The Librarian
of Congress's decision on Internet radio royalty
rates is due on Thursday,
June 20th. Hopefully that decision will
be a reasonable one and we can all get back
to business!
So on Monday, June 24th, look for a special
"Back to Business"
issue of RAIN, featuring a review
of products and services now available to our industry.
xxx
Participating
vendors include...
Include
YOUR firm! Call Kurt at 1-312-527-3879 or e-mail us here.
The House Subcommittee on Courts, the
Internet, and Intellectual Property is scheduled to hold
an oversight meeting
on “The CARP (Copyright Arbitration Royalty Panel) Structure and
Process” at 1:30p CDT (2:30p EDT). (See RAIN coverage of
the announcement of this meeting here).
Live audio will be availablehere.
But according to the Judiciary Committee (to which this subcommittee
belongs) website (here),
the audio will not be archived.
Though this meeting comes just days before the anticipated
announcement from the Librarian of Congress on webcasting royalty
rates (June 20), the hearing will examine only the CARP process
itself and how it can be reformed. In other words, the hearing is
not specifically related to the recent CARP on webcasting royalties.
BY KURT HANSON with PAUL MALONEY
The largest multichannel Internet radio operation in Canada,
TheIceberg.com, is
in the process of being acquired by
the largest privately-held radio broadcaster in Canada, Standard
Radio, according to an agreement the two companies reached
late last month.
In the agreement, Standard, which currently owns a 20% interest
in the publicly-traded Iceberg Media, will offer to acquireall
of the outstanding common shares of the webcaster at $0.05/share.
Standard Radio President and CEO
Gary Slaight told RAIN that should all go as
planned, the Iceberg operation and its staff of 20 would move into
Standard's corporate offices in downtown
Toronto.
TheIceberg.com offers over 200 channels of programming spanning
more than 20 genres (including, for example, ten different channels
of Metal), and unique "Music Yearbook" channels that play
only the hits from a given year in a given genre (e.g., Pop/Rock
from 1968).
Standard owns major-market radio stations including CFRB
and Mix 99.9 in Toronto,
CHOM and Mix
96 in Montreal, and Z95.3
in Vancouver.
Iceberg President and CEOTed Boyd
(pictured left) commented to RAIN yesterday, "This
is a great opportunity for Iceberg to be partnered with a major
Canadian broadcaster and to gain efficiencies through operational
and sales consolidation."
This deal comes after last February's "stock for advertising"
swap which gave Standard 714,240 common shares (RAIN coverage
here). Previously,
in September of last year, Standard bought 2,250,000 shares of Iceberg,
at the time giving them a 15 percent ownership stake in the company.
Standard's corporate website notes, "The entrepreneurial
spirit is the lifeblood of Standard Radio."
According to the company's press release, a takeover bid
was to be mailed to Iceberg stockholders by May 27. With about 32
million shares outstanding, Standard's offer values Iceberg Media
at about $1.5 million (Canadian).
Boyd: Internet radio operators
need to work
within existing radio buying models
According to Boyd, for radio on the Internet to attract advertisers,
the industry needs to be flexible. "Internet radio operators
will have to find a way to make their models work with existing
radio buying models," he explained.
Boyd noted that advertising buyers use traditional "reach-and-frequency"and
"cost-per-point" criteria when
distributing ad dollars and evaluating purchases. Boyd says he makes
sure that Iceberg's proposed portion of a radio buy fits the buyer's
criteria on those metrics.
"The radio and advertising industries aren't going to
change to buy Internet radio," he said.
Slaight (pictured below) noted, "We're hoping that by
moving it in here, we can use it as a brand extension, something
more to offer our clients, and obviously
there are cost efficiencies in doing that," Slaight explained.
"And having them in our environment, we'll be more likely to
closely with them in terms of sales."
According to its unaudited interim financial results for
the first quarter ending March 31, 2002 (here),
service and advertising revenue for the first quarter ended March
31, 2002 was $149,000 (Canadian),
compared to $57,000 for the same period in 2001. However, expenses
were running over $1 million per quarter during both periods.
