Blake Morgan founded the #irespectmusic campaign to support fair treatment for creators, starting with over 13,000 signers of a petition calling on Congress to support artist pay for radio play. After Reps. Jerry Nadler and Marsha Blackburn introduced the Fair Play, Fair Pay Act, #irespectmusic supporter and radio programmer Karoline Kramer-Gould co-signed a letter to Chairman Bob Goodlatte supporting Fair Play, Fair Pay, the only radio worker to take a public position contrary to the National Association of Broadcasters.
#irespectmusic has also embraced support for the Songwriter Equity Act through a partnership with the National Music Publishers Association. David Israelite, NMPA’s CEO, referred to #irespectmusic as the largest spontaneous grassroots movement in American music history.
The panel will discuss the importance of artist rights advocacy at the grassroots level, citizen engagement and lessons learned from the #irespectmusic campaign.
Tuesday, February 9, 2016
6:15 PM Check-In ● 6:30 PM Cocktails ● 7:00 PM Dinner
SPORTSMEN’S LODGE EVENTS CENTER
12833 Ventura Blvd, Studio City, CA 91604 (Coldwater Canyon & Ventura Blvd)
Chris Castle, Founder, Christian L. Castle, Attorneys, Austin. Editor of MusicTechPolicy and contributor to Huffington Post.
Adam Dorn, aka Mocean Worker is a recording artist, film/tv composer and music publisher. He’s a member of the SONA Board (Songwriters Of North America) who’s very passionate about songwriters rights
Karoline Kramer-Gould, radio programmer & music lover, Cleveland OH
David Lowery, co-founder of Cracker and Camper Van Beethoven, writer of The Trichordist and lecturer at Terry School of Business, University of Georgia, Athens, GA
Blake Morgan, singer-songwriter, producer and owner, ECR Music Group, New York, NY
…and special guests!
Money is the mother’s milk of politics.
Jesse “Big Daddy” Unruh, California State Treasurer 1975-87
Yes…it’s that time again. The U.S. Presidential campaigns are underway, aren’t you glad?
In case you were wondering why not a single Presidential candidate ever addresses any of our issues, let’s take a look at who’s given money to the candidates so far courtesy of Open Secrets. We’ll check back periodically.
If any of them ask you for money or your vote, be sure to ask them for their position on the Songwriters Equity Act and the Fair Play, Fair Pay Act (especially the sitting senators). You might also ask them why they don’t include Silicon Valley in the list of villains alongside “Wall Street” and “the banks” and “the drug companies”.
We’ll focus on the top finishers in the Iowa caucuses and the top 10 donors to each, although you can drill down further if you like on the Open Secrets site. All of the donor totals include contributions grouped by contributor to the candidate’s campaign committee plus any super PACs or hybrid PACs working on his or her behalf.
“Alphabet, Inc.” is the new name for Google, kind of like “iHeart” is the new name for Clear Channel. Maybe Google will give Bernie a tour of Moffett Field.
Streaming services like Pandora and Spotify try to get artists to believe that their various artist data programs can have an affect on touring as in if you have activity in a particular location you’ll be able to tour there. YouTube also brays about number of views, etc. Of course the streaming boosters in the press accept this uncritically. Anyone who’s ever booked a gig–as in successfully booked a gig–will know how this goes. You’ll be lucky to get laughed at, because that would mean that you at least got the booker on the phone. Once.
If you ever believed this bunk, Digital Music News has a post that should make you go home and reconsider your life and demonstrates the fundamental reason why a talent buyer is never going to believe that streams matter absent a lot of other confirmation. And, of course, if they have that other confirmation, they don’t care about the streaming.
Why? Butts in seats, baby, butts in seats.
As Paul Resnikoff shows in How Much for 1,000 Spotify Plays? Just $5…, it’s all for sale and to one degree or another, the streaming services surely are aware of the problem–since it’s advertised on Craig’s List according to DMN:
But when it comes to inflated play counts in music, almost everything is now in play, including Spotify. In fact, Spotify seems to be an increasingly important menu item alongside the usual social media culprits.
This appeared on Craigslist this week in Los Angeles (and probably other cities as well). But $34.95? That is downright exorbitant compared to some alternatives, including Streamify, which offers artists 1,000 plays over a three-day span for just $5.
The California Copyright Conference will be hosting a panel entitled “The I Respect Music Campaign and the New Grassroots Artist Rights Advocacy” on February 9 from 6-9:30ish at the Sportsman’s Lodge in Los Angeles. We will be having a wonderful group of panelists in Adam Dorn pka Mocean Worker, Karoline Kramer-Gould, David Lowery and Blake Morgan.
CCC Members and College Students $45 per person | Non-members $55 per person
Students must show College ID at the door, if paying at the member rate
The I Respect Music Campaign and the New Grassroots Artist Rights Advocacy
[Editor Charlie sez: Chris interviewed Karoline Kramer Gould on the Huffington Post about her courageous letter to Chairman Bob Goodlatte supporting artist pay for radio play and the Nadler/Blackburn Fair Pay Fair Pay Act. Don’t forget: Karoline will be on the California Copyright Conference panel Chris is moderating on The New Grassroots next Tuesday in Los Angeles along with Adam Dorn, David Lowery and Blake Morgan.]
