the legal issues around pre-1972 music royalty disputes are complex, tangled by conflicting federal and state regulations. State-court lawsuits in New York and California have favored plaintiffs seeking royalties from Pandora and Sirius XM, but a recent decision in Florida went the other way. Broadcast law attorney David Oxenford untangles. Continue Reading
The Copyright Royalty Board (CRB) rate-setting process, currently in the trial phase, did not conclude on Friday as originally scheduled. Instead, broadcast law attorney David Oxenford tols RAIN News, the proceeding will continue for three days this week. Click through for the new schedule. Continue Reading
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
Yesterday in Washington, the Copyright Royalty Board (CRB) held an opening hearing to start the trial portion of Webcasting IV, the music royalty rate-setting process for the upcoming 2016-2020 royalty period. We spoke to sources who were in the (apparently rather small) room). Continue Reading
Although thousands of pages of legal arguments and rebuttals have been submitted over several months, today marks the start of a five-week process at the heart of Webcasting IV — the in-person litigation of U.S. music licensing rates for the 2016-2020 royalty period. Continue Reading
As we reported on March 17, SoundExchange and National Public Radio (NPR) reached an agreement for webcast music licensing in the 2016-2020 royalty period. NPR agreed to increase the number of stations providing detailed census reporting of the music they play in webcasts. We spoke to Rusty Hodge of SomaFM about whether those reports are difficult to produce. Continue Reading
In another demonstration of “willing buyer, willing seller” deal-making, Pandora has negotiated a direct licensing deal with Naxos, one of the world’s most prolific classical music labels. Before this, Pandora’s most widely publicized private negotiating effort was with the international consortium of independent labels, Merlin. Both deals are important. Continue Reading
As we reported last week, the U.S. Copyright Office released a comprehensive review of music licensing, and made recommendations for changes. Broadcast Law Attorney offers this thorough analysis of the report’s contents.
“The report tees up many issues for consideration. So now, let the debate begin!” Continue Reading
In a brisk 51-minute conference call with investors yesterday, Pandora described its strategy in the Copyright Royalty Board (CRB) proceeding, explained why it thinks music licensing costs (to labels) should be lower, and fielded questions about the company’s key partnership with Merlin labels. Although Pandora executives often speak at investor conferences, and conduct quarterly earnings calls, the single-topic focus of yesterday’s call was unusual. Continue Reading
Tomorrow, Pandora will discuss the eventful and controversial topic of music licensing in a public conference call with investors. Anyone can dial in. The call comes after webcasters filed their royalty-rate arguments to the Copyright Royalty Board, in which Pandora proposed royalty rates to labels and artists lower than present rates, and about half the amount suggested by SoundExchange in its brief. Continue Reading
Noncommercial webcasters are often forgotten in the discussion of the current proceeding to set Internet radio sound recording royalties. But, along with the royalties for commercial webcasters, the current Copyright Royalty Board proceeding will also set the rates for noncommercial webcasters. Broadcast attorney and frequent guest contributor David Oxenford explains everything. Continue Reading
iHeartMedia has proposed reducing the royalty rate webcasters pay to artists and labels, cutting the existing rate set for terrestrial webcasters by 80 percent. The suggested royalty amount is less than half of Pandora’s suggested rate, which in turn is about half the rate suggested by SoundExchange, which represents music labels. iHeart’s argument is based on its negotiated deal with Warner Music Group, which provides lower royalty rates in exchange for greater exposure of Warner music. Continue Reading