One of the most instructive programs on the Publishing Perspectives Stage at Frankfurt Book Fair last month was a special presentation of “Ten Rights Hacks” from US-based rights expert Kris Kliemann, who until recently directed global rights for John Wiley & Sons, and Jane Tappuni, who leads business development and marketing for the transactional rights marketplace IPR License.
Here’s a review of the ten points that Tappuni and Kliemann offered to the audience, with some of their comments. As in any good Top 10 list, Kliemann and Tappuni started with No. 10 and worked backward.
Source: Ten Rights Hacks: Actionable Advice From Two Key Players
The National Music Publishers’ Association, the Nashville Songwriters Association International and Sony Music Entertainment have all submitted a joint agreement with the Copyright Royalty Board that will settle ongoing disagreements over the proposed new statutory mechanical royalty rates from 2018-2022.
Similar to NMPA’s previously announced settlement with record labels Warner Music Group and Universal Music Group, the agreement includes a roll-forward of rates covering physical products, digital downloads, and ringtones.
Source: Sony Music Settles Months Long Dispute With Songwriting Community – hypebot
SoundExchange has submitted a new rate proposal and testimony in the SDARS III royalty rate proceeding from which the Copyright Royalty Board (CRB) will set rates for the years 2018-2022 for Sirius XM’s satellite radio service, as well as, cable/satellite TV music services provided by Music Choice and Muzak.
SoundExchange has proposed a rate that is the greater of either 23% of revenue or $2.48 per subscriber per month in 2018 with annual increases. The current rates for Sirius XM are 10.5% of Sirius XM’s “Gross Revenues” in 2016 and 11% in 2017.
Source: SoundExchange Asks Copyright Royalty Board For Major Rate Increases – hypebot
SoundExchange says it is adapting to an age where direct digital performance licenses are more commonplace in the U.S.
As a trusted provider of back office services, it has already inked more than a dozen agreements to be an admin partner to labels, increasing its chances of processing payments from the likes of Spotify and Apple Music for the industry’s big boys.
Source: What does the future hold for SoundExchange? – Music Business Worldwide
It was beneath the old acacia tree where the community elders meet that Ole Kaunga and Ole Tingoi turned to me back in 2006 with an idea that could help the Maasai people of East Africa open up a modern-day revenue stream. “Let’s build a library of our music and sell it online,” Ole Kaunga said. “Like iTunes.”
And so began an ambitious partnership that seeks to deliver concrete benefits to the community through recording, archiving and commercializing Maasai music and other cultural expressions.
Source: Managing rights in digitized indigenous music
As the fight for control of Russia’s collecting industry continues, the economic development ministry, the main advocate of state control over the sector, has revealed specifics of its proposals.
The agency sent to first deputy prime minister Igor Shuvalov, who is overseeing the reform of the country’s royalty collection system, two possible scenarios for government control of the sector, the business daily Vedomosti has reported.
Source: Russian Government Provides Details of Collection Society Overhaul | Billboard
Ole has acquired London-based rights management company Compact Media, who manage Audio-Visual Secondary Rights for more than 700 clients around the world. Compact will remain under its own brand and direction of David Johnson
The news comes just two weeks after Ole raised $500m via a credit facility, having spent $520m on acquisitions since being founded in 2004.
Source: Fresh from raising $500m, Ole acquires Compact Media – Music Business Worldwide