The Copyright Royalty Board has begun the hearing phase of its proceeding to set the royalties to be paid by webcasters for the years 2016-2020. Broadcast law attorney David Oxenford witnessed the day-ong event. Continue Reading
The congressional copyright melee has taken a new turn today as a bipartisan group of Representatives introduced new legislation aimed at revising and equalizing the royalties paid by terrestrial and online radio services. The Fair Play Fair Pay Act of 2015 includes, among other points, a move to have terrestrial radio stations pay royalties to performers in addition to the songwriters and publishers. Continue Reading
Barely a day goes by without seeing some article about a songwriter whose song was played a million times on a digital music service like Pandora or Spotify, with the artist only receiving a relatively small amount of royalty revenue from that seemingly large number of plays. A number of issues are misunderstood — especially about big numbers. Continue Reading
Broadcast attorney David Oxenford digs into the Songwriter Equity Act in this comprehensive analysis of proposed legislation. “This is perhaps one of those questions that can never be answered — which is more important, the song or the singer?” Continue Reading
Flo & Eddie, representing The Turtles, have been cutting a legal swath through audio publishers of late. Most of its lawsuits have focused on Sirius XM, but Pandora was also on the receiving end of a suit seeking royalties and damages for playing songs recorded prior in 1972 when U.S. federal copyright law took effect. Continue Reading
One of the most intractable issues in music licensing is broadcast radio’s exemption from performance royalties to artists and labels for the use of recorded music. The exemption has the weight of history: It has always been so in the U.S., though not in most other countries with government-regulated music licensing. The situation’s rarity is not of concern to advocates of radio’s licensing privilege, who assert that radio’s traditional role in driving awareness, success, and sales of music performers is as vital today as ever. Continue Reading
The Internet Radio Rewind podcast is an audio recap of recent news, featuring RAIN editor Brad Hill, a splash of music, and a dash of humor. Sponsored by AudioBoom Unlike chatcasts, Internet Radio Rewind is quick and to-the-point, with concise need-to-know… Continue Reading
The U.S. Copyright Office released a comprehensive critique of how music licensing works in the U.S. Criticism, by itself, is not noteworth ythese days. The document is exceptional for its detail, pedigree, and disruptive recommendations. The headline recommendation: Broadcast radio should start paying artists. Continue Reading
In November, New York judge Colleen McMahon ruled against Sirius XM’s request for summary dismissal of a lawsuit filed by The Turtles that seeks $100 million in royalties from the satellite radio company. This week, she reaffirmed that ruling, rejecting Sirius XM’s arguments that Flo & Eddie did not own copyrights for recordings by The Turtles made before Feb. 15, 1972, which are not protected by federal law. Continue Reading
Pandora has appointed Steve Bené as its new general counsel. Bené joins the online radio service from Electronic Arts, where he held the same position and worked on negotiations with music and movie studios. In his role at Pandora, Bené will be a member of the company’s executive leadership team and will oversee all legal operations. Continue Reading
The Turtles have filed a class-action suit against Pandora, claiming $25 million in damages for copyright infringement. The New York Times reported that pre-1972 songs only account for about 5% of the music played on Pandora. A representative from the online radio company said that the platform was confident in its actions, noting that Pandora pays separate songwriting royalties on all its music, including those tunes from before the pivotal dates. Continue Reading
The latest outburst in the high-profile Spotify debate does more than just criticize streaming, it condemns it. Rosanne Cash, who testified in a congressional music-licensing hearing this summer, stirred up mixed reactions with two recent Facebook posts in which she equated streaming with music piracy, and also continued her impassioned campaign to alter U.S. copyright regulations. Continue Reading