressively opposing changes to the old rules.

Non-interactive internet radio stations like Pandora and Sirius are required to pay performers (and the on-demand services must negotiate performance rates with the individual record labels or rights holders). The Fair Play Fair Pay bill, was re-introduced in the house as H.R. 1836 on March 30, but as part of a more complicated rules change is not moving as quickly as the Copyright Accountability Act.

Congressman Darrell Issa (R-CA) has introduced his own version of Fair Play, known as the Promote Act, which seeks to compensate performers. “Mr. Issa’s proposed legislation really calls the bluff of the radio stations” arguing that they provide ‘free advertising’ for artists, Friedman said. “When an artist plays a concert or their music is played on internet radio, or even used in a commercial, there is some promotional benefit, but the artist gets paid. So it’s not that promotion isn’t a factor, but radio shouldn’t be the exception that doesn’t have to pay a penny because of the excuse that it’s promotional.”

Songwriters have payment issues of their own, taking on the consent decrees that require the government, as opposed to the free market, to establish their compensation rates. “The fact is U.S. music licensing regulations are out of step with how people consume music today, and with how the rest of the world works,” ASCAP president and chairman Paul Williams said. “If millions of people around the world are streaming your song, you should be fairly compensated for it.” Even reliable hitmakers, Williams noted, “are struggling to get by in this new music economy.” ASCAP mounted a successful “Stand with Songwriters” advocacy day that saw artist including Peter Frampton and Matchbox Twenty’s Rob Thomas take to the hill on April 26, the day H.R. 1695 received house passage, and he vows more action ahead.

Other IP rights groups are joining in the fight. “We were thrilled to see the Copyright Accountability Act move so quickly and with so much support, getting approximately 90 percent of the vote on the house floor, and think it will get same reception in the senate,” said Copyright Alliance CEO Keith Kupferschmid, whose organization represents more than two million individual creators and 13,000 organizations, ranging from movie studios to newspapers. “This is going to be a big year for intellectual property owners.”

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