Opt Out of Pandora’s Purchase of Rdio

Remember that Pandora is buying some assets from the Rdio bankruptcy with the intention to expand its webcasting service into a windowing service like Spotify?  How can they do that you may ask?  Don’t the licenses for those recordings and songs terminate in a bankruptcy?

Check your email–you may have received this notice from Pandora with the misleading subject line (with our emphasis):

We’re writing in regard to Pandora’s recent announcement that it plans to acquire certain assets from Rdio.  We’re currently working to finalize the transaction and are extremely excited about the opportunities this acquisition will bring not only to Pandora, but to the music industry as a whole.  With that in mind, we wanted to reach out regarding your company’s musical compositions embodied in sound recordings (the “Content”) stored on Rdio’s servers. As part of our acquisition of Rdio’s assets, we would like to retain the Content contained on these servers for possible inclusion in expanded Pandora service offerings in the future.

To be clear, Pandora will not launch expanded service offerings without acquiring the appropriate licenses. In addition, we will access the Content for possible ingestion into our Music Genome Project. We believe that retaining this Content is the surest way for Pandora to include your compositions upon the launch of any expanded service.  However, if you would prefer that your musical compositions not be included at this time, please follow the link below and indicate your intent to opt-out.

Pandora Media, Inc.
2101 Webster St., Suite 1650
Oakland, CA 94610

ConsentInquiries@pandora.com

Please click the following link if you wish to opt out:
https://www.musicreports.com%5Bredacted%5D

Why are they sending this email around?  If Pandora wants to launch an on-demand service, they’re very likely going to need negotiated licenses or licenses like the ones Rdio already holds.  This is all new to Pandora–Pandora executives are to hiding behind the federal government to protect their business and guarantee them a multimillion dollar payday for that 14 bathroom vacation house they’ve always wanted.

If Rdio has a license from you for your songs, Pandora may recognize that those licenses cannot be transferred from Rdio to Pandora in the Rdio bankruptcy.  Why else would they be asking you to opt in to a new license in this misleading email?  But wait…they never say they’re asking you to opt in, they’re offering you a chance to opt out.

And wait and see–if you don’t respond, they will say that they offered you a chance to opt out, so by not opting out they will deem you to have opted in.  Pretty scummy, right?  And how do we know this?  Because it’s what a scumbag would do.  Then naturally its what Pandora would do.  Very predictable.

The problem is that you have no idea what the business model will be of whatever new service it is that Pandora may launch, so why in the world would anyone ever agree to a license for a business before you even know what the business is?  How would you ever know what’s fair?

It seems like the only smart thing to do if you’ve gotten this email is to opt out immediately.  If you decide to opt out, it would probably be a good idea to follow up with a letter telling Pandora that you want no part of it.

Here’s an interesting side note.  Check out this sentence:

In addition, we will access the Content for possible ingestion into our Music Genome Project.

That sounds like Music Genome rights would be included in whatever license Pandora wants, and if you opt out, Pandora would not have the rights to “ingest” (lovely) your songs.  It sounds like Pandora might think they need a license to map your song into Pandora’s “Music Genome”.  That’s interesting because we do, too.

We’ve thought for a long time that Pandora needed a license for each song in the Music Genome and that the use of an artist’s name to create channels also needed a separate license for the use of the artist’s name.

Unless you’re in the habit of buying pigs in pokes, you could do worse than to opt out of any license you ever granted to Rdio and tell your publisher to do the same.  Once Pandora can tell you exactly what they want to do with your song, you can always change your mind.

After what they’ve done to artists and songwriters, who would ever trust these corrupt guys if the government didn’t force you to?

Pandora’s Shell Game with Royalty and Revenue

Here’s why Pandora should not get lower rates!

Music Technology Policy

thimblerig definition

Remember when Pandora used to complain about how royalty costs were over half their revenue?  Let’s take a look at their income statement for the last 12 months (“trailing twelve months” or “ttm”) from Yahoo! Finance:

Pandora Income Statement

“Total Revenue” of $1,100,000,000.  Because as Sean Parker will tell you, you know what’s really cool?  A billion dollars.

