International Federation of the Phonographic Industry (IFPI) speakersDanielle Steels Safe Harbour (2007): STREAMING Under the direction of Bill. The Australians continue to struggle. Ismail, grieving the loss of his daughter, reports the crime to the Australian Federal police. In the middle of the Timor Sea, Australians try to help a boatload of asylum seekers by towing them. Five Australians encounter an overcrowded fishing boat of desperate asylum seekers. Watch Safe Harbour Season 1.
Dworkin said this increased knowledge makes for more transparency as the artists understand how all the contributing revenue streams work.Wheeler said that the mid-level of artists are getting “decent royalty checks,” every quarter or every half a year. Wheeler concurred and said the value gap is “by far the biggest issue.”Are Royalties from the Digital Pie Sufficient? What the Future HoldsAccording to Dworkin and Wheeler, artists are savvier about their rights, their revenue, and have more control over their career than before. “The safe harbour issue, the value gap issue is monolithic and solvable,” he added. “It is the abuse of it that we want to see stop,” he said.Asked about which is the biggest plague for the music industry piracy or the value gap, Dworkin said the issue of safe harbour is the largest problem.“Piracy is a very real problem but piracy … has plateaued to some extent,” he said. In comparison, UUC streaming services are used by 900 million people (conservative number, according to the IFPI), and only yielded US$553 million to right holders.Answering a question from the audience on whether the music industry would like to eliminate safe harbour laws, Dworkin said what the industry want to see addressed is the loophole in a law which was designed to keep internet service providers from being sued for people using unauthorised content. For the independent sector, Spotify represents a tenth of YouTube users, but generates 10 times what YouTube pays the company, he said.The Global Music Report 2017 includes a chart showing the difference in returns to rights holders between user uploaded content (UUC) streaming services, and audio subscription services, both paid and ad-supported, that have negotiated licences with rights holders.According to the chart, there are 212 million users of audio subscription services, ensuring a revenue of US$3.9 billion to right holders.
...
0 kommentar(er)
