You’ve written and recorded a song, now you want people to listen to it. What’s next? We start off the year with our first Music 101 episode, where we talk about the songwriting, publishing and master rights related to self-releasing music. ASCAP’s Marc Emert-Hutner helps us decipher some of the acronyms every musician should know in order to understand their rights. Then, Kevin Breuner of CD Baby returns to the show to talk about how to distribute music yourself. SoundExchange’s Michael Darpino wraps up by telling us how musicians can collect royalties.
Subscribers pay about $10 a month for most streaming services — with that kind of cash, shouldn’t musicians be making more from these platforms? For their short history, music streaming services have operated by putting all of their subscription revenue into one big pool. The pool is then divided by the total number of plays — this is called the pro rata method. Some people believe that this system is ripping customers off. Why shouldn’t your money go directly to the artists you’re listening to rather than into the big pool? Today on The Future of What, we talk to two of the people championing a new way of streaming called subscriber share, Sharky Laguana and Dick Huey. We also talk with Tim Quirk, formerly of Google Play, who argues against subscriber share.
In this episode, we dig deep into the “Fair Music: Transparency and Money Flows in the Music Industry” report recently presented by the Berklee Institute for Creative Entrepreneurship (BerkleeICE). Joining us for the discussion are Panos Panay (founder of BerkleeICE and SonicBids), David Lowery (songwriter for Camper Van Beethoven and Cracker, writer at The Trichordist), Mike Huppe (CEO of SoundExchange), and Jeremy DeVine (founder of Temporary Residence Ltd.).
On April 13, Congressman Jerrold Nadler introduced the “Fair Play, Fair Act” (H.R. 1733) into congress. The bill itself is designed to create a level performance royalty for artists across all listening platforms, instead of having different amounts paid to artists depending on whether or not the audience chooses to listen on terrestrial radio, satellite radio, or online. In this episode, Portia speaks directly to the congressman about the creation of the bill, and then toggles over to Ted Kalo of musicFIRST to talk about the likelihood of the bill’s passing. Valerie Day of the band Nu Shooz (best known for their 1986 hit “I Can’t Wait”) closes the hour with a frank discussion about how much she’s made from thirty years of radio play in the U.S.