|Policy
There are a number of separate copyrights in music, but the history of ASCAP, BMI, SESAC and the broadcast industry involves only one, the “small” or “non-dramatic” public performance right.
Music legend Smokey Robinson and Nashville-based songwriter Josh Kear urged Congress on Tuesday to pass the first major music copyright reform law in decades, saying that many songwriters are struggling financially because they are not being adequately paid for use of their songs.
After purchasing programmatic audio platform AdsWizz in March, Pandora has become a force in the market.
On May 14, 2018, the MIC Coalition sent the following letter to Assistant Attorney General Makan Delrahim urging the Department of Justice to leave in place the important protections in the ASCAP and BMI consent decrees that help maintain efficient licensing for music users and fair compensation to music creators.
Rarely does a century-old musical instrument drive policy in Washington, but that’s exactly what’s happening in the music community at this moment.
One of the largest music streaming services will create 250 jobs in Atlanta.
Though Bruno Mars’s lighthearted “24K Magic” prevailed over more pointed albums from rappers Jay-Z and Kendrick Lamar, the 2018 Grammy Awards managed to get political through the words of its performers and presenters.
U.S. digital revenue grew 15 percent in 2017 to $6.5 billion from $5.65 billion, driven largely by a 53 percent increase in streaming to $3.4 billion from 2016’s total of $2.2 billion.
The music industry may be close to an agreement on how to pay musicians fairly for their work — just in time for Sunday’s Grammys. Members of Congress will hold a hearing Friday in New York City to discuss a bipartisan bill to rewrite music licensing and copyright laws, featuring testimony from celebrity artists like…
“In D.C. you’re never going to have 100 percent agreement, but CLASSICS has the support of Pandora and DiMA, the Digital Media Association, which represents online music services,” said Daryl Friedman, who oversees public policy work for the Recording Academy, in an interview before the hearing.