“Total Cash” of $363,600,000.

And at least at the moment, zero debt.

So stop right there–what do you think the response would be if you walked into any business school in the world (and not just the good ones) and asked the first MBA you met this question: How would you like a case study of a public company that has a $2.69 billion market cap, and that has government mandated vendors (that’s the artists and songwriters) whose selling price (aka royalties) is set below market by the government, and that has a billion…

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Music Director at WJCU Breaks with National Association of Broadcasters in Letter to Congress Supporting Artist Pay for Radio Play

Music Technology Policy

[Editor Charlie sez: It’s the end of 2015 and it’s time to look over the good news that came during the year.  For those MTP readers who missed the interview with Karoline Kramer-Gould, the heroic Music Director at tastemaker college radio station WJCU, here’s the reprint from Chris’s blog on Huffington Post.  If you already saw it, it’s well worth a re-read to remind you that we do have friends–a lot of friends–in radio who support treating artists fairly and who have devoted their lives to music every bit as much as artists and musicians have.  What makes Karoline so special is that she was willing to stand up for what she believes in and speak truth to the MIC Coalition.]

The United States is the only democracy in the world that does not pay recording artists for radio airplay. Artists and record labels have been fighting a legislative battle…

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“Rumor Has It” That Spotify May Stop Censoring and Start Segmenting

Music Technology Policy

The Wall Street Journal reports that Spotify is considering allowing the market to work so that artists can decide window their music between the Spotify free music service and Spotify’s subscription service.  Naturally, this decision to liberate artists from the bureaucrats in the Spotify Ministry of Culture will be welcome news although it may be limited to superstar artists.

The Journal reports:

In private talks, Spotify has told music executives that it is considering allowing some artists to start releasing albums only to its 20 million-plus subscribers, who pay $10 a month, while withholding the music temporarily from the company’s 80 million free users.

Spotify, initially, will try the new approach as a test, according to a person familiar with the matter. It wants to investigate how such a “windowed” approach might affect usage and subscription sign-ups. It also hasn’t decided which artist will get to withhold music from the…

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Coldplay Says #irespectmusic and Rejects Freemium: Mr. Ek, The Market Calling on Line One

Music Technology Policy

When the market shifts, it hardly ever happens all at once.  That’s because on a microeconomic level, a bunch of decision makers are making small decisions.  Successful entrepreneurs spot these small decisions before they become a trend, and react in a profit-centered way.  Observers notice that change.

It should surprise no one that Coldplay has rejected freemium on their new “Headful of Dreams” album release and Spotify’s pig headed response should also surprise no one, either.

Complete Music Update asks the question of why Spotify is painting itself into a corner:

Which brings us back to that old question: why doesn’t Spotify allow premiere league artists to window their new releases so that they become available to the service’s paying premium users first, subsequently arriving on freemium several weeks or months down the line? Because ‘A Head Full Of Dreams’, which is already available on premium-only streaming platforms like Apple…

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Thom Yorke on the Disappointment of His Bit Torrent Experiment

Music Technology Policy

Remember when Bit Torrent, Inc. (Daniel Ek’s former employer) was trying to get higher value advertising…oh, sorry…was trying to demonstrate that they were all things pure and high minded because Bit Torrent was really designed to leverage their huge user base derived from piracy…sorry…Bit Torrent Bundle was really designed to help artists find an audience?

Remember when Thom Yorke allowed himself to be used as a poster boy for Bit Torrent Bundle on his solo record “Tomorrow’s Modern Boxes”?  Ever wonder how that worked out?  Thom Yorke is interviewed by the Italian site Repubblica and fills us in.

Complete Music Update translates thusly in answer to the interviewer’s question was the Bit Torrent experiment successful:

“No, not exactly”, he said. “But, in fact, I wanted it to be an experiment. It was a reaction to everything that was going on. At the time, people were only talking about…

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Seabrook’s Stories About Money

Music Technology Policy

ROOSTER

I don’t believe in fairy tales, sermons, or stories about money, baby sister, but thanks for the cigarette.

