April 2 panel will be “Kafka Meets the Accountants: Metadata, Licensing and Money” Panelists are:
Dr. David C. Lowery, moderating
Helienne Lindvall of Ivors Academy
Ali Lieberman of SoundExchange
Michelle Lewis of SONA
Chris Castle and
Keith Bernstein of Crunch Digital
Details to follow!
David Lowery, Simplify Registration and Costs for the MLC
Chris Castle, MLC Metadata Showdown: What’s in a Name? Your money.
Abby North, Ex Parte Letter to Copyright Office On MLC Metadata Format
Charles Sanders, Comments of Songwriters Guild of America on Proposed MMA Rulemaking
Next week we will continue discussion of the Department of Justice [sic] ruling on 100% licensing and partial withdrawals from the songwriter’s point of view. Participants will be songwriters Michelle Lewis and Kay Hanley of Songwriters of North America, David Lowery and Chris Castle. Watch this space for links to the podcast when it is completed, probably August […]
via Watch this Space: MTP Podcast on 100% Licensing with Michelle Lewis and Kay Hanley of Songwriters of North America, David Lowery, Chris Castle coming soon — MUSIC • TECHNOLOGY • POLICY
Hello Spotify, Goodbye Songwriters
The Frame’s John Horn spoke with Songwriters of North America founders Michelle Lewis and Kay Hanley about why the Digital Millennium Copyright Act of 1998 no longer works in an era of music streaming services and what can be done about it.
MICHELLE LEWIS AND KAY HANLEY:
Your song “Wings” [performed by the band Little Mix] was streamed on Spotify several million times. Not that long ago, you got a royalty check for those streams. How much did that add up to?
LEWIS: I’d say by the end of the year, for the year that it played the most, it was worth about $4.78.
When you see that check or those pennies, what is your reaction?
LEWIS: What the … What’s going on? I was going to say a bad word, but I won’t.
What was going on? What happened to the money and how did you educate yourself about what was happening?
LEWIS: That was the catalyst that started me down the wormhole of how songwriters get paid for streaming services, specifically Spotify, Pandora and Apple Music. The way we get paid is not very well, really. A stream is for one person, whereas on radio it goes out to multiple people. They came up with a formula for what a stream is worth in the Digital Millennium Copyright Act introduced in 1998, which, I will remind you, was before the iPod. It determined what digital replications would be worth.
Read it on KPCC’s The Frame (and listen to the podcast)