Recording artists and indie labels: there’s a movement afoot to change the way that you would receive your digital public performance royalties, and it’s not a good one, especially for recording artists.
Back in August, we blogged about the news that Sirius/XM was considering doing a direct licensing deal, expressing our serious displeasure with the move.
In recent days, the artist community — including AFTRA, AFM, The Recording Academy,A2IM and SoundExchange — has been broadcasting the message to their members about the negative consequences of direct licensing deals for digital performance royalties. We applaud our artist colleagues for urging their members signed to indie labels (or self-released artists) to not accept these direct licensing deals.
We here at FMC wanted to join in the chorus and explain to musicians and labels why the current statutory licensing structure is better for all stakeholders.
[This post was co-authored by FMC Communications Intern Scott Oranburg]
Digital Music News recently published a series of automated pie charts that document the recording industry’s revenue streams over the past decade (2000-2011). The data paint an interesting — and, for some, troubling — picture about changes in the recorded music biz. We at FMC love geeking out over stats, but we’re more concerned with how musicians are making a living than the declining popularity of ringtones. To that end, FMC recently kicked off our Artist Revenue Streams (ARS) project, which aims to assess how musicians’ revenue streams are changing in this new music landscape. (If you’re planning on attending SF MusicTech Summit in San Francisco in May 9, be sure to catch project co-director Jean Cook’s ARS presentation and panel.)
Yesterday, Arbitron and Edison Research released their 19th edition of the Infinite Dial, an annual survey that examines the state of consumers’ access to radio, internet and other media.
These reports are always a fascinating glimpse at how consumer behavior is changing, especially with the introduction of new technologies such as internet radio, smartphones and more ubiquitous wifi. read more
Well, maybe not the sound check, but the live performance counts — at least with BMI. The Performance Rights Organization (PRO) BMI recently established BMI Live, an online program that lets songwriters upload setlists from their performances at live music venues — and receive payment for the songs that are played.
BMI has always paid royalties based on live performances, but only conducted a census survey on the songs played on the top 200 tours.
With BMI Live, the PRO aims to provide its registered songwriters and composers with financial revenue from performance venues as small as your local music venue, or as large as Madison Square Garden. read more
Given how opposed the National Association of Broadcasters (NAB) has been to the concept of paying performing artists and sound copyright owners for the over-the-air broadcast of their work, we think this is pretty significant. Of course “significant” doesn’t mean inevitable. Let’s review the facts. read more
[This post was co-authored by FMC Policy Intern Eric Perrott]
There’s no doubt that the 10th Anniversary Future of Music Policy Summit (Oct. 3-5, 2010) sparked plenty of conversations and even some controversy. Topping the list of the latter was the onstage chat between award-winning musician/producer T. Bone Burnett and music scribe Greg Kot of Chicago Tribune. Any press is good press, but we’re wondering if maybe some of the articles missed T Bone’s overall point. read more
[…] “It’s been 10 years since Napster, and now we have some perspective,” says Thomson, of the Future of Music Coalition. She says the industry’s efforts to preserve old rules of the business - by limiting digital copies and pursuing people who downloaded music illegally - have failed.
“They had some success, but they can’t get back to the point where there’s forced scarcity. Before 1999, where could you buy records? You could buy them at the store, and you could hear them on the radio. The Internet changed all that.” […]