Russian Collecting Society Sues Promoters For Not Paying Up To Let Beyonce Sing Beyonce Songs
from the copyright-law-madness dept
Last year we wrote about a situation in Russia where the promoters of a Deep Purple concert were fined because they failed to secure a license to let Deep Purple perform Deep Purple music. Seriously. It seems that the same situation is playing out again with a Beyonce concert. The Russian collecting society RAO is suing the company it believes was the promoter of a Beyonce concert for not paying up for the right to perform Beyonce music. Yes, by any standard of common sense this is ridiculous. A collection society is supposed to collect for the sake of helping an artist. But how is it possibly helpful to the artist to force promoters to pay for that artist to sing their own songs. It directly harms an artist by making it more expensive for anyone to actually promote a show — and by funneling money away from musicians.
Filed Under: beyonce, collections, copyright, music, russia
Companies: rao
Comments on “Russian Collecting Society Sues Promoters For Not Paying Up To Let Beyonce Sing Beyonce Songs”
As silly as this may seem, do not overlook that contracts may be in place that govern this situation.
Re: Re:
Yeah, but it demonstrates how disingenuous the collection agency arguments are.
Re: Re:
I think his point is that, regardless of what contracts may be in place, this situation is ridiculous. i.e. The contracts are a problem.
they taking tips form the CRIA
ya know that other collection agency in canada that ahsnt paid 300000 artists since 1980
How else is Beyonce going to get paid unless they charge Beyonce to play Beyonce’s music?
Don’t you see?
Beyonce pays to play Beyonce music to RAO
RAO collects money to distributes it to Beyonce
RAO can’t “find” Beyonce
RAO keeps Beyonce’s money
Beyonce wouldn’t be able to make money making music any other way¡
Re: Re:
They send that money to ASCAP. Also, Beyonce is not the only writer on all of her songs.
Re: Re:
“Beyonce wouldn’t be able to make money making music any other way¡”
Are you fucking kidding me? There are *tons* of other ways to make money from music. Are you dense?
Dude, I know all, and I can tell you this is a stupid comment. It’s as if you are being sarcastic or something. Knock it off before I gas you.
Re: Re: Re:
Are you being sarcastic ?
Re: Re: Re: Re:
Are you?
I Know All. Don’t make me put my Jackboot up your ass.
I wonder who the employees of this collections society are? Aren’t most collections societies non profit – and they pay out whatever is left after expenses (salaries, etc)?
Probably friends/family of senior government officials.
Re: Re:
I’m not sure of their organizational status, but they generally get to keep the money they can’t distribute. Thus, it’s in their best interest to collect from everybody they can, and then have a hard time finding people to pay out to. After a certain amount of time, the money that’s in “limbo” becomes theirs.
Re: Re:
Considering this is NeoSoviet Russia we’re talking about, its most likely one of the Politboro’s pet companies.
Heard about the same thing happening in Bulgaria before. Way too much bureaucracy in such organisation, especially in countries which have ‘not-so-well-developed’ institutions.
Its simple, she might sing a song that is not hers, thus she has to pay the agency to ensure the money is split correctly.
“Its simple, she might sing a song that is not hers, thus she has to pay the agency to ensure the money is split correctly.”
Smells like TAM
Re: Re:
Old socks. Or TAM.
Simple solution just leave ASCAP
Russians, eh?
Amazing enough, this is by far not the most ridiculous thing about how things work in Russia. Just saying…
There's a word for this
It’s called extortion.
@ Hephaestus
I don’t think leaving ASCAP wouldn’t solve their problem with RAO.
Re: There's a word for this
Nor would it help a similar issue with ASCAP. Who have no idea who(which artists) they represent, so they just assume they represent everyone, and collect at will.
“But how is it possibly helpful to the artist to force promoters to pay for that artist to sing their own songs.“
The band that toured in Russia under the name Deep Purple had only one original member and he was not one of the band’s song writers.
Beyonce does not write her own material.
So both “artists” are not performing their own songs. They’re performing someone else’s song. And that’s the purpose of a collection society.
Re: Re:
The other band members aren’t playing the song under names other than Deep Purple. Beyonce’s songwriters sell the song to be played by Beyonce; they don’t play it themselves. So what you have is a situation where the exact scenario envisioned by the actors in creating the song requires payment from those same actors in order to receive a license to actually play it.
