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Bitesize Bodacious Babes

Gabrielle Corbett

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8 🍑 Neighbouring Rights Get Paid for Your Plays | Guests: Ann, Naomi, Stacey (IAFAR)

I am joined by the three women who co-founded IAFAR (Independence Alliance For Artist Rights) have long histories and knowledge in r. Ann Tausis (from Sweden originally and currently CEO of Kobalt Neighbouring Rights in London), Naomi Asher (from Los Angeles and is currently President at Wixen Music Publishing UK), Stacey Haber (originally from New York and is the owner of The Music Firm). WHERE THEY WORKED: ✨ Sweden Music (ABBA company run by Stig Anderson who was their manager at the time). It was bought by Polygram. ✨ Universal Music ✨ Kobalt ✨ Instinct Records (the first artist they ever signed was Moby) ✨ Western House Broadcasting which is now CBS TV USEFUL NOTES / TIPS: ✨ CMO = Collective Management Organisation ✨ Sound Exchange:  US performing rights CMO for neighbouring rights when recordings are played in public; these royalties are for labels and featured artists. ✨ 'The Rome Convention': The Rome Convention secures protection in performances for performers, producers of recordings and in broadcasts for broadcasting organizations. The US and Australia are among the countries that are not signatories. ✨ PRS For Music: Performing rights organisation for performing royalties earned when a composition is played in public; these royalties are for writers and publishers (PRO). ✨(P) vs (C) : P = the recording is the phonographic copyright. C = song (music and lyrics as written) is the composition copyright. ✨ PPL: UK performing rights CMO for neighbouring rights when recordings are played in public; these royalties are for labels (rights holders), featured artists and non-featured artists.  SHOUT OUTS: ❤️ MMF (Music Management Forum) ❤️ Help Musicians ❤️ The song "I Will Always Love You" originally written by Dolly Parton who wrote the song in 1973. A great example of Neighbouring Rights in action! In 1974 Elvis wanted to cover the track; his manager told Dolly it was standard procedure for the songwriter to sign over half of the publishing rights to any song Elvis recorded. She refused. She maintained the (c) composition rights when Whitney Houston recorded a rearrangement of the track in 1992. Whitney earns royalties from the recording (P) and Dolly earns royalties for her (C) composition as the writer.  N.B. - the words ‘song' and ‘composition' are used interchangeably, but ‘song' can never be used to describe the recording.

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