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Posts Tagged ‘Performance Rights’
February 8th, 2024 at 12:35 pm
TikTok’s Latest Assault: Ripping Off American Artists and Songwriters
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Americans are by now broadly aware of the threat posed by Chinese-owned TikTok, including its threat to U.S. national security.

In recent days, we’ve witnessed in real time another emerging TikTok threat reaching the headlines:  The threat it poses to intellectual property protections, which undergird America’s status as the most artistically and musically productive and influential nation in human history.

Universal Music Group, however, has decided to stand up and fight back by removing its catalog of songs – including artists like Taylor Swift, Drake and Billie Eilish – from TikTok.

Tone-Deaf TikTok has built its aggressive worldwide empire largely on the backs of music created by American artists, as even its corporate leadership openly admits.  As TikTok’s very own “Year in TikTok 2021 Music Report” states in its opening sentence, “Music is at the heart of the TikTok experience.”

Those are its own words.  Indeed, TikTok content features music to a degree beyond other social media platforms.

As the contractual relationship between Universal and TikTok approached its end on January 31, TikTok decided to play hardball by proposing to compensate songwriters and artists a fraction of what other social media platforms pay, essentially disregarding its reliance on music-based content amid ascending advertising revenues and user base.

In other words, TikTok demands a right to build a music-reliant business without paying fair market value for that music on which it relies.

Songwriters and performing artists invest enormous amounts of time, talent and resources in creating their original works of art.  In so doing, those artists and songwriters obtain intellectual property rights in their creations.  By leveraging its massive and growing worldwide power, TikTok seeks to exploit those creative works for its own benefit without just compensation.  That violates the artists’ intellectual property rights, which have provided the fuel by which America became the world’s leader in music influence.  Artists deserve fair compensation for the use of their creations, and TikTok cannot be allowed to jeopardize America’s system of IP protections.

It also merits emphasis that TikTok’s behavior threatens emerging artists and songwriters most of all.  Whereas established artists often possess other potential revenue sources, emerging artists and songwriters rely more heavily upon royalties and fair compensation for their works.  Consequently, TikTok’s refusal to fairly compensate for use of music in expanding its platform will stifle growth of new musicians and restrict their ability to sustain careers in an already competitive industry.

TikTok has made many enemies, and its behavior in this instance helps illustrate why that’s the case.  It is inherently unfair and improper for TikTok to use its vast and growing control to exploit songwriters’ and musical artists’ creations to amass even more profits and expand its worldwide reach without offering fair compensation to those creative minds who play such an outsized role in its business model and growth.

Universal Music Group merits applause for standing up to TikTok, which may inspire others in positions of power to follow its lead.

 

February 5th, 2018 at 1:47 pm
Music Industry Fairness – 2018 Offers a Perfect Opportunity for Reform
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We at CFIF have long advocated greater fairness for musical performers in securing fairness for their performance rights.

Under byzantine laws, artists receive just compensation whenever their post-1972 recordings are played, but in many cases not for their pre-1972 recordings.  That’s an indefensible and arbitrary artifact that has persisted far too long.  Why should Neil Diamond receive payment whenever “America” is played, but not classics like “Solitary Man?”

Fortunately, the opportunity to correct that unfairness has arrived.  Even better, legislation to correct the existing flawed system arrives alongside other music legislation that galvanizes the coalition to finally correct the situation.  As a result, a broad coalition of music organizations representing everyone from songwriters, composers, performers, publishers and labels support three new pieces of legislation, as summarized cogently by the Recording Industry Association of America (RIAA):

The Music Modernization Act would be the most significant update to music copyright law in over a generation, and represents unprecedented compromise across all aspects of the music industry.  The bill reforms Section 115 of the U.S. Copyright Act to create a single licensing entity that administers the mechanical reproduction rights for all digital uses of musical compositions – like those used in interactive streaming models offered by Apple, Spotify, Amazon, Pandora, Google and others.  It also repeals Section 114(i) and, consistent with most federal litigation, utilizes random assignment of judges to decide ASCAP and BMI rate-setting cases – two provisions that will enable fairer outcomes for songwriters and composers.

The CLASSICS Act (Compensating Legacy Artists for their Songs, Service, & Important Contributions to Society Act) would benefit artists and music creators who recorded music before 1972 by establishing royalty payments whenever their music is played on digital radio.  SoundExchange would distribute royalties for pre-1972 recordings played by Internet, cable and satellite radio services just as it does for post-1972 recordings.  Currently, only sound recordings made after 1972 receive payments from digital radio services under federal law.

The AMP Act (Allocation for Music Producers Act) for the first time adds producers and engineers, who play an indispensable role in the creation of sound recordings, to U.S. copyright law.  The bill codifies into law the producer’s right to collect digital royalties and provides a consistent, permanent process for studio professionals to receive royalties for their contributions to the creation of music.”

Unfairness has persisted too long in America’s system of compensating musicians for performance of their songs.  The emerging coalition coalescing around these key pieces of legislation, which CFIF strongly urges all members of the House and Senate to support, and the White House to sign, allow a unified effort to finally bring reform in 2018.