The point is that this is not helpful to any of the artists(songwriters included), and in no way can a collection bureaucracy be remotely as efficient in transferring wealth from consumers to producers. It’s ridiculous anybody is even legally entitled to profits they didn’t arrange; if you’re a songwriter, you can get a flat rate or you can negotiate a private contract with the person you’re selling the lyrics to (prior to selling or creating them)for a percentage of certain revenue streams, like the rest of the world works.
Test
Test
Common Sense
Yes, by any standard of common sense this is ridiculous.
By any standard of common sense copyright and patents in general are ridiculous. So what else isn’t new?
RE: Colin, Lord love ya man...
“Aren’t most collections societies non profit”
BWAHAHAAAHAAAAhaaahahahahaaaahaaaaa*gasp* WAHAHAAAHAAAAhaaahahaha woh woh woh woooohooooo *pant pant*
If they can’t *find* the legal owner they get to keep the money, no one is going to just hand out contract details willy nilly to any Vladimir Schmidtiskovich off the street so it’s doubtful they could get info even if they bother to ask. Also the monies collected until the release date that lets the agency keep the cash also gets to collect interest, that they also get to keep.
If you think anyone on the ‘management’ side does anything for free, you really have a rough patch ahead.
this is so simple
dont goto russia then
dim wit muscians
Here’s my thoughts on ASCAP and RAO:
ASCAP collects money to pay the artits, etc. they represent. If Beyonce is a member of ASCAP, she likely already pays dues to sing works handled by ASCAP. Most, if not all, major ASCAP performance contracts very likely encompass the entire represented body of works (just easier that way.)
RAO, in my opinion, should be collecting funds for the artist, etc. that they represent. If Beyonce (and affiliated) did not perform anything by the people represented by RAO, then RAO is out of line for collecting any funds for Beyonce’s performance. However, if Beyonce did perform something represented by RAO, even if it is a song thought as “Beyonce’s”, then RAO is acting within reason.
In soviet russia…
Not all singers wrote the songs that they perform. The performer is not always the copywrite holder. The copyright usually stays with the writer.
what are you trying to tell us, mike?
No, really, Mike, whats your point here? Since you are working hard to expose legal abuse on copyright and else,i need to ask you: What’s your point? Royalty collection societies all over the planet are acting all the same. Yes, even in the US. It’s not about Russia, it’s about copyright turned into robbery (besides writers and composers need to get paid). May i ask you to reconsider this article?
NOEL REDDING JIMI HENDRIX NEW DVD
УБИЛИ-ЛИ ДЖИМИ ХЕНДРИКСА? ? МАЛОВЕРОЯТНО? СКАЗАЛ НОЕЛ РЕДИНГ?
Имя Джими Хендрикса вызывает вооброжение о самых красочных и самых диких моментaх произведённых шестидесятыми годами. Хендрикс прибыл, он взял и штормом завоевал музыкальный мир, пронзился в твою голову и ушёл в небо на большой концерт – всё за 27 лет.
?Опыт Джими Хендрикса?, оставил тебя без сомнения что это был именно – опыт.
Сойдясь с разных сторон Атлантики тройка музыкантов нашли общий язык, славу и на одну треть группы не очень много удачи.
Для Ноель Реддинга-бас гитариста в группе опыт был незабываемым. Спустя 40 лет со смерти Хендрикса,o нём и о группе было выпущено много документальных фильмов.
Оглядываясь назад в шестидесятые годы у вас появляется ошущение когбуд-то вы находитесь на другой планете. Любая история связаная с тем периодом заваёвана музыкой и культурой. ?Опыт Джими Хендрикса?, сыграл свою роль.
Своевременное появление DVD, производчиком которого является MNV Disc International, содержит ещё никогда невиденное интервью с Ноель Реддинг записанное в его доме в Ирландии в 1988г.
Это делает просмотр увлекательным. Все эти годы видя фильмы о них из концертов и фотоснимков Хендрикса, Рединга и Миттчеля, вы ощутите себя будто вы сидите в гостинной не с легендой а с обычным парнем который расказывает о своих первых днях в группе. Не рок звезды здесь, не претенциозных названий, наоборот обыкновенный разговор. Слушая его вы гадаете как они достигли вверха.
Я спросил Уилла Скалли продюсера как всё это произошло ?Я знаком с Ноелем и в течение многих лет мы были друзьями, я его всегда находил очень простым и прямым парнем. Мы часто беседовали о производсте интервью, он хотел говорить про деньги, наркотики и смерть Хендрикса и многое другое ? даже говорили о возможности что Хендрикса убили. Он себя хорошо чувствовал в тот день и хотел записать это процветание.
