Ladies and Gentlemen, we have an agreement.
News broke today that “pure play” webcasting services (i.e., the bigger online broadcasters who earn the bulk of their revenue through their services) have reached an agreement with SoundExchange — the nonprofit organization that collects and distributes the digital public performance royalty on behalf of performing artists and sound copyright owners (usually the labels). read more
Amanda Palmer (of Dresden Dolls and solo fame) is no stranger to the world of self-promotion and marketing. She’s also a big fan of Twitter — especially while touring — because of the direct line of communication it opens between she and her fans. Palmer has tweeted information on impromptu performances, secret gigs and press interviews that have resulted in thousands of people spontaneously turning up. Recently, Palmer took her Twitter addiction to new level and ended up netting $19,000 in a mere ten hours. read more
Back in April, FMC released the “Principles for Musician Compensation in New Business Models” (or “Artist Principles”) — a set of guidelines for ensuring creator compensation in an evolving music landscape. Here’s a podcast interview with Los Angeles-based attorney Josh Wattles, whose years in the copyright and entertainment fields have awarded him with an insider’s perspective (and no shortage of opinions). Wattles talks to FMC about what he would envision in a pro-artist document, and makes some provocative statements about what the role of a record label should be in today’s music marketplace. read more
Washington, DC – Future of Music Coalition announces panelist and programming details for its upcoming musician education events: “What’s the Future for Musicians” in Chicago on September 22; “What’s the Future for Musicians” in New York City on October 6 ; and “Creative License”, a panel discussion about sampling and fair use, also in NYC on October 6. read more
A Copyright Arbitration Royalty Panel is a group of three arbitrators from the private sector, appointed and administered by the US Copyright Office and the Library of Congress, which meet for limited times for the purpose of adjusting rates and distributing royalties. A CARP was established in 1993 to negotiate the terms of the webcasting royalty rates and reporting requirements. This fact sheet covered some of the core issues that were present in the proceedings in 2001-2002. read more
