RIAA: We’re Hypocrites, and Don’t Mind Showing It If It Can Make Us a Quick Buck
You know how the RIAA whines about how downloading music of the Internet is really hurting the artists? How it’s not so much about the greedy, parasitic corporate suits as it is about the struggling, bona-fide musicians who are just trying to get by–except for all you lousy, stinking criminals who keep stealing their music and taking food out of starving artists’ mouths? And so forth and yadda yadda yadda.
Well, despite the fact that the musicians do all the work, spilling their hearts into the music, writing and arranging and performing, the RIAA pays them a pittance–and now wants to cut that even further. Despite the fact that digital downloads and digital streaming costs far less to distribute than traditional CDs, the RIAA thinks that current royalties paid for a music track (now at 9 cents) is much too high. They want to pay less than that. For a downloaded track, the songwriters are asking for 15 cents; the RIAA wants to cut the current rate by about half, down to 5 cents.
For streaming music–aka Internet radio–the artists want 12.5% of the money made. The RIAA: take 0.6% and be happy with our extreme generosity. Why? Because, they say, streaming music is like radio and artists don’t deserve any of that revenue. Which is full of it, because radio doesn’t pay, last I checked, while streaming music now does. The RIAA wants all the money made from streaming music, and wants to give the artists squat.
But this trend is not limited to just the RIAA; in fact, you can see it in just about any field. Why have the Hollywood writers been on strike? If I’m not mistaken, it’s because executives don’t want to pay them what they feel their efforts are worth, right?
I see this in my own work as well. There are executives at translation agencies who find the notion that professional translators should command high rates utterly ridiculous. In their view, apparently, we should all be overjoyed to be offered work at rates that even babysitters would balk at. And they wonder why we don’t accept those offers. I’m sure the same thoughts occur in the minds of executives in Hollywood and in RIAA boardrooms as well: What’s wrong with these ingrates? Don’t they realize that they should feel lucky that we offer to pay them at all?
The most practical solution is probably for the side doing the actual production—whether they be artists, writers, translators, or what have you—to simply assert that they will not produce anything at all for the meager compensation the business side has in mind. This doesn’t always work, but it’s remarkably effective when it does.
Actually, radio DOES pay royalties. It’s just that they don’t pay nearly as much as internet radio pays, and radio doesn’t pay to everyone involved. Radio pays to songwriters and publishers, but not to performers.
See http://www.hollywoodreporter.com/hr/content_display/news/e3i44dda07d62dfe778f32741a60938c14b for a reference.