New figures from the UK’s Association Of Online Publishers this week showed that its members’ online advertising income was down in the last quarter of 2019, ie even before COVID-19 struck. Both print and online media face those challenges, of course. The media firm said that COVID-19 has made the already challenging business of magazine publishing even more challenging. Both Q and Planet Rock magazine could be closed, sold or merged as part of the review. īauer Media confirmed that two of its music magazines were among ten titles that could be closed as part of a review of its publishing portfolio. For his part, Noch called Spotify’s allegations “laughable and blatantly false” and said that he looked forward to his day in court. In its countersuit, Spotify accused Sosa’s owner Jake Noch of being a “fraudster”, claiming that it removed his recordings from its service because of evidence he had been fraudulently boosting the number of plays of his own tracks. That label – Sosa Entertainment – sued Spotify last year accusing it of “unfair and deceptive practices”. Spotify countersued an American indie label which it previously kicked off its platform. The music industry welcomed the report and said it proved Congress now needed to reform the safe harbour. That said, the Office isn’t proposed a radical overhaul of the safe harbour, but suggested various ways US Congress might want to clarify or fine-tune the concept, which reduces the copyright liabilities of internet firms. It noted that the safe harbour in America’s Digital Millennium Copyright Act aimed to balance the interests of technology companies and copyright owners, concluding that that balance had been “tilted askew” against the interests of rights owners. The US Copyright Office finally published its long-awaited report on the copyright safe harbour, based on research that began back at the end of 2015. The industry should sort that out, she said, while remembering “you don’t mend a #BrokenRecord by smashing the record player”. Hence why ERA’s Kim Bayley stepped in to defend the streaming services, arguing that the real issue is how the 70% of streaming revenues paid to the music industry get shared out.
The debate is complex because of the way streaming works, but on social media and in the mainstream press it often ends up as Spotify-bashing.
Those artists reckon they do not get a fair share of the one revenue stream that has been resistant to shutdown, ie streaming. The digital pie debate has erupted again in recent weeks as many artists have seen their key revenue generators – eg touring, studio work, teaching – stop overnight as a result of COVID-19. The boss of the UK’s Entertainment Retailers Association joined the discussion over streaming royalties. The key stories from the last week in the music business… CMU Digest CMU Digest 25.05.30: ERA, Copyright Office, Spotify, Q magazine, 6ix9ine By Chris Cooke | Published on Monday
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