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Horribly greedy Apple, not satisfied with $164 billion wanted even more
In article m, Savageduck
wrote: Savageduck: ...and that is what is paid to the record companies. What the artists get depends on their contract with the record company and publishers. Swift gets a bigger slice because she has her own record company and publishes her own music. PAS: Publishing rights is where the money is. For broadcast radio, the artist doesn't receive any compensation when his/her/their song is played, the entity that owns the publishing rights gets paid. ...and guess who publishes Swift?s music, Taylor Swift Inc. That is a very sharp young lady, or she has very sharp handlers. http://www.bigmachinelabelgroup.com/...chine-records/ -- Sandman |
#112
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Horribly greedy Apple, not satisfied with $164 billion wantedeven more
On 6/26/15 11:20 AM, in article , "PAS" wrote: "Savageduck" wrote in message s.com... On Jun 26, 2015, PAS wrote (in ): wr ote in message news:2015062309232646865-savageduck1@REMOVESPAMmecom... On 2015-06-23 16:02:00 +0000, said: In , nospam wrote: Sandman: Of course not. Apple made a policy to share 70% of their revenue with the artists, which meant that if there was no revenue, there was nothing to share. nospam: 71% Sandman: 70% - 73% actually 71.5% according to reports In the states, it differs from country to country. Average is about 73% ...and that is what is paid to the record companies. What the artists get depends on their contract with the record company and publishers. Swift gets a bigger slice because she has her own record company and publishes her own music. Publishing rights is where the money is. For broadcast radio, the artist doesn't receive any compensation when his/her/their song is played, the entity that owns the publishing rights gets paid. ...and guess who publishes Swiftąs music, Taylor Swift Inc. That is a very sharp young lady, or she has very sharp handlers. Most artists own the rights to their own songs. That was not the case in the 50s and 60s for many popular artists. Little Richard has been in litigation for decades over his music. He wrote most of the songs he performed but was taken advantage of and had his publishing rights taken. He said that as a poor boy from Georgia, when "they" promised to give him a house and new Cadillac, he would sign anything they asked him to. There were no lawyers advocating for the artists. Fortunately, that is not as prevalent anymore. The record companies still manage to wring every penny out of artists. A new band can have a gold album and not make much money off of it after the creative accounting by the record company is finished. Google the name "Don Robey" and you will have the DEFINITION of what you describe above. If you get a chance, read "Down in Houston Bayou City Blues". |
#113
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Horribly greedy Apple, not satisfied with $164 billion wanted even more
"PeterN" wrote in message
... On 6/26/2015 2:24 PM, PAS wrote: "PeterN" wrote in message ... On 6/26/2015 11:58 AM, PAS wrote: snip Publishing rights is where the money is. For broadcast radio, the artist doesn't receive any compensation when his/her/their song is played, the entity that owns the publishing rights gets paid. Depends on the contract. Both ASCAP and BMI have a formula to calculate the royalties. There is no question that a portion of the royalties, under a properly drafted contract, goes to the artists. In quite a few cases the artist has been given a flat fee, in lieu of royalties. If the work becomes a super hit, the artist sometimes forgets that the royalties have been sold. BMI and ASCAP serve songwriters and publishers, they don't serve performers or pay royalties to performers unless they are the writer and/or publisher. Performers get no royalties from their songs being played on broadcast radio unless they happen to be the writer/publisher and then, in that case, they receive royalties as the composer and/or publisher, not the performer. From https://www.futureofmusic.org/articl...und-recordings No Royalties to Performers for Terrestrial Radio Play Although royalties are distributed to songwriters and publishers for public performances for terrestrial radio play, this right does not extend to the performers or the sound recording copyright owner (usually the record label). So, when you hear Patsy Cline singing “Crazy” on the radio, songwriter Willie Nelson and his publisher are compensated through BMI, but the estate of Patsy Cline receives no pay for the performance. Neither do the studio musicians, backing vocalists, or the record label. This arrangement is the result of a long-standing argument made by terrestrial broadcasters that performers and labels benefit from the free promotion received through radio play. Broadcasters contend that airplay increases album sales, which leads to compensation for performers and record labels. As a result, broadcasters have, for decades, convinced Congress that they should be exempt from paying the public performance royalty for sound recordings. But the broadcasters’ argument is steadily losing relevance, and their exempt status becomes more questionable when compared to other countries’ broad requirements for performance royalties. I was mentally directoward the owners of the copyright. At one time the stations were paid to play and promote a song or alblum. Ahh, the old "payola" scandals! If the performer has a proper contract, the performer will get a share of the royalties. There was a time when TV actors did not get paid for reruns. Now, most do. It is all a matter of negotiation. -- PeterN |
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