“MILLION A MONTH” TIM IS BACK WITH NEW IMPROVED PROFITEERING–BUT #IRESPECTMUSIC @THEBLAKEMORGAN FIGHTS BACK–AGAIN

Sessions Cody Snow

You may have received an email from something called “Sessions” like this one above received by our friend Blake Morgan, and Blake wanted us to alert MTP readers. Here’s Blake’s reply:

Sessions Blake Reply copy

Who can forget the epic confrontation between Blake and “Million a Month” Tim Westergren during what Billboard called “World War P”, which shows what can happen when artist relations are grossly mismanaged.

pandora_500_billboard_cover

Why do we say “Million a Month” Tim?  Because that’s what he made from selling Pandora stock while poor mouthing about paying royalties from Pandora’s loss-making revenues.  It may not seem logical, but in Silicon Valley, they care far less about profit than they do about valuation because valuation is, as bank robber Willie Sutton said, where the money is. So “Million a Month” Tim was engaged in the gaslighting of all time.

 I guess Blake hasn’t forgotten.

westergren 5-5-14

Of course in fairness, Daniel Ek and Spotify are running the same play on a much grander scale of international gaslighting as demonstrated by the COVID Misery Index. Big thanks to Blake for calling out another one and speaking truth to power.

COVID Misery Index 12-5-20
Comparison of post-pandemic stock trading of Spotify, Google, Facebook, Amazon, Apple and Live Nation

Another Bad Artist Relations Week for Spotify–Music Tech Policy

Spotify released one of their groovy ad campaigns last week. This time celebrating their freebie subscription campaign. You really do have to wonder where they find the people who come up with these things. Blake Morgan, David Lowery and David Poe all laid into Spotify with their own tweets.

via Another Bad Artist Relations Week for Spotify — Music Technology Policy

@richardjburgess: The So-Called ‘Local Radio Freedom Act’ Is Actually an Anti-Creator, Anti-Property-Rights Bill

The 116th U.S. Congress and Democratic majority in the House of Representatives are barely two months old, yet special interest groups working against the interests of music creators are already up to their old tricks.

The National Association of Broadcasters (NAB) and its army of highly paid lobbyists are asking Members of Congress to cosponsor a bill that they have the nerve to call the Local Radio Freedom Act (LRFA). In past Congresses, many lawmakers have been deceived into cosponsoring this legislation, being told that it is a non-controversial sense-of-Congress resolution aimed at protecting local radio stations. In fact, it is an anti-creator, anti-property-rights bill.

LRFA seeks to perpetuate an anomaly in U.S. copyright law under which terrestrial broadcasters (AM/FM radio) are allowed to use creators’ music to sell highly-profitable advertising with zero compensation for the artists who created that music. There is no other music distribution platform that is allowed to get away without paying creators. There is no other country in the economically developed world that permits radio to abuse creators’ property rights this way.

Read the post on Billboard

It’s Time to Tell Them #IRespectMusic: Big Radio Starts the Anti-Artist Drumbeat with the Fake Local Radio Freedom Act Take 2

Remember the Local Radio Freedom Act from last year?  Well, they’re back with a new LRFA (pronounced “screw you”).  This Congress can’t agree about much, but they can agree they want to keep screwing artists.

Here’s the deal.  LRFA is the Alinsky-style straw man–demonize your opponent as something you want people to believe your opponent to be (a “tax” for example), then perpetuate that mischaracterization no matter what.  (In the current parlance, something pretty close to gaslighting fake news.)

This LRFA legacy “nonbinding resolution” has become an evergreen in the arsenal of the NAB’s gaslighting efforts to perpetuate exploitation of recording artists for one reason and one reason only–because they can.  The NAB gets a bunch of Members to sign up, doesn’t tell them the truth about what they signed, and hope that nobody tells them otherwise until it’s too late.

Here’s a list of signatories at the end of this post in case you want to tell them #irespectmusic, why don’t you?  Sign the petition at I Respect Music.org

More on this to come, but the headline is that Big Radio is back with a new LRFA, H.Con.Res. 20 in the House and S.Con.Res.5.

