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Artemis Records gives Net radio 1 year reprieve on royalty fees
BY PAUL MALONEY
Independent record label Artemis Records
, home to artists like Graham Nash, Warren Zevon, the Josh Joplin Group, Rickie Lee Jones, and Steve Earle, has announced it will waive webcasting royalty fees for their music for one year.

The waiver contract is available for viewing and downloading from the label's website here.

"In allowing free use of our catalog at this early stage we hope to stimulate the Internet radio format," said Artemis Chairman and CEO Danny Goldberg (pictured at left) in a press release. Goldberg called the waiver for webcasting "an incredibly worthy marketing and promotional tool."

Goldberg told Reuters (here), "We're a small company with a lot of music that doesn't get played on commercial radio. I appreciate the Webcaster. In terms of the future, the diversity they offer is valuable to a label like ours. I wanted to make a gesture of support."

Goldberg is the former Chairman and CEO of Mercury Records, Warner Brothers Records, and former President of Atlantic Records.

Artemis artists also include Marah, Boston, Jay Farrar, Mississippi North All Stars, and the Reverend Horton Heat.

Artemis is not a member of the Recording Industry Association of America (RIAA), the industry organization representing the major labels and dozens of independents that has been at the forefront of the struggle with webcasters over royalty fees.

However, according to Reuters, the RIAA has no objection to Artemis' decision. A spokesman said, "From the beginning, we have always argued that the copyright holder should have control over how their music is used."

...

...
I think Mr. Goldberg is making a smart move, though maybe not such a great one for webcasters. He ends up looking like the good guy, doesn't give too much away (actually, he doesn't permanently give up anything), and he and his artists just may end up reaping the benefits of strong support on Internet radio (I would imagine some Net radio programmers are taking a good look at the Artemis roster right now).

While most webcasters
we've heard from seem to embrace the Artemis move, others are stressing some caution in regards to the terms of the waiver contract (as there should be for any contract), and we would agree.

For instance, webcasters should note that the one-year waiver period begins August 1 2002. In other words, this contract would not relieve Internet radio of its "retroactive" obligations to the record company.

Here's more. This is directly from the contract:

"8. Company shall maintain a comprehensive database of all public performances of the Masters transmitted hereunder and all ephemeral recordings of the Masters created hereunder. Such information, along with aggregate information regarding users of the Site, shall be provided to Artemis upon request (but in no event more than one time per week). The parties acknowledge that all such information is the joint property of the parties hereto."

So, Artemis expects: (1) "census reporting" (as opposed to "sampling") for recordkeeping, if we're to take the word "comprehensive" literally; (2) a record of ephemeral recordings, a request of record labels that the Librarian of Congress seems to have pretty strongly rejected; (3) user information, which even the RIAA has dropped as a demand; and (4) joint ownership of the valuable database of listener habits you build with your business.

This is probably a good business move for Artemis, but it seems as if webcasters perhaps should beware. (On the other hand, this may merely be an example of a legal department getting carried away with their work and going beyond the wishes of their client).

Please feel free to use the "Feedback" form below to share your thoughts and comments. -- PM
...

 


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    Kurt and Paul, this is deep background -- don't quote me!

        Thanks!

 

Hackers shut down RIAA site when group supports Berman bill
From CNet News.com: "The Recording Industry Association of America's Web site was unreachable over the weekend due to a denial-of-service attack.

"The apparently deliberate overload rendered the RIAA.org site unavailable for portions of four days and came after the group endorsed legislation to allow copyright holders to disrupt peer-to-peer networks.

"The malicious flood started on Friday and did not involve any intrusion into the RIAA's internal network, a representative for the trade association said on Monday afternoon. Nobody has claimed credit for the denial-of-service attack, which ended at 2 a.m. PDT on Monday.

"'Don't they have something better to do during the summer than hack our site?' asked the RIAA representative, who asked not to be identified. 'Perhaps it at least took 10 minutes away from stealing music.'..

"On Thursday, the RIAA endorsed a bill written by Rep. Howard Berman, D-Calif., that would authorize copyright holders to begin 'blocking, diverting or otherwise impairing' peer-to-peer networks."

Read this entire article by Declan McCullagh at CNet here. RAIN's coverage of the Berman bill is here.

On Friday, while looking for official public comment from the record industry on the Inslee bill (see RAIN here), we were unable to connect to both the RIAA and SoundExchange sites.

 
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Reader feedback

"The product has been paid for. Period..."


Can't an analogy be made here? Correct me if my logic is flawed:

I purchase a bus. I then use it for commercial purposes, delivering people to various destinations. Do the new owners of this bus pay 'royalties' on the ticket sales to the manufacturer of the bus? Change the words 'bus' to 'car' and now you have a taxi. Is the taxicab company paying royalties to the auto manufacturer for all the extra money they make in taxi fares? I don't think that's the case (correct me if I'm wrong).

So music production is the same. Just as there are automobile and truck/bus 'creators' (designers) and 'producers' (manufacturing), so is it with music. Same process; different product.

Once the record is paid for (which I always did -- nothing obtained from Napster and the such), the product has been paid for. Period. Imagine Honda charging car owners every time someone saw them driving a Honda! Better yet, charged them every time they talked great about the car they bought!?!?

