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Sep 22 2009

113 – Fun at the Fest

Recorded 8 September 2009

On this episode of With A Voice Like This:

4-AM

  • I talk about the experience we had at the Buffalo Grove Days and all the great people we worked with and yes, I said I’d put a few pictures up here, so here they are:

Jim on knee Trolling Jim Angsty Jim Jim on lead

  • If you want to read more about it, you can see the 4-AM writeup and thank you to Karen the Entertainment Director of Buffalo Grove Days for a great operation and Ed the guy who ran sound for us.

News You Can Use

  • Yes, it’s the start of the Holiday season for those who perform during the holidays and there’s a new site for Chicago area Professional Christmas Carolers. I’m a part of this group and it’s something I’m very proud to be a part of The Caroling Connection. So if you’re looking for entertainment for the holiday season, take a look and see what you think.

Comments From the Podcast Gallery

  • A comment from Lani Ford of Stark, the band website can be found at  http://www.starknyc.com
    and you can follow the twitter account at http://www.twitter.com/starknyc.

[00:19:20]
[audioplayer file=”http://recordings.talkshoe.com/TC-52008/TS-263496.mp3″]

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Written by With A Voice Like This · Categorized: Show · Tagged: buffalo grove days, caroling, caroling connection, holiday carolers, lani ford, performance, pictures, stark

May 13 2009

Performance Rights Act – my two cents on HR 848

The Performance Rights Act is up for a vote this week. Speaking as a performer, the premise of this Act is long overdue, that performers deserve to be paid for their work  every time their performance is played on air by terrestrial radio. But from what I’ve seen and heard, I have questions that the execution suggested in this act could be flawed.

The National Association of Broadcasters (NAB) is the main proponent against the passage of this Act. I’ve seen articles calling this a ‘performance tax’ implying (and I think I’m being generous here by saying implying) that the money goes to the government, to the argument that it’s free advertisement for the performer. I’m just going to draw a straight comparison to broadcast television. Any performer on television, be it in a commercial, movie or television show, gets paid whenever their performance is broadcast, no matter how much they got paid for the initial performance. It’s called a residual and for that matter, voiceover artists that do commercials on radio get residuals as well. I wonder what SAG or AFTRA would have to say if broadcast TV tried to not pay residuals saying it was free advertising for the performers.

That’s just one part… the next part is the breakdown of payout. Based on the segment of episode 096 of With A Voice Like This at the 06:44 minute mark the payout would be 50% for the master owner (read record label) and 50% split between main performer and session musicians (45% for the main performer and 5% split between the session musicians was quoted in the show). Well, no wonder the RIAA backs this ACT, their cut is 1% shy of controlling interest payout. Not all Master owners are major labels, Alice Peacock is an independent artist and her own record label, so it benefits different people in different ways, but the question then becomes what’s the percentage of indie labels vs. major labels played on terrestrial radio. It does beg the question of what’s fair for the performers. Are performers a disparate group like a child first learning about money and just as likely to take four nickels instead of two quarters because four is more than two? Because afterall, something is better than nothing at all.

Come to think of it, who does handle the royalty payouts? Wouldn’t it seem a natural fit for pre-existing Performance Rights Organizations (PROs) like ASCAP and BMI to expand their current charter and duties to handle that? Maybe, but instead a new single entity, Sound Exchange was created for Digital Royalties, including all performance royalties under this Act. At the 25:59 minute mark of episode 096, Sound Exchange seems to be doing a great job of finding that information and tracking down performers, but unlike ASCAP and BMI and even SESAC, Sound Exchange collects all Digital Royalties regardless of whether or not a performer is registered with or a member of Sound Exchange. In episode 048 with Samantha Murphy at the 08:05 minute mark, Sound Exchange has some strong ties to the RIAA, but despite that, there’s the question of what happens to the collected royalties that aren’t paid out, because the performer isn’t registered or a member of Sound exchange, deceased performers where no heirs can be identified or performers from countries that don’t have reciprocal agreements with Sound Exchange? Does that money just revert back to Sound Exchange and is that the best that can be done? If it’s collected without registration or membership, why isn’t it paid out under the same conditions?

With Technology so far ahead of an dated protection mechanism like the current copyright laws that are so desparately in need of an overhaul, is saying HR 848 is not perfect, but better than it is now enough or should we expect more?  I don’t know, what do you think?
 