CONCURRENT RESOLUTION

Supporting the Local Radio Freedom Act.

Whereas the United States enjoys broadcasting and sound recording industries that are the envy of the world, due to the symbiotic relationship that has existed among these industries for many decades;

Whereas for nearly a century, Congress has rejected repeated calls by the recording industry to impose a performance fee on local radio stations for simply playing music on the radio and upsetting the mutually beneficial relationship between local radio and the recording industry;

Whereas local radio stations provide free publicity and promotion to the recording industry and performers of music in the form of radio air play, interviews with performers, introduction of new performers, concert promotions, and publicity that promotes the sale of music, concert tickets, ring tones, music videos and associated merchandise;

Whereas Congress found that “the sale of many sound recordings and the careers of many performers benefited considerably from airplay and other promotional activities provided by both noncommercial and advertiser-supported, free over-the-air broadcasting”;

Whereas local radio broadcasters provide tens of thousands of hours of essential local news and weather information during times of national emergencies and natural disasters, as well as public affairs programming, sports, and hundreds of millions of dollars of time for public service announcements and local fund raising efforts for worthy charitable causes, all of which are jeopardized if local radio stations are forced to divert revenues to pay for a new performance fee;

Whereas there are many thousands of local radio stations that will suffer severe economic hardship if any new performance fee is imposed, as will many other small businesses that play music including bars, restaurants, retail establishments, sports and other entertainment venues, shopping centers and transportation facilities; and

Whereas the hardship that would result from a new performance fee would hurt American businesses, and ultimately the American consumers who rely on local radio for news, weather, and entertainment; and such a performance fee is not justified when the current system has produced the most prolific and innovative broadcasting, music, and sound recording industries in the world: Now, therefore, be it

Resolved by the House of Representatives (the Senate concurring), That Congress should not impose any new performance fee, tax, royalty, or other charge relating to the public performance of sound recordings on a local radio station for broadcasting sound recordings over-the-air, or on any business for such public performance of sound recordings.

Here’s the list of Members of Congress who want to keep screwing artists:

Ms. Castor of Florida (for herself, Mr. Conaway, Mr. Butterfield, Mr. Johnson of Ohio, Mr. Gianforte, Mr. McEachin, Mr. LaMalfa, Mr. Rogers of Kentucky, Mr. Gosar, Mr. Weber of Texas, Mr. Graves of Georgia, Mrs. Dingell, Mr. Moulton, Mr. Babin, Mr. Young, Mr. Comer, Mr. Jordan, Mr. Bost, Mr. Kelly of Pennsylvania, Mr. Cole, Mr. Keating, Mr. Flores, Mr. Hagedorn, Mr. Crawford, Mr. Palazzo, Mr. O’Halleran, Ms. McCollum, Mr. Ryan, Mr. Kinzinger, Mr. Collins of New York, Ms. Stefanik, Mr. Turner, Mr. Olson, Mr. Allen, Mr. Chabot, Mr. Massie, Mr. Hill of Arkansas, Mr. Westerman, Mr. Upton, Mr. Duncan, Mr. Walker, Mr. Rodney Davis of Illinois, Mr. Rush, Mr. Kilmer, Mr. Walberg, Mr. Gonzalez of Texas, Mr. Kind, Mr. Lynch, Mr. LaHood, Mr. Grothman, Mr. Wilson of South Carolina, Mr. Latta, Mr. Williams, Mr. Budd, Ms. Kuster of New Hampshire, Mr. Long, Mr. Bilirakis, Mr. Arrington, Mr. Hice of Georgia, Mr. Shimkus, Mr. Zeldin, Mr. Meadows, Mr. Mullin, Mr. Emmer, Mr. Lawson of Florida, Mr. Pallone, Mr. Clay, Mr. Posey, Mr. Newhouse, Mr. Womack, Mr. Walden, Mr. Hastings, Mr. David Scott of Georgia, Mr. Harris, Mr. McKinley, Mr. Rouzer, Mr. Nunes, Mr. Lamborn, Mr. Calvert, Mr. Rogers of Alabama, Mr. McHenry, Mr. Marshall, Mr. Buchanan, Mr. Davidson of Ohio, Mr. DeFazio, Mr. Mooney of West Virginia, Mr. Loebsack, Mr. Carter of Georgia, Mr. Cuellar, Mr. Duffy, Mrs. Brooks of Indiana, Ms. Foxx of North Carolina, Mrs. Kirkpatrick, Mr. Brown of Maryland, Mr. Gibbs, Mr. Wenstrup, Mr. Brendan F. Boyle of Pennsylvania, Mrs. Rodgers of Washington, Mr. Simpson, Mr. Dunn, Mr. Cook, Mr. Mitchell, Mr. Stivers, Miss González-Colón of Puerto Rico, Mrs. Beatty, Mr. Evans, Mr. Brooks of Alabama, Mr. Fortenberry, Mr. Payne, Mr. Luetkemeyer, Mr. Yarmuth, Mr. Courtney, Mrs. Radewagen, Mrs. Bustos, Mr. Banks, Mr. Gallagher, Mr. Smith of Nebraska, Mr. Kelly of Mississippi, and Mrs. Wagner)