  Mike Cross
MYNDFK


This is feedback to the SoundExchange response to the Inslee bill (see RAIN here)...

"I'd like to see him say that to artists..."


SoundExchange's John Simson: "When will recording artists and those who invest their time, energy and considerable resources to create one of our country's greatest legacies -- sound recordings -- be allowed to receive fair compensation for their creations?"

Ha ha! I'd like to see him say that to artists that had been swept under the rug by the record labels until Internet radio reintroduced those "forgotten" or unknown artists to a worldwide audience for free.

  Arek
FutureAssassin.com


"It will be far more than $500..."


Apparently Hilary Rosen just doesn't get it and/or has complete and utter tunnel vision. The quotes in the article suggest that college stations are basically nothing and only a handful of people listen to it at any given time. She apparently misses or ignores the facts that most college stations aren't some cheapened tiny 50-watt studio deal with wannabe-jock kids running circa 1960 radio equipment.

Furthermore, she claims that you must have a "business model." Last I checked, small nonprofit organizations don't have an elaborate business model as a regular company or business would because they're not in it to make money off of this, especially since most are run by students, not businessmen.

With student fees and the like covering their budgets, usually ends meet OK. However, granted, $500 isn't a lot at all and I'm positive many stations, to continue streaming, would be happy to pay such. The problem is that we're all complaining because it will be far more than $500 to stream.

To run $500 a year based on the estimated figures of the original nonprofit/non-CPB stations ($0.0002 per song, 15 songs an hour, 24 hours a day, 365 days a year), there can be no more then an average of 19 listeners at any given time. (At the old $0.0007? Just over 5.)

I believe college radio stations have far more people then that tuning in and listening. I know ours is (or rather was) around 150-200. Do the math. That's a bit more then $500.

  Matt Feato
WMUA-FM
UMass-Amherst


...
Silenced by royalties

Here is a growing list of webcasters who, because they don't feel they can manage webcasting royalties in a viable business, have decided that it's in their best interests to silence their streams. (We thank them for their hard work and dedication to their audiences and the industry, and wish them luck in their future endeavors...)
All80s.com AudioCandy.com BlueMars.org
BrazilCast 1 & 2 Celtic Heritage Webradio Chez Whitey
Entercom stations Good Time Oldies Radio Greater Media stations
GrrlRadio HitRadio.biz Hot Hit Radio
IdahosCast.com KDFC/San Francisco KEOM/Mesquite
KGRK/Cedar Falls KKDV/San Francisco KKPT/Little Rock
KKUP/Cupertino KMGO/Centerville KOIT/San Francisco
KPIG/Freedom, CA KTRS/St. Louis KWXY/Cathedral City
Lotus Radio stations McClure stations Midwest Family stations
Minion Radio MonkeyRadio.org MoreMusicRadio.net
MYNDFK.com NetRockRadio.com NextMedia stations
OnTheCorner.fm Perkigoth.com Powerrocks.com
Progrock.com Psychedelic Time Warp Pulverradio.com
RadioBoston.com RadioCentral.com Radio Free Akron
Radio Free BD Radio Free Tiny Pineapple RadioMaxMusic
RKNA: Aural Arcana SavageRockRadio.com Simmons Media stations
SomaFM.com StarDogRadio.com TagsTrance.com
The City Radio therockfm.com The Zoo
WAAF/Worcester Waitt Radio Network WCKW/La Place
WellsRadio.net WEST/Easton WGQR/Elizabethtown
WLUP/Chicago WMHB/Waterville WMMR/Philadelphia
WOVRadio.com WRLT/Nashville WRVG/Georgetown
WSBF/Clemson WYYB/Phoenix Yahoo! Radio stations
Have we missed others? Use the feedback form above or e-mail us here.

Public stations now off line
This is from the SOS: Save Our Streams website, which focuses the struggle against thewebcasting royalty rates as they pertain to independent educational and noncommercial stations.
WMHB-ME; KTAI-TX; The VOICE-CA; UCLA Radio-CA; KKUP-CA; KNHC-WA; KAPU-CA; WMUA-MA; WEBR-VA; WDCE-VA; KWJC-MO; WERS-MA; KTSW-TX; WSUM-WI; WSTB-OH; WONB-OH; WXOU-MI; WZIP-OH; WUTK-TN; KETR-TX; WSBF-SC; WRMC-VT; KSDS-CA; WNYU-NY; WSUW-WI; WEVL-TN; KRCL-UT; WSRN-PA; KXCI-AZ; WUVT-VA; KDHX-MI; WPTS-PA; KBCS-WA; WMHW-MI; KBVR-OR; KXRJ-AR; WDWN-NY
 
Upcoming conferences
Sept. 12-14, 2002 NAB Radio Show 2002: Seattle, WA
Oct. 1-4, 2002 Streaming Media East: New York, NY
Oct. 20-22, 2002 NAB European Radio Conference: Prague, Czech Republic
Oct. 30-Nov. 2, 2002 CMJ Music Marathon 2002: New York, NY
 

 

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