This past week, I attended a private
BMI event at NAB honoring Vince Gill, Carole Bayer Sager, and Barry
Manilow. Barry stood on stage and said the greatest thrill of his
career was hearing a song of his on the radio for the first time,
then hearing the DJ announce his name. He said he was in Dade County
(Miami) when he heard it. That was 1974, and the song was "Mandy."
I talked with him later and mentioned that I was on the air in Miami
at the time, on Y100, and that I could very well have been that jock
because we were all over "Mandy" (who wasn't, though?). He
gave me a high five and told me that was one of the most meaningful
moments in his early career.
In his speech, Barry thanked radio and mentioned that he could not
have been successful without it. Did I mention that he's sold more
than 76 million records? (Something I did not know is that he wrote
jingles, like McDonald's "You Deserve a Break Today," "I
am Stuck on Band-Aid and Band-Aid's Stuck on Me," and "Like
a Good Neighbor, State Farm Is There.")
Those of us in radio who have met boatloads of successful
recording artists have been told hundreds of times that radio is the
reason for their success. Yes, they are talented indeed, but many
talented musicians never made it until they received radio airplay.
Right now, artists are still talking about radio's value to their
careers. But the raging battle over performance royalties could soon
have artists running scared that the labels will punish them if they
say how they really feel. After all, are the labels driving this
initiative out of the goodness of their hearts, to help artists?
The split on royalties under the Performance Rights Act would be
50-50 between the artists and the copyright owner in a recording,
which is, of course, nearly always the record label. Some very well
known artists -- most recently Bono -- have spoken out in favor of
the royalties, saying they'll help new and struggling artists.
But Congress should be asking the artists who've testified at
hearings on the PRA, such as Billy Corgan or Nancy Sinatra, to talk
about the contract practices of the labels, and how little money some
current and former superstars have actually ended up with after label
chargebacks. Perhaps they should subpoena some talent-label contracts
to see what really goes on.
When the next hearings come before up before Congress, I'm sure
the labels will parade more artists before the public and lawmakers.
"We deserve to get paid," they will say. Well, so do we.
Labels have made billions more than radio has from free radio
airplay.
Though the labels want to pretend airplay is no longer important
because of MySpace, Internet radio, iTunes, etc., they fail to
mention the tremendous amount of music that is still being stolen --
something they cannot prevent. Because of the demographics of sites
like MySpace, reliance on those sites alone to expose music could
easily lead to a higher percentage of file-sharing, and much less
exposure to the audiences who are still buying tunes after
hearing them reinforced over and over again on the radio. Is it
possible radio still has value to the labels? Of course, how could it
not?
But the labels won't say it in public any more, even if the
artists still do. Every Grammy and Country Music Awards show,
including the most recent ones, has been filled with artists saying,
"I'd like to thank radio." (Hmmm. I'll bet that doesn't go
on much longer, especially with pro-radio quotes regularly turning up
in the NAB's anti-royalties press releases.)
Perhaps Congress should investigate why labels still retain
independent record promoters to work radio if airplay doesn't matter.
Perhaps Congress should remember the efforts of Eliot Spitzer in New
York a few years ago, and the DOJ investigation of pay-for-play and
payola.
The dirty little secret is that radio does matter.
Ninety-four percent of Americans are listening to radio every week,
and that cannot be ignored.
The labels have been devastated by illegal downloads. But this
desperate move to take money out of radio's hide seems so.... well,
the word is ungrateful, for the wonderful partnership shared over the
years and billions of dollars in free promotion. And what if they're
wrong, and they do need radio? Without radio airplay, the labels
could sink deeper.
The financial hardship these proposed royalties will create for
radio will result in fewer music-formatted radio stations, stations
and groups seeking out royalty-free deals with fresh artists, and
could even lead to more radio bankruptcies. But the labels of today
have proven to be greedy, short-term thinkers lacking vision.
So it was nice to hear Barry Manilow and Vince Gill thank radio,
even though it was behind closed doors and to a small exclusive group
of broadcasters. We may soon stop hearing any public thanks to the
industry that built the record labels and their artists.
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