And here’s the list of Senators:

Mr. Barrasso (for himself, Mr. Heinrich, Mr. Boozman, Ms. Collins, and Mr. Udall).

 

@christycrowl: The Music Modernization Act Creates A Database — Is It A Landmark or Landmine for Music Creators, Producers, and Performers? (Part 1)

From what we have gathered, on May 15, the Senate will vote on the Music Modernization Act (which now includes the Classics Act and the AMP Act). It’s flying through the walls of government faster than anything we’ve ever seen. Some call it unprecedented. Some say it’s been a long time coming. The music member organizations are touting this as if we are finally getting our moment in the sun. But are we really?

ASIDE FROM CREATING A DATABASE — IS THE MMA A LANDMARK OR LANDMINE FOR MUSIC CREATORS, PRODUCERS, AND PERFORMERS?

There are arguments on both sides from within the music creator community, and it is hard to know who is “right.” All we know is that all of the “member” organizations that directly impact how musicians and music creators get paid (the AFM, ASCAP, BMI, SoundExchange) have communicated to their members to support this bill, to sign numerous petitions to Congress to ensure it passes, etc., without much member discussion on what the cons are of the legislation. In addition, the advocacy organizations (NARAS, SONA, NSAI, the SCL) have also trumpeted support without much point by point member discussion or debate, which to us is deeply concerning.

Is the MMA truly a landmark win for ALL music creators? Will money start flowing to the “little guy” who doesn’t have a publishing deal and plans to utilize streaming services to distribute his/her music, who is totally DIY, who doesn’t understand/care about the inner workings of the music industry and what the difference is between AFM, SAG-AFTRA, ASCAP, BMI, SoundExchange, and Advocacy-only groups such as NARAS, SONA, and NSAI? (This, by the way, is the majority next generation DIY musicians who upload millions of tracks into the streaming services every year.) What will REALLY change for that DIY music creator, producer, or performer? Can he/she plan to retire off of the whopping increase in earnings that passing the MMA will provide? Will they be able to figure out how to register to get their windfall in time before the publishers who are behind the MMA claim it?

If the MMA legislation is so much of a windfall moment for all music creators, producers, and performers — why is it so hard to find a concrete example (or have the advocacy groups even CREATE an example to relate to) of a DIY music creator and how the MMA will help him/her earn more income for their music (or musical contribution) from streaming? Why haven’t the member organizations provided examples of “if you wrote this, recorded this, produced this, and/or released it on a streaming platform, this is how passing the MMA will improve your music creator/producer/performer life” as a part of their non-stop rally of support for this bill? And what about the musician unions? If they want musicians to support the MMA, why haven’t they provided any examples of how a session musician (or lead singer) who played/sang on a track that is now released on a streaming service will benefit?

YOU HEARD IT HERE FIRST: THE “LANDMARK” DATABASE WILL MAKE OR BREAK THE MMA’S (THE MLC’s) SUCCESS

Read the post on Medium