Full Power FM

Copyright Hearing Recap: Music Licensing Pt. 2

by Juan Carlos Melendez-Torres, FMC Policy Intern

The House Judiciary Subcommittee on Courts, Intellectual Property and the Internet held its second hearing on music licensing on June 25, welcoming input from a variety of interest groups and organizations as a continuation of the ongoing reexamination of our country’s copyright system.  You can find our coverage of the prior hearing here

Nine witnesses testified before the committee, offering opinions that varied in focus but all highlighted major areas of potential reform. Witnesses for this hearing included singer/songwriter Rosanne Cash representing the Americana Music Association, Cary Sherman (CEO of the Recording Industry Association of America, or RIAA), Charles Warfield on behalf of the National Association of Broadcasters (NAB), Darius Van Arman on behalf of the American Association of Independent Music (A2IM), Ed Christian of the Radio Music License Committee (RMLC), Paul Williams as President of the American Society of Composers, Authors and Publishers (ASCAP), Chris Harrison of Pandora, President of SoundExchange Michael Huppe, and David Frear, CFO of Sirius XM

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The Quest for Royalties for the Use of Sound Recordings on AM/FM Radio: In Full Swing

Guest post by Owen J. Sloane (@osloane) and Rachel M. Stilwell (@rachelmstilwell)

As nearly two hundred artists, producers, engineers, and music professionals traveled to Washington DC for “GRAMMYs On The Hill” last week, now is a great time to review the status of an important and recurring issue facing recording artists. Artists and record labels, large and small, do not get compensated for the use of their recordings on AM/FM (“terrestrial”) radio. The recording industry would like to see a change in this area, so that working musicians (not just the superstars) can make a fair living making recordings that we as fans want to hear on our local radio stations. It costs money, time, as well as talent, to create great records.

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Artists' Pay for Radio Play: A View From the Green Room

by Kevin Erickson, Communications Associate

When I talk to friends about my work with FMC, they’re eager to hear about the behind-the-scenes excitement that fuels policy change. Perhaps they’re hoping for House of Cards-style political intrigue set amidst DC’s marble halls.

To be honest though, the most exciting part of my job happens in more humble settings—like a couple Tuesdays ago in NYC, when I got to see Tift Merritt and Marilyn Carino huddle in a corner of a backstage green room to practice harmonies, singing along with a phone’s tinny speaker: “You! You got what I neeeeed!” as David Byrne paced around staring at a lyric sheet, doing his best to memorize as much he could before taking the stage at Le Poisson Rouge. 

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Clear Channel Strikes Deal With Fleetwood Mac: But What About The Rest Of Us?

by Cody Duncan, FMC Policy Intern

Last week, in an event that was called “the first of its kind,” Fleetwood Mac entered into a direct deal with broadcasting behemoth Clear Channel, wherein the celebrated rockers will receive a share of advertising revenue for spins of their new EP, and Clear Channel will save on performance royalties for its online broadcast and streaming services. (Keep in mind that AM/FM radio is not obligated to compensate performers, but under the terms of this deal, Fleetwood Mac will receive revenue from over-the-air plays.) read more

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