Written by With A Voice Like This · Categorized: Monetizing, Philosophy · Tagged: act, ASCAP, BMI, broadcast, exchange.pro, hr 848, NAB, performance, PRO, radio, rights, sound, terrestrial

May 07 2009

097 – Performance Rights Act Part 2

Recorded 31 March 2009

Here’s the second half of the interview with Singer-Songwriter Alice Peacock and Founder and President of  Alligator Records Bruce Iglauer about HR-848, the Performance Rights Act. Among the topics we discuss this episode:

  • Studio musicians and their role in performance rights
  • 50% of terrestrial radio stations don’t play new music
  • The history of the beginning of Performance Rights Act from the 1930’s
  • How this fits with the Internet and “Appearance of Free Music”
  • The Digital World and protection
  • Online Theft
  • Performance Royalties and other nations
  • Digital technology and the vision at conception
  • How you can act on this issue
  • How does the current copyright terms affect this or does it?
  • Grass Roots approach to action on this issue
  • MusicFirstCoalition.org

If you’d like to learn more about Alice Pecock and her music, including her new release Love Remains, you can visit her at AlicePeacock.com. To find out more about Bruce Iglauer’s label Alligator Records, you can visit AlligatorRecords.com.

[00:37:04]
[audioplayer file=”http://recordings.talkshoe.com/TC-52008/TS-221821.mp3″]

Listen above or download by right clicking and saving.

Written by With A Voice Like This · Categorized: Interview, Show · Tagged: act, alice, ASCAP, BMI, bruce, coalition, hr 848, iglauer, musicfirst, NAB, peacock, performance, radio, rights, SESAC, Sound Exchange, terrestrial

May 05 2009

096 – Performance Rights Act Part 1

Recorded 31 March 2009

This episode is the first half of an interview with Alice Peacock, singer-songwriter and past president of the National Academy of Recording Arts and Sciences (NARAS) and Bruce Iglauer, Founder and President of Alligator Records, the world’s largest independent Blues Record Label.

Some of what we discuss in this episode of With A Voice Like This:

  • What HR-848 is all about
  • What the breakdown of royalty payouts
  • How the Payouts are handled (Master owner, performer, etc.)
  • Perspectives of Indie Labels and performers
  • Shrinking business of recording music
  • Does HR-848 go far enough?
  • History of Performance Rights Organizations
  • Reply to the ‘radio free promotion for the music and musicians’ stance

If you’d like to learn more about Alice Peacock and her music, you can go to AlicePeacock.com and to learn more about Alligator records, you can go to AlligatorRecords.com.

[00:37:50]
[audioplayer file=”http://recordings.talkshoe.com/TC-52008/TS-203995.mp3″]

Listen above or download by right clicking and saving.

Written by With A Voice Like This · Categorized: Interview, Show · Tagged: act, alice, ASCAP, BMI, bruce, congress, hr 848, iglauer, music, musicians, peacock, performance, rights, SESAC, Sound Exchange

Mar 27 2009

095 – Bump, Set, Spinal Tap

Recorded 24 March 2009

4-AM

  • A recap of the Playoffs performance of our new set
  • The interesting thing about a cappella is…

At Any Rate

  • A bit about the backstage passes to the Buddy Guy performance at the Rialto Square Theatre
  • Some thoughts about Lonnie Brooks’ performance as well
  • My “This is Spinal Tap” experience at the Rialto Square Theatre

News you can use

  • Just a bit about The MusicFirst Coalition and the Performance Rights Act links
  • Next week’s guest is Alice Peacock, Singer-Songwriter and past president of the Chicago Chapter of the National Academy of Recording Arts and Sciences (NARAS) who has testified in front of Congress about the Performance Rights Act
  • Alice also released a new CD Love Remains March 24th and you can find out more about her at AlicePeacock.com

Come be a part of the Podcast Gallery live every Tuesday at 7:00 CT (01:00 GMT) and join in the conversation. If you can’t be there live you can always send your comments to [email protected] or leave them on the Comments from the Podcast Gallery voicemail at 630.492.0487. You can also subscribe to With A Voice Like This via RSS or iTunes for free and never miss an episode.

[00:18:51]
[audioplayer file=”http://recordings.talkshoe.com/TC-52008/TS-203990.mp3″]

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Written by With A Voice Like This · Categorized: Anecdote, Show · Tagged: act, Love remains, Natkin, Paul, performance, performance rights, playoffs, rialto square theatre, set, spinal, tap

Nov 20 2008

4-AM in A White Christmas Holiday Revue

The Landmark Resort (Banquet Room)
7643 Hillside Road
Egg Harbor, WI 54209

Dinner at 6:30, show at 8:00
See pricing at Landmark Resort

Written by With A Voice Like This · Categorized: Event · Tagged: performance, singing

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