Same issue, new lawsuit. The big three record labels (Sony, Universal and Warner Bros), along with indie ABKCO, are the latest to sueSiriusXM for underpayment of royalties for pre-1972 sound recordings.
[…]Groups that advocate for musicians are happy to see the deal but they also believe it isn’t setting the right precedent. “Big Machine Records is an independent label with some superstar acts, so I imagine that some of those big name artists have considerable leverage and can get favorable terms in any deal,” says Casey Rae, who is with the non-profit music advocacy group Future of Music Coalition. “But it begs the question about all of the other artists out there who may not have that kind of bargaining power.” read more
The Future of Music Coalition (FMC), a national nonprofit advocacy group for musicians, has launched the Artist Revenue Streams (ARS) project, a multi-phase research effort that aims to document how today’s musician earns a living.
In the project’s first report, performance rights royalties have emerged as one of the most dependable, longest lasting sources of income for songwriters and composers. The findings independently emphasize the vital importance of BMI membership for creators, many of whom rely on BMI earnings their entire lives.
The ARS project will reveal more data gathered from a second test group in May 2012.
Sirius XM Radio set off a flurry of complaints from trade groups and labor unions late last month. It was trying to bypass the standard method of paying for digital streams — through a royalty clearinghouse called SoundExchange — and negotiate directly with record labels.
Sirius’s move was only the latest example of a gradual shift in the financial infrastructure of music. Many companies, from major labels to providers of background music, have been trying to reduce costs and gain control by circumventing the large organizations that have historically processed licenses and royalties. read more
Here at FMC, we tend to think a lot about changing business models for musicians. Certainly, many artists are still making the majority of their money from selling CDs, merch or playing gigs. Yet we’ve come to realize that musicians’ access to potential revenue — especially in today’s digital landscape — expands far beyond that.
Recently, FMC started ponder all this in a more organized fashion: just how many different ways are there for musicians to earn money? We’ve come up with 29 so far, which we list below.
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
Earlier this week, Billboard reported that MusicFIRST — a coalition of music industry and musician union groups pushing for a public performance right for terrestrial radio — has "asked the FCC to investigate whether radio stations have violated their public interest obligation by allegedly boycotting artists who support a performance royalty for terrestrial radio." read more