Pandora’s founding CEO Tim Westergren, who returned to the top job just last year, intends to step down as the streaming service’s leader in the near future. According to Recode, which cites “people familiar” with the plans, Westergren won’t go anywhere until a replacement has been found and is in place.
Amazon, Google, Pandora, Spotify and other tech companies are taking advantage of their influence in the Library of Congress to leverage a loophole in the Copyright Act to their great benefit and to songwriters great harm. Congress can stop them overnight if the Congress will act.
Pandora Media, Inc. has launched its long-awaited Pandora Premium on-demand competitor to Spotify according to reports from journalists who previewed the platform.
Pandora built Pandora Premium on top of its 2015 acquisition of RDIO’s assets in a controversial bankruptcy and is reportedly leveraging its Music Genome technology that allows Pandora to build on-demand playlists based on an artist’s name or work. Premium evidently transposes Pandora “stations” to Premium “playlists” with what sounds like largely the same functionality, including transferring “thumbs up” ratings in the historical interactive/noninteractive webcasting service. The Premium service evidently uses prior choices to recommend future music in the known-unknown dichotomy. And of course it sounds like you can download all the tracks.
What is different about Pandora’s on-demand service is that it implicates a license for songs that Pandora did not have to obtain for its webcasting service—the mechanical license for on-demand services and downloads. Pandora is evidently negotiating direct deals with major publishers and also is trying to encourage other songwriters to sign up to a “standard” mechanical license.
According to Rightscorp CEO Christopher Sabec, Pandora has filed approximately 1,193, 346 “address unknown” NOIs with the Copyright Office between April 2016 and January 28, 2017. I have been informed by other sources that representatives of Pandora have stated that the company intends to pay statutory royalties retroactively for any songwriter who comes forward and complies with the formality of registration, but I have yet to see a public statement by Pandora of this intention.
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.
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.
The proposed merger of AT&T and Time Warner has drawn censure from both sides of the political aisle, as well as a Senate hearing that looked into the potential for the combined company to become a monopoly.
But if we are going to examine media monopolies, we should look first at Silicon Valley, not the fading phone business.
Mark Cuban, the internet entrepreneur, said at the meeting of the Senate Judiciary Antitrust Subcommittee last week that the truly dominant companies in media distribution these days were Facebook, Google, Apple and Amazon.
“Facebook is without question in a dominant position, if not the dominant position, for content delivery,” he said.
Look at the numbers. Alphabet (the parent company of Google) and Facebook are among the 10 largest companies in the world. Alphabet alone has a market capitalization of around $550 billion. AT&T and Time Warner combined would be about $300 billion.
The radio industry is about to learn what many others already have — when you push Irving Azoff, he pushes back. Usually harder.
After nearly two years of negotiations over licensing rates for radio song plays, the Radio Licensing Music Committee (RMLC) recently “ambushed” Global Music Rights (GMR) — the nascent U.S. performance rights organization launched in late 2013 by Azoff, in conjunction with MSG Entertainment and with former ASCAP executive Randy Grimmett at the helm — with an antitrust lawsuit filed in the U.S. Eastern District Court of Pennsylvania on Nov. 18.
That was followed by the filing, on Dec. 6, Daniel Petrocelli and his firm O’Melveny & Myers of an antitrust suit on behalf of GMR against the RLMC in the U.S. Central District Court of California. Petrocelli stresses that the suit is not retaliatory, but was filed to fight the RLMC’s “collusive tactics to depress [the] prices” that radio stations pay songwriters.
Azoff, the legendary artist manager who began GMR because he felt songwriters were getting shortchanged in performance licensing, tells Billboard that he takes “artist rights very seriously. I grew up around guys named Lew Wasserman[former head of MCA, now known as Universal Music Group] and Steve Ross [who created Warner Music Group], who taught me to respect talent. We feel that they [the RMLC] violated respect for talent. We didn’t start this fight, but we aren’t going away.”