From True Grit written by Joel Cohen and Ethan Cohen

seabrook 1

The author John Seabrook has written another extraordinary piece on Spotify for the New Yorker that one could charitably describe as struggling with truthiness.  But to paraphrase Mrs. Longworth, if you’re not feeling charitable, come sit next to me.

Of course this is not the first time Mr. Seabrook and the New Yorker have come to the rescue of the Darling of Goldman Sachs.  Who can forget John Seabrook’s puff piece on Daniel Ek that appeared in the New Yorker after Spotify’s Taylor Swift debacle.  That was an article that IPO underwriting syndicates like a whole lot more than…let’s just say reality.

That Daniel Ek piece had some howlers that belied what is increasingly appearing to be Mr. Seabrook’s self-directed…

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Did Cox Communications Just Do the Dirty to Shareholders?

Last week Cox Communications lost its DMCA “safe harbor” defense against songwriters in BMG Rights Management’s lawsuit against Cox for failing to maintain a repeat infringer policy in Cox’s ISP business.  It has always seemed pretty obvious that an ISP running a “whack a mole” business requiring songwriters and artists to send repeated DMCA notices shouldn’t get the protection of the safe harbor if the law was working the way it should.  Finally a U.S. federal judge things so, too.

As we are often told by Big Tech, the DMCA safe harbors were a negotiated balance, a “grand bargain.”  What usually comes next is some spin that would have you believe that the “notice and takedown” operates as a kind of “tag you’re it” functionality that allows certain anointed ones to get away with not doing the actual stealing, but providing the means for the stealing to occur.  You know, because the Internet.

But now it looks like at least Cox Communications executives might have a real problem on their hands depending on how the facts turn out in the BMG case.  Why?

As Professor Tim Wu taught us before he started working for the New York Attorney General:

If the Internet were not a bookstore, or tubes, but rather a red-light district, YouTube would best be imagined as the hotel, and Napster, well, the pimp. YouTube, like a hotel, provides space for people to do things, legal or not. It’s not doing anything illegal itself, but its visitors may be. But Napster, everyone more or less now admits, was cast as the pimp: It was mainly a means of getting illegal stuff.

To extend Professor Wu’s pimp allegory, in Cox’s case it is the ISP who is providing the means of getting illegal stuff, and Cox wants to hide behind the “grand bargain” of the DMCA in order to look less like that metaphorical pimp.  In a way, it’s actually more complex than that.  According to Cox’s insurance carrier that is suing Cox to get out of any coverage, Cox’s executives intentionally failed to implement a repeat infringer policy.  The burden of implementing that policy is what ISPs take on in return for the benefit of the safe harbor.  The “grand bargain,” remember?

This notwithstanding the fact that BMG gave Cox many opportunities to get out of the middle.  Although Cox received far fewer DMCA notices than Google has, by failing to adopt a meaningful repeat infringer policy, Professor Wu might say that Cox has pimped its way to do the opposite of what the Congress intended with the DMCA’s repeat infringer requirement.  Or that seems to be clear to Cox’s insurance carrier who ought to know.

This is the real significance of the ruling and why notice and stay down is both vital to artists and entirely consistent with the goals of Congress when drafting the DMCA.

Continuing the criminal motif, Mr. Wu’s new boss, New York Attorney General Eric T. Schneiderman, had this to say in an op-ed that could easily have been written about Cox and certainly could at least be applied to ISPs:

Regulators should not be deterred and, as a practical matter, they can’t and won’t be — we are now living in an online world, one that offers great promise but is also becoming one of the primary crime scenes of the 21st century. Major service providers cannot be allowed to treat it as a digital Wild West. The only question is how long it will take for these cybercowboys to realize that working with the sheriffs is both good business and the right thing to do.

There is, however, a new face at the table now that Cox has both lost the protection of the safe harbor and may well be denied coverage by their insurance underwriter at Lloyds of London.  That face is Cox’s stockholders.