I love music. I was lucky enough to grow up in Cleveland during the time that WMMS ruled the airwaves. Their promotion of new and upcoming acts, and their support of the local music scene, set an example for me to follow when I started working in radio.
It was my honor to use my position at WJCU/The Heights to help launch musicians such as Mumford & Sons, Bastille, American Authors, Hozier and Walk the Moon.
In October 2015, I co-wrote a letter with Blake Morgan, a musician and founder of the ‘I Respect Music’ campaign, to Representative Bob Goodlatte, Chairman of the Judiciary Committee, to express our support for H.R. 1733, the Fair Play, Fair Pay Act. That letter and the Huffington Post article about it (http://www.huffingtonpost.com/chris-castle/music-director-at-tastema_b_8386548.html) have helped bring focus to the plight of unpaid musicians in radio.
In short, terrestrial radio stations don’t pay recording artists a performance royalty. They never have. The United States is the only democratic country that doesn’t. In fact, there are very few countries in the world that don’t pay royalties to musicians when their music is played on AM/FM radio. Some of the other countries? Iran, North Korea, Rwanda, and China.
While radio stations reap the revenue from broadcasting a recording artist’s work, the life of a ‘starving artist’ is no joke. For every mega-millionaire pop star out there, there’s an army of struggling musicians, pursuing a dream while trying to make ends meet. The life of a touring band isn’t easy. They spend months on the road. Their vans are usually held together with duct tape and prayers – breaking down, missing a gig and missing out on the revenue of merchandise sales is the stuff of nightmares.
These recording artists scrape together money for food and gas on the road, sleep at rest stops, wash up in the bathroom, and spend time away from their families while they pursue a dream.
We had a three-member band visit the station a few months ago. When they arrived, only two members came in. I asked about the other band member and they told me she was feeling pretty sick and they were going to take her to urgent care after the interview. I offered to let them skip the interview, but they were determined to go forward.
That night at their concert I found out she had been diagnosed with walking pneumonia. But there she was on stage, performing her heart out. They couldn’t cancel the show. And she couldn’t give a performance that wasn’t 100 percent even though she knew it would delay healing.
I’ve helped bands load their equipment and run cable for them. I’ve worked their merchandise tables. I’ve run them to the store because they needed the basics. I’ve washed their laundry for them. I’ve fed them. And even one or two have slept on my couch because I couldn’t imagine them sleeping in their tour van another night.
I’ve seen firsthand how hard these musicians work day in and day out. They are no different from any other American, deserving of fair compensation for the service they provide. Without the constant flow of new music from up and coming artists, radio stations would not have a product to offer their listeners, and the music world would be a lesser place.
I find it unfathomable that terrestrial radio thinks it is entitled to profit from the work of others without offering them a slice of the pie. This is why I support the Fair Play, Fair Pay Act.
I love music, but I don’t love what’s happening to musicians. It’s time for radio stations to play fair and support these hard working American artists. It’s time for music fans everywhere to speak up and demand that radio does the right thing.
Blake Morgan took the #irespectmusic campaign to Capitol Hill again last week, this time in support of the Songwriter Equity Act (bill numbers HR 1283 and S662) with staff in the U.S. Senate. His meetings included his own New York Senators Chuck Schumer and Kirstin Gellibrand.
One of the cornerstone principles of the #irespectmusic campaign is to support the ideal of fair treatment for all creators and is not limited to specific legislation. Here’s an example. Principle: Artist pay for radio play. Bill: Fair Play, Fair Pay. Principle: Songwriters should be fairly compensated. Bill: Songwriter Equity Act.
Blake’s trip to Washington coincided with the second anniversary of the #irespectmusic petition. The movement is now in its second session of Congress–it started in the second year of the last session (the 113th) and is now working on the current session of Congress (the 114th).
Blake wrote this insightful post that we got permission to reprint on MTP:
If I honestly share what I’m hearing in these closed-door policy meetings I’m having with Senate offices, it’s a loud and clear, consistent theme: the grassroots component we’ve all added over the last two years is not the most important thing that will win the fight for American Music’s future.
It is––in fact––the only thing that will do it.
I can’t tell you how many times over the last two days I’ve been told, “Keep doing what you’re doing because as the volume and pressure grows out there, it grows in here. As people step up and speak out more across the country, the people here on the Hill do the same. Look at where this is all at now, compared to just a year ago.”
So here’s my promise. I’m not doubling down.
I’m all in.
Thank you Senators Gillibrand, Leahy, Coons, Mikulski, and their staffs, for meeting with me, for listening, and for having such a productive and honest dialogue with me. This grateful songwriter and music maker hears you too. Loud and clear.