Over 2,000 songwriters have signed a petition demanding better mechanical royalties for interactive streaming from Google, Apple, Amazon, Spotify and Pandora.
The campaign has launched ahead of a court hearing in Washington today (March 8) where the Copyright Royalty Board (CRB) will determine rates for the next five years.
The tech giants are expected to argue to reduce the amount they pay, while the National Music Publisher’s Association and the Nashville Songwriters Association International will lobby for an increase.
Read the post on MusicBusinessWorldwide
A Facebook music license portfolio is a golden opportunity to at least start to get out of the shite revenue share world once and for all, a world we were condemned to long ago by the New Media idiotocracy who bargained away creator’s birthright. Facebook is stealing recordings, videos, song titles and artist names. Why should they get a pass without some serious zeros attached to it? Zeros to the left of the decimal place for once.
via New Boss Royalty Deadbeat Facebook Wants to Stiff Everyone — MUSIC • TECHNOLOGY • POLICY
[More news from royalty deadbeat Facebook trying to mimic royalty deadbeat YouTube for the same old shite revenue share deal. Are we going to get the okie doke hillbilly deal yet again?]
The world’s largest social network has redoubled its efforts to reach a broad accord with the industry, according to interviews with negotiators at labels, music publishers and trade associations. A deal would govern user-generated videos that include songs and potentially pave the way for Facebook to obtain more professional videos from the labels themselves….
Facebook’s interest in music rights is inextricably linked to its growing interest in video. Having siphoned ads away from print, online companies have recently targeted TV, which attracts about $70 billion in advertising a year. While Facebook faces competition from Twitter Inc. and Snapchat Inc., its main rival is Google, and music is one of the most popular types of videos on Google’s YouTube service. Facebook declined to make an executive available for an interview.
Read the post on Bloomberg
According to Andrew Flannigan on NPR:
Facebook plans on giving [paying artists and songwriters for their labor] a college try, having hired Tamara Hrivnak away from YouTube, where she was the video giant’s director of music partnerships. Hrivnak, who was also an executive at Warner Music Group [right–7 years ago] before joining YouTube [for what must have been the big bucks], will be using her extensive contact list [because the music industry just loves YouTube so much] to mediate Facebook’s goals around music with the many, many wishes of the industry which controls the rights to that music [starting with getting a license for something]. As Music Ally points out, publishers — those in charge of administrating songwriters’ work — have been asking the social network to strike deals for months.
“I’m joining Facebook to lead global music strategy and business development. This is a new adventure for me and I look forward to deepening Facebook’s relationship with the music industry [you mean, look forward to continuing to stiff artists and songwriters Facebook style or YouTube style?].
Music is important and it matters — it connects and binds us to times, places, feelings and friends. My career has been dedicated to growing opportunities for music in the digital landscape. Facebook is all about making the world more open and connected and music can play an important role — I’m excited to join that effort.”
Facebook pointed to Hrivnak’s post when asked for clarification on her role.
What did she say exactly in that nothing burger?
If anything takes the heat off YouTube a little in 2017, it could be the music industry’s increasing concerns about Facebook, which utilises the same safe harbours as Google, but without paying any royalties at all to the music community.
The big shift at Facebook of late, of course, has been to video content. The social media giant sees video as key to its future consumer offer and advertising business, and prioritises video content in its users’ feeds. That has resulted in an ever increasing number of users uploading and sharing video content that is hosted on Facebook’s servers, putting it ever more closely in competition with the [licensed] Google service….
[Facebook] formally unveiled Rights Manager – it’s rival to YouTube’s Content ID – last April, giving [some] rights owners the power to remove their content from the Facebook platform when it is uploaded by users without permission [if you agree to a bunch of terms Facebook won’t reveal until you “apply” for Rights Manager and are “approved”]. But, while big bad YouTube’s Content ID also provides [some] rights owners with monetisation tools, Rights Manager is currently all about takedown [because there is no monetization on Facebook because Facebook is unlicensed]. Which is to say, it’s a technology mainly designed to assure [royalty deadbeat] Facebook safe harbour protection.
Read the post on Complete Music Update.
Rightscorp has created a solution to help songwriters fight the oppressive mass filing of millions of “address unknown” NOIs through a little known procedure at the Library of Congress and Copyright Office. Rightscorp CEO Christopher Sabec fills us in.
via Mass NOI Update: Christopher Sabec and Rightscorp Tackle the Copyright Office Problem — Music Tech Solutions
“The biggest flaw I want to highlight today is what is known as the “transfer of value” or the “value gap.” To survive and thrive, creators must be fairly paid for their works. Yet today, some of the world’s major digital music services are building large businesses on back of creativity while paying next to nothing in return. This is not fair. It is a market distortion. And it is holding back growth in the creative sectors.”
via Jean-Michel Jarre Identifies the Value Transfer — MUSIC • TECHNOLOGY • POLICY