Lloyds is already trying to get out of paying Cox’s legal bill which appears to be north of $1 million already with trial starting next week.  Why is Lloyds denying coverage?  Because Lloyds quite correctly says it won’t insure Cox for its intentional refusal to comply with the DMCA for largely the same reason that the DMCA has a repeat infringer requirement in the first place.  If you try to do it right and screw up, you can get insurance or you might be entitled to the safe harbor (and you can probably more easily get insurance if you promise to comply with the safe harbor).  You cannot insure your way out of doing something that is purposely bad behavior.

The Hollywood Reporter tell us:

According to Lloyds’ complaint filed in New York Supreme Court, Cox has been told that its insurance policy doesn’t cover the BMG claim because it “arose out of intentional and not negligent acts” and “did not arise out of acts in rendering internet services but rather Cox’s business policy and practice of ignoring and failing to forward infringement notices and refusing to terminate or block infringing customers’ accounts.”

….It’s one thing for an ISP to put up a brave front — and maybe even win some goodwill among customers by fighting those like Rightscorp — but to do so with neither safe harbor nor possibly insurance raises the risk level quite substantially. Time will tell if this is a game-changer on the piracy front.

May be–but what this means is that the individual conduct of Cox Communications executives has now put the company’s shareholders on the hook for what could be massive copyright infringement damages for failing to implement a practice that’s not much more complicated than what you would expect from a university network.

Remember when Google paid a fine of $500,000,000 of the stockholders’ money to keep its senior executive team (many of whom are insider board members) from being criminally prosecuted for violating the Controlled Substances Act?  Google stockholders sued Google’s board members for breach of fiduciary duty and a bunch of other nasty things.

The argument goes like this:  We hired you executives to comply with the law.  If you choose to operate outside of the law that is your business, but you can’t use our money to pay for your bad behavior.  Cox Communications is the 17th largest private company in America, so we would have to assume that there are some institutional investors who hold shares of Cox and who are not too pleased about the pimping part.

 

Cox Communications DMCA Woes Continue as Lloyds of London Cuts the Cord

The massive Internet Service Provider and cable operator Cox Communications currently being sued by BMG Rights Management and Round Hill has been dealt two body blows in a week.

First, Cox lost its DMCA “safe harbor” protection and now its insurance company (the venerable Lloyds of London) is refusing to cover any damages from claims for intentional copyright infringement.  Those two go together if you think like Lloyds of London because the safe harbor isn’t supposed to protect “intermediaries” from their intentionally bad behavior and you’re not going to get insured against it either.  Given how bad this is for similarly situated companies like Google (who also sells advertising), Cox should have no want of litigation financing, but it sends a chill up the spine, even so.  If Cox loses, that could push the company into bankruptcy where intentional infringement and crimes are not washed away.

Cox is getting sued by BMG Rights Management and Round Hill over the infringement of songs, a great example of publishers standing up for their songwriters and putting their money where it counts.  The case is going to trial next week in Virginia, and it’s starting to look like songwriters are finally going to get justice from ISPs who don’t understand the purpose of the DMCA safe harbors, eloquently summed up by Beggars Group Chairman Martin Mills at Canadian Music Week last year:

They were introduced, with some foresight, by the legislators in the USA framing the DMCA, to provide a notice and take down procedure for unlicensed content. But the legislation has been distorted into a protective wall behind which cyberlockers and torrent sites, and companies such as YouTube and Grooveshark, operate [or used to for Grooveshark].

The original intent was to protect reasonable people acting reasonably from falling foul of the law, to enable the digital economy to grow without “gotcha” law suits against ISPs who had no idea that their networks were being used for infringement. They were not intended to provide fortress walls behind which companies could build billion dollar businesses on content that had not been cleared. They were never intended to become a de facto “license”.

Mills captures the exact problem with the way that “intermediaries” like Cox profit themselves off the backs of creators, and especially songwriters.  Remember, Cox failed to join the Copyright Alert System, the user education and graduated response agreement signed by AT&T, Cablevision, Comcast, Time Warner and Verizon.  Also remember that songwriters and music publishers are also not covered by the CAS.