К сожалению Ноель Рединг умер ещё в 2003 году возрасте 57 лет
Для тех кто заинтерисован в Хендриксе, Реддинге и истории рок музыки шестидесятых годов этот редкий визуально документальный фильм не должен быть упущен.
Перевод Вероники Скусенайте
NOEL REDDING JIMI HENDRIX NEW DVD
УБИЛИ-ЛИ ДЖИМИ ХЕНДРИКСА? ? МАЛОВЕРОЯТНО? СКАЗАЛ НОЕЛ РЕДИНГ?
Имя Джими Хендрикса вызывает вооброжение о самых красочных и самых диких моментaх произведённых шестидесятыми годами. Хендрикс прибыл, он взял и штормом завоевал музыкальный мир, пронзился в твою голову и ушёл в небо на большой концерт – всё за 27 лет.
?Опыт Джими Хендрикса?, оставил тебя без сомнения что это был именно – опыт.
Сойдясь с разных сторон Атлантики тройка музыкантов нашли общий язык, славу и на одну треть группы не очень много удачи.
Для Ноель Реддинга-бас гитариста в группе опыт был незабываемым. Спустя 40 лет со смерти Хендрикса,o нём и о группе было выпущено много документальных фильмов.
Оглядываясь назад в шестидесятые годы у вас появляется ошущение когбуд-то вы находитесь на другой планете. Любая история связаная с тем периодом заваёвана музыкой и культурой. ?Опыт Джими Хендрикса?, сыграл свою роль.
Своевременное появление DVD, производчиком которого является MNV Disc International, содержит ещё никогда невиденное интервью с Ноель Реддинг записанное в его доме в Ирландии в 1988г.
Это делает просмотр увлекательным. Все эти годы видя фильмы о них из концертов и фотоснимков Хендрикса, Рединга и Миттчеля, вы ощутите себя будто вы сидите в гостинной не с легендой а с обычным парнем который расказывает о своих первых днях в группе. Не рок звезды здесь, не претенциозных названий, наоборот обыкновенный разговор. Слушая его вы гадаете как они достигли вверха.
Я спросил Уилла Скалли продюсера как всё это произошло ?Я знаком с Ноелем и в течение многих лет мы были друзьями, я его всегда находил очень простым и прямым парнем. Мы часто беседовали о производсте интервью, он хотел говорить про деньги, наркотики и смерть Хендрикса и многое другое ? даже говорили о возможности что Хендрикса убили. Он себя хорошо чувствовал в тот день и хотел записать это процветание.
К сожалению Ноель Рединг умер ещё в 2003 году возрасте 57 лет
Для тех кто заинтерисован в Хендриксе, Реддинге и истории рок музыки шестидесятых годов этот редкий визуально документальный фильм не должен быть упущен.
Перевод Вероники Скусенайте
NOEL REDDING JIMI HENDRIX NEW DVD
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NOEL REDDING EXPERIENCE -JIMI HENDRIX DVD REVIEW
It?s hard to believe that Hendrix died 40years ago, what?s even more unbelievable is we weird folk from the sixties have now metamorphosed into out own grandfathers, actually lived
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So much has been written about Jimi Hendrix and this guitar colossus without doubt overshadowed the other two members of the group; drummer Mitch Mitchell and bassist Noel Redding. If you have spent years living in a cave then you are excused from not knowing that the three of them are now playing at the great gig in the sky.
Noel Redding wrote an interesting book some years ago, outlining his time with the group, as the fame increased, so didother pressures. The money that these three young musicians accumulated must have made them rich beyond their wildest dreams. The wild man of pop with his two acolytes, the fashion, and the hair made them instantly recognizable around the globe. The book went some way to tell us the way it was.
Out now on Dvd and long overdue is an interview with Noel Redding. For many years a rumor has been around that this interview was inexistence. If like me you like to plough though the websites dealing with guitars and musicians, you would have read that this interview has finally been released.
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I have seen some very short interviews with Noel Redding on You tube only lasting a few minutes, this interview runs for forty minutes and without doubt a lot can be said within that amount of time. I must add that I never met him, however, he comes across very honest and pleased to do this interview.
I read in the Press Release that the Producer Will Scally, had been a friend of Noel for many years, and also conducted the interview. This friendship shows through, it?s just like two old mates talking about the good ol? days. The exception being that one is Noel Redding and his good ol? days was playing bass with Jimi Hendrix ? or perhaps not.
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Ben Morganfield