Here the people at the Future Of Music Coalition speak with Sharky Laguana of the band Creeper Lagoon about his recent piece entitled “Streaming Music is Ripping You Off” in which he criticizes streaming services for their use of the “Big Pool” method of royalty distribution.

[…]

Here the people at the Future Of Music Coalition speak with Sharky Laguana of the band Creeper Lagoon about his recent piece entitled “Streaming Music is Ripping You Off” in which he criticizes streaming services for their use of the “Big Pool” method of royalty distribution.

[…]

Here the people at the Future Of Music Coalition speak with Sharky Laguana of the band Creeper Lagoon about his recent piece entitled “Streaming Music is Ripping You Off” in which he criticizes streaming services for their use of the “Big Pool” method of royalty distribution.

[…]

This problem not only frustrates artists and rights holders. It frustrates technology firms and others that might build a business that could compete in a growing streaming music marketplace. According to a study done by Berklee ICE, even with unlimited resources, it takes at least 18 months to obtain all the licenses necessary for a streaming music service that will have all the songs consumers expect.

Casey Rae, the interim director of the Future of Music Coalition, told an audience Friday that adding more transparency and improving outcomes for rights holders as well as for businesses was “impossible without top-shelf data management.” read more

“This industry really has to get its shit together not only to generate revenue, but to get money to those people who actually need it and deserve it,” Casey Rae, CEO of the artist-forward nonprofit Future Of Music Coalition, said at the opening panel on transparency and its relation to money. He then noted that the music industry had three flavors of transparency to grapple with: Structural, or the understanding of how services generate and pay out royalties; deal and terms transparency, which examines how contracts lay down the terms for music’s use and compensation; and repertoire, which deals with the data and information management systems that track the consumption and usage of music.