Slaight (right) notes there's an upside: "Sales are
starting to come -- we've had some good success on the revenue side
recently," he told RAIN.
"It's the best possible resolution for Iceberg at this point
in time. I'm very pleased," Boyd noted.
As
we've noted here before, Canadian broadcasters have been
significantly more aggressive in their Internet radio efforts
than U.S. broadcast groups have been (which have largely left
Internet-only radio opportunities to AOL, Microsoft, Live365,
Yahoo!, and other non-radio players).
Note that with a little bit more attention from Standard's
sales staff, The Iceberg should be a $1 million (Canadian)/year
webcaster shortly.
[an error occurred while processing this directive]
This first piece is regarding a column which contends streaming is
beneficial for noncommercial broadcasters (in RAINhere)...
"Royalty
fees...could be substantial for music stations..."
Mark Fuerst's column is very intriguing. However, I think it's
worthy to note that is has omitted any discussion of royalty
fees associated with streaming for music stations.
I understand these fees are still up in the air, but they could
be substantial for music stations. Just for curiosity, did the fees
reflected to StreamGuys reflect a cash basis cost? What about on air
inventory -- was that part of the deal?
Deep background
"The
artist and the RIAA owe me money..."
I would like to make the case for you from a composer's point
of view. I write a piece of music and someone tries to play it for
me.
Being human they cannot play the piece perfectly and sometimes not
to my satisfaction.
So why do the artists and the RIAA get more money for my work
than I do? As far as I am concerned, the artist and the RIAA owe me
money for me licensing the rights to perform the piece to them.
I don't pretend to understand all of the subtleties of the
legal arguments, but to me as the creator of the work, having someone
else make more royalties of the song than I do is ludicrous. Anyway,
keep up the good work.
Greg Dickinson
And one more on Satellite radio...
"I
would not want to consider FM ever again..."
With every advance and enhancement in electronic entertainment,
there are those who say; "Who needs it?"
That dozens of top manufacturers from all over the world have
invested many millions into satellite radio should
tell the nay-sayers something. That it is the second-fastest growing
new technology in electronics EVER, should tell the nay sayers something.
Beyond that, and on a personal note, as one who lives in a
non-metropolitan area: The local stations are terrible. I am sick
of 23 minutes per hour of commercials. I want more variety and less
repeat play. I want fewer, and in some cases, NO commercials. I have
XM radio, and I would not want to consider FM ever again.
Is it worth the cost? For those of us who spend time in our
cars -- NO DOUBT ABOUT IT!
Barry Vogel
From the LA Times: "Acknowledging that online
piracy is forcing dramatic changes in the music industry, the world's
two
largest record companies are poised to make it easy and cheap for
fans to buy — rather than steal — songs off the Internet.
"The moves byUniversal
Music Group and Sony
Music Entertainment accelerate the industry's transition
to an era in which music is distributed electronically. Other major
labels are likely to follow as the record business grapples with
the rise of online music copying through unauthorized services such
as Napster, Kazaa and Morpheus and potentially billions of dollars
in lost sales.
"Rather than trying to force consumers to buy music
on the labels' terms, the services signal that record companies
are slowly adapting to Internet-fueled changes
in the marketplace.
"This summer, Universal plans to sell tens of thousands
of high-quality digital singles for 99
cents or less andalbums for $9.99 through online
retailers such as Amazon, Best Buy and Sam Goody, according to sources
and company executives. Universal plans to make new releases available
for downloading as well as older ones, and possibly offer downloads
before the music is available on CD.
"Significantly, the company plans to let consumers download
songs and record them freely onto CDs — a major shift from the company's
practice of limiting what users could do with downloaded music...
"Sony also has quietly changed its policy on downloads
to allow CD burning — a change
that should go into effect any day, according to company executives.
That is expected to increase the number of downloadable songs dramatically
this summer, and a spokeswoman said prices would drop to $1.49
a song as soon as Sony's vendors could make the change."