This looks like the SoundExchange of the literary world - agencies over whom the artist has no control, deciding what will be charged for / done with an artist's work. Some points:
1. SoundExchange will collect from digital broadcasters, regardless of the artist's wishes. You can write a song, record it, and offer it to broadcasters for free play. SE will still collect, unless the artist and the station have filled out a pile of paperwork.
2. It is the responsibility of the artist to make sure SoundExchange knows where to find them, to send their cut, whether the artist is a member of SE or not. Here's the list of artists that SE "hasn't been able to find" http://63.236.111.137/jsp/unpaidArtistList.jsp (I visited this page with scripting turned off, and it worked fine)
3. Every few years, SoundExchange declares a forfeiture date, after which unpaid/unfound artists lose the money that has been collected on their behalf. The money is paid to the recording industry, which, strangely enough, staffs the SoundExchange Board of Directors. Sweet... for them.
Some blog input:
http://www.azoz.com/topics/soundexchange.html
http://blog.wired.com/music/2007/07/polka-players-w.html (both the article and the comments are very interesting)
I am well aware that it's not an exact parallel, but I do see a pattern.
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mmmag
no subject
Date: 2009-04-25 03:03 pm (UTC)1. SoundExchange will collect from digital broadcasters, regardless of the artist's wishes. You can write a song, record it, and offer it to broadcasters for free play. SE will still collect, unless the artist and the station have filled out a pile of paperwork.
2. It is the responsibility of the artist to make sure SoundExchange knows where to find them, to send their cut, whether the artist is a member of SE or not. Here's the list of artists that SE "hasn't been able to find"
http://63.236.111.137/jsp/unpaidArtistList.jsp
(I visited this page with scripting turned off, and it worked fine)
3. Every few years, SoundExchange declares a forfeiture date, after which unpaid/unfound artists lose the money that has been collected on their behalf. The money is paid to the recording industry, which, strangely enough, staffs the SoundExchange Board of Directors. Sweet... for them.
Some blog input:
http://www.azoz.com/topics/soundexchange.html
http://blog.wired.com/music/2007/07/polka-players-w.html (both the article and the comments are very interesting)
I am well aware that it's not an exact parallel, but I do see a pattern.