October 30th, 2015 at 10:06 am
CFIF in Wall Street Journal: Gov’t Shouldn’t Pick Winners in Music Creator/Digital Broadcaster Negotiations
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This morning, The Wall Street Journal kindly included CFIF’s take on the ongoing compensation rate negotiations between music creators and digital broadcasters.  Simply put, our position is that the federal government shouldn’t be in the business of favoring one side or the other.  In an optimal world, the free market would dictate rates and the federal government would play no role.  Because current law mandates that federal regulators at the Library of Congress determine the rate that music creators receive when digital broadcasters play their songs, however, it is critical that regulators remain neutral rather than unfairly favoring one side or the other:

We agree with Bartlett Cleland that free-market negotiation between music creators and Internet broadcasters, not federal regulators, should optimally determine broadcast compensation rates.  Until that time, however, we respectfully disagree that regulators should artificially favor the streaming services industry.  Digital broadcasters possess no inherently superior right to their business model than do musicians, but Mr. Cleland’s suggested course unjustifiably favors the former over the latter.  If anything, artists possess the superior claim, since without their creations digital radio wouldn’t have that product to offer consumers.  And if streaming services consider payment requirements excessive, then they can adjust what they charge advertisers or subscribers to sustain their model.

The federal government should not be in the business of playing favorites.

Timothy Lee

Center for Individual Freedom, Alexandria, Va.

July 28th, 2015 at 3:47 pm
Congress Should Oppose the So-Called “Local Radio Freedom Act”
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Elementary concepts of fairness demand that musical artists and performers remain free to negotiate performance rights with broadcasters that seek to play their songs.  Indeed, current law allows artists to mutually bargain with satellite, Internet and cable stations.

The only exception:  traditional AM-FM radio stations, which are unfairly protected by federal law from having to negotiate with artists for performance rights.  This is precisely the sort of crony capitalism against which the American electorate is increasingly irate.

Unfortunately, rather than advocating market reform, some in Congress wish to cement the current protectionist status quo.  Under the so-called “Local Radio Freedom Act,” whose very name contradicts its real-world effect, terrestrial radio’s unjustifiable exemption from having to negotiate performance rights would be made more permanent.  The bill would foreclose bargained-for negotiation between artists and stations for compensation, perpetuating stations’ ability to earn billions by playing songs without paying for them.  And in an example of of supreme chutzpah, the same traditional radio stations benefiting from that loophole turn around and ask Congress to require cable and satellite providers to pay them for retransmission of television programs of stations they happen to own.

The bill’s proponents advance the offensive claim that artists seeking payment should just shut up and appreciate that their works get played over the air, thereby providing them publicity and advertising.  But that’s not something that stations should dictate.  The creators and performers of those songs should be free to determine which market model they prefer – performance for payment or free of charge.  That’s how a free market works.

Accordingly, we at CFIF have joined an array of fellow free-market organizations in a letter to Congress stating our objections to this protectionist and crony capitalist proposed legislation:

We urge you to refrain from co-sponsoring the Local Radio Freedom Act, which sanctions the status quo, and has a chilling effect on the development of a forward-thinking policy that respects the rights of all music producers in all media.  The Constitution protects private property rights and specifically delegates to Congress the authority to protect creative works.  Unfortunately, LRFA closes the discussion about how to best protect property rights by resolving that terrestrial radio should never pay performance royalties on music broadcast on their stations used for raising advertising revenue.  This is not equitable treatment for any musical artist or music distribution service.”

Americans are justifiably fed up with the sort of protectionism and cronyism that this proposed legislation represents.  We accordingly urge Congress to reject it, and that our hundreds of thousands of supporters and activists across the country to contact their representatives in Congress and express their opposition as well.

June 29th, 2015 at 1:03 pm
Protectionist “Local Radio Freedom Act” Would Prevent Payment to Musicians for Songs
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Under current law, recording artists remain free to negotiate performance payment rights with Internet, cable and satellite stations.  Due to an unfair exception, however, artists cannot negotiate in the same manner with traditional AM-FM radio.  Unfortunately, proposed federal legislation backed by broadcasting interests would cement that anomaly.  Deceptively entitled the “Local Radio Freedom Act” (“LRFA”), the bill would stifle a potentially freer marketplace and foreclose future negotiation for payment to musicians for songs.

If successful, that would perpetuate terrestrial radio broadcasters’ ability to exploit a legal loophole allowing them to earn billions of dollars by playing songs whose artists would remain uncompensated.  Exacerbating matters, those same terrestrial broadcasters simultaneously ask Congress to require cable and satellite providers to pay them for retransmission of television programming from stations that they own.  That similarly violates straightforward concepts of fairness and intellectual consistency.

This past January, CFIF joined an array of other free-market organizations in a letter to Congress opposing the LRFA and setting forth the policy basis for our objection:

The Constitution protects private property rights and specifically delegates to Congress authority to protect creative works.  Unfortunately, LRFA closes the discussion about how best to protect property rights by resolving that terrestrial radio should never pay performance royalties on music broadcast on their stations used for raising advertising revenue.  That is not equitable treatment for any musical artist or music distribution service.”

Fortunately, there’s a superior alternative also before Congress.

Representative Marsha Blackburn (R – Tennessee), perhaps the most reliable advocate of property rights in Congress, has joined Representatives from both parties in introducing the Fair Play, Fair Pay Act of 2015.  This bill would correct the existing unfairness described above by finally requiring terrestrial broadcasters to negotiate with artists who seek compensation for broadcast of their creative works.

Advocates of LRFA claim that artists have no reason to complain when terrestrial radio plays their works without compensation, since that provides them publicity and free advertising.  But that’s something for artists and broadcasters to freely negotiate, rather than have broadcasters make that decision for them and deprive them of choice in the matter.  Some artists may indeed opt to allow their works to be broadcast for free.  But as Taylor Swift just illustrated in standing up for her rights, other artists have a right to disagree and negotiate payment for those playing their songs.

CFIF believes that property rights, including intellectual property (IP) rights for artists and musicians, must be fiercely defended.  America’s foundation of strong IP protections is one reason we’re the most innovative and artistically productive nation in human history.  Accordingly, we encourage our supporters and activists to contact their representatives, demanding that they reject the dangerous LRFA and support Rep. Blackburn’s PRMA.