A group that collects royalties for music artists and recording companies has agreed to reduce rates for thousands of commercial radio stations that also play songs over the Internet.
Internet radio station operators had complained that rates originally set by the federal Copyright Royalty Board in 2007 could essentially force them to shut down.
The new deal lowers those rates by about 16 percent in 2009 and 2010. The stations will now pay $1.50 for every song heard by a thousand listeners in 2009, rising to $2.50 per 1,000 listeners in 2015.
The agreement between the National Association of Broadcasters and the royalty-collection group SoundExchange covers the Internet streaming operations at several thousand NAB-member stations, including those owned by Clear Channel Communications Inc. and CBS Corp. Stations that are not members of the broadcasters’ group have the option of joining the agreement, according to the NAB.
The deal, announced Monday, is the latest between SoundExchange and groups representing over-the-air radio stations that also stream music over the Internet. Both sides have been negotiating new rates since a 2007 ruling by the Copyright Royalty Board dramatically raised the rates Internet radio stations had to pay recording companies and artists.
SoundExchange Executive Director John Simson said Tuesday that the agreement brings certainty to his group and the NAB about what the rates are.
“It also reinforces the value of our recordings for the artist and copyright owners over the course of the term,” he said.
SoundExchange is a nonprofit that collects royalties from Internet radio stations and other digital radio services and distributes them to recording companies and artists.
In a statement, NAB spokesman Dennis Wharton said the deal ensures that U.S. radio stations can continue to stream music over the Internet and “further strengthens the relat ionship between free, local radio and our 235 million weekly listeners.”
Webcasters and over-the-air radio stations already pay composers and music publishers royalties for the music they play, but traditional stations have been exempt from paying artists and recording companies any royalties under the logic that airplay provides free promotion. But broadcasters are subject to royalties for any songs played online.
Simson said SoundExchange is still trying to hammer out rate agreements with various groups, including two that represent college radio broadcasts and one representing religious broadcasts. The group also is in talks with major online-only webcasters, such as those represented by the Digital Media Association, a trade group composed of companies that run online audio and video services.
The agreement with the NAB comes several weeks after SoundExchange reached a similar deal with the Corporation for Public Broadcasting. Under that agreement, SoundExchange gets an upfront royalty payment of $1.85 million for streaming of sound recordings on numerous public radio Web sites from Jan. 1, 2005, through Dec. 31, 2010.
Review: Director Pablo Larrain’s “Maria” Starring Angelina Jolie
Angelina Jolie glides through the final days of Maria Callas' short life in Pablo Larraín's "Maria," a dramatic, evocative elegy to the famed soprano. It's an affair that's at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.
Reality is of little consequence on the stage and in "Maria." It's all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.
"As of this morning, what is real and what is not real is my business," she says calmly and definitively, making a feast out of Steven Knight's sharp script. It's one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it's a signal to the audience as well: Don't fret about dull facts or that Jolie doesn't really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.
In "Maria," we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.
The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for... Read More