According to Ars Technica, the judge in the case apparently didn’t think much of Cox’s repeated failure over a couple years to properly adopt a repeat infringer policy.  We don’t have a full opinion yet from the judge in the case, but it’s starting to look like the whack a mole problem we have all experienced with Google, YouTube and others in the piracy chain may actually turn out to be evidence of a failed repeat infringer policy that will trump the safe harbor.  Once that opinion comes down, we will report back.

Google BMG

Now wouldn’t that be interesting.  That’s starting to sound like notice and stay down.

In other words, the availability of the safe harbor may turn on an objective truth.  If you get over x DMCA notices, you’re just not doing enough to be entitled to the special protection of the safe harbor law.

As Martin Mills also said at CMW:

Copyright is meant to allow you to control your own work. That is totally undermined when another law says that people in effect can ignore it with impunity. Would we consider a safe harbour law allowing small restaurants to ignore food hygiene laws ? Or a safe harbour for personal data being inappropriately used ? Of course not.

Cox is out of the safe harbor business (although somehow they’ll appeal that ruling–in a hurry because trial starts December 2 according to Ars).

On top of that, Digital Music News is reporting that Lloyds of London  (Cox’s insurance company) sued Cox in New York for a ruling that they don’t have to insure Cox against claims for intentional copyright infringement.

It’s the “intentional” part that will get Lloyds out of insuring Cox’s bad behavior.  Just like you can’t get insurance if you have a fatal wreck while driving drunk on alcohol, Cox can’t get insurance for destroying songwriters’ lives while drunk on power.  And they can’t get out of the liability by declaring bankruptcy for largely the same reasons.

There’s a very long way to go before this case is over, but Lloyds isn’t waiting around to find out.  They want out right now, which may–may–mean that they know something we don’t.

All in all, one of the best litigation weeks for songwriters in a very long time, and thanks to BMG and Round Hill (who was dismissed from the case on a technicality) for sticking it out.  But wait…there’s more.

Needless to say that Google is going to be very interested in this case.  Naturally, Google sent in its shills back in October to file friend of the court briefs intended to influence the judge–the Electronic Frontier Foundation and Public Knowledge.  According to Ars Technica, Judge O’Grady was having none of it, and refused to allow either the EFF or Public Knowledge to file their briefs (which is evidently at the discretion of the court).

“It adds absolutely nothing helpful at all,” O’Grady said of the EFF brief, according to Techdirt, based on a transcript of the October hearing. “It is a combination of describing the horrors that one endures from losing the Internet for any length of time. Frankly, it sounded like my son complaining when I took his electronics away when he watched YouTube videos instead of doing homework. And it’s completely hysterical.”

Yeah.

One other point to brighten up your Thanksgiving.  The same judge will be hearing the U.S. criminal case against Google Adsense customer Kim Dotcom/Megaupload once Dotcom is extradited from New Zealand.  Dotcom was no doubt thinking about making some of the same “head in the sand” defenses that Cox tried on Judge Liam O’Grady, so the betting is that Mr. KDC may be taking a long look at the hospitality of the federal government right about now.

That can have a tendency to focus the mind and loosen the tongue.

Please pass the turkey.

Adele Outclasses Her Critics

Music Technology Policy

Notwithstanding the predictably boring and misogynist spew about Adele from Bob “Trigger Warning” Lefsetz, Adele’s “25” album sends an unmistakable message.  Her recording reminds us of the one idea that streaming boosters and other Spotify apologists want you to forget. The CD configuration still makes up an average of 50% of sales, particularly for superstar releases, and in Adele’s case, CDs and digital downloads make up 100% of the album product configuration for “25,” at least for the time being.

But not the single–“Hello” has been available on iTunes, Spotify and other streaming platforms since October 23–you know, the commercial single street date.  That’s right–all this press that has been ginned up about Adele “snubbing” streaming is all about “25”–that’s the album.  Somehow few of these stories (and I say “few” but I think if you read all of them you would find that none of them) tell you…

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