Glasbeniki za glasbenike

Fair-Internet welcomes the vote of the Legal Affairs’ Committee

fair internet for performers

Published on June 20 2018

The FAIR INTERNET coalition welcomes the vote of the Legal Affairs’ Committee in favour of a new article 14a ensuring the payment of fair and proportionate remuneration to performers – including for online exploitations.

Read more:  https://www.fair-internet.eu/fair-internet-welcomes-the-vote-of-the-legal-affairs-committee/?ct=t(Fair_Internet_for_Performers)

 

Open letter from performers and audiovisual authors

fair internet for performers

Published on June 5 2018

Dear Members of the Legal Affairs committee, we came to Strasbourg a few days ago to discuss the draft Copyright Directive and fair remuneration of performers and audiovisual authors. We learnt that very little time is left before decisions are taken on the final compromise amendments to be voted on in committee in June.

Read more:  https://www.fair-internet.eu/open-letter-from-performers-and-audiovisual-authors/?ct=t(Fair_Internet_for_Performers)

 

Performers and AV authors call for a right to equitable remuneration

fair internet for performers

Published on June 4 2018

Today, performers, audiovisual authors’ (screenwriters and directors) and their representative organisations came together in the European Parliament at an event co-hosted by MEPs Marc Joulaud (EPP), Mary Honeyball (S&D) and Helga Trüpel (Greens/EFA), to highlight the realities and needs of performers and audiovisual authors in the Digital Single Market.

Read more:  https://www.fair-internet.eu/performers-and-av-authors-call-for-a-right-to-equitable-remuneration/?ct=t(Fair_Internet_for_Performers)

  

Foučerji so navdušili!

27. januarja 2018 smo na Železniški postaji Nova Gorica, v izjemno prijetnem in nabitem ambientu, čisto na državni meji, doživeli sanjsko vsebino prvinskega rock('n'roll)a. Poklon MOJSTROM! Tudi Glosin član je med njimi.

Foto:  TheFoucers.pdf 

  

Fair-Internet comments re. JURI compromise amendments

fair internet for performers

Published on January 10 2018

The members of the FAIR INTERNET coalition have read with great attention the Legal Affairs committee’s latest compromise amendments to articles 14 to 16.

Read more:  https://www.fair-internet.eu/fi-comments-to-juri-2017-12-06-2/

 

Nov dan - Nove zgodbe

Nov dan, nove zgodbe

December 2017

ZSVGS in GLOSA SKG podpirata novo slovensko glasbo!

Glasbena sindikata ZSVGS in GLOSA SKG sta ob pomoči založbe Nika Records ob koncu leta izdala dva nova kompilacijska albuma. Na prvega je umeščena narodnozabavna glasba, na drugem je našla prostor zabavna. Takšnega projekta so se lotili že drugo leto zapored in tako glasbenikom s subvencioniranjem omogočili, da objavijo svoja dela. Več na:  http://www.ehonovice.si/slovenija/zsvgs-in-glosa-skg-podpirata-novo-slovensko-glasbo/

Dve zgoščenki:  Novdan-Novezgodbe.pdf

 

Fair-Internet comments re. discussions in JURI

fair internet for performers

Published on December 7 2017

The majority of European performers are not remunerated when consumers access their creative content –such as music and movies– via on-demand services like Spotify, Netflix and iTunes.

Most of them are made to sign away and transfer all their exclusive rights to their employer, the producing company, all too often for a one-off payment for all territories and all the duration of their rights. Read more

 

British artist and politician lend their support to European performers

fair internet for performers

Published on November 9 2017

With the European Parliament soon to express itself on the review of EU Copyright Directive, British artist Murray Head and Member of the European Parliament Mary Honeyball (S&D, UK) came together today in Brussels in support of the FAIR INTERNET coalition. Read more

 

Fair-Internet meets with Axel Voss MEP

fair internet for performers

Published on September 26 2017

German actor Hans Werner Meyer, starring in over 120 film and TV productions in Germany, and the FAIR INTERNET Coalition, representing over 500,000 professional performers across Europe, formally delivered today the “Make the Internet fair for performers” petition to Axel Voss MEP, rapporteur on the review of Copyright Directive in the European Parliament. Read more

 

Fair-Internet reacts to EU Presidency proposal

fair internet for performers

Published on September 7 2017

Open Letter to Ministries and Permanent Representations

Dear Madam/Sir,

The partners of the FAIR INTERNET coalition have read with great attention the compromise proposals put forward by the Estonian Presidency regarding the draft Directive on Copyright in the Digital Single Market (dated 30 August 2017). Read more

 

Fair-Internet reacts to ITRE and CULT opinions

fair internet for performers

Published on July 11 2017

The Fair Internet Coalition welcomes the opinions of the Industry and Culture Committees of the European Parliament introducing an unwaivable right to remuneration for authors and performers

The Fair Internet Coalition represents over 500 000 performers in Europe and is actively campaigning to ensure that the revised EU Copyright Directive brings about fair remuneration for performers for the use of their performances via on demand services.

Read more:

https://www.fair-internet.eu/fair-internet-reacts-to-itre-and-cult-opinions/?ct=t(Fair_Internet_for_Performers)

 

Zlata piščal 2016

13. junij 2017

Klikni za vsebino:

http://www.sindikat-glosa.si/sl/news/zlata-piscal-2016.html

    

 

Novinarska konferenca o legalni uporabi avtorskih del

 

17. maj 2017

Vsi imamo koristi od pestre in raznolike izbire avtorskih vsebin. Zagotovili jih bomo lahko le s spoštovanjem in podporo avtorskega dela kreativnih ljudi sedanje in prihodnjih generacij. Ker je legalna uporaba avtorskih del pomembna tako za same ustvarjalce kakor tudi za celotno družbo, bomo o tej temi skupaj s partnerji spregovorili na novinarski konferenci.  Več na:  zipvabilo1752017.pdf

 

Jardier: 'Kondicija zabavne glasbe ni vedno povezana s kakovostjo'

16. maj 2017

Dobitniki zlate piščali za najboljšega debitanta 2016 Jardier se pripravljajo na začetek snemanja novega albuma, pevec Alex Raztresen pa je z nami delil nekaj misli o domači glasbeni sceni, izzivih in razmerah za delo.

Preberi na:  http://www.ehonovice.si/intervju/jardier-kondicija-zabavne-glasbe-ni-vedno-povezana-s-kakovostjo/

 

Comments & amendments by the FAIR INTERNET coalition

fair internet for performers

Published on April 11 2017

Read more:

https://www.fair-internet.eu/comments-and-amendments-by-fair-internet/?ct=t(Fair_Internet_for_Performers)

 

ETUC initiates a process of reflection on new forms of employment

 

Published on March 8 2017

Read more:

https://www.fim-musicians.org/etuc-project-new-forms-of-employment/?utm_source=FIM+News+%28EN%29&utm_campaign=89fb195af8-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_c7643b1e81-89fb195af8-326062817 

 

Europe’s performers call on MEPs to rebalance copyright and guarantee a fair remuneration from streaming and download services

fair internet for performers

Published on January 11 2017

Read more:

http://www.fair-internet.eu/europes-performers-call-on-meps-to-rebalance-copyright-and-guarantee-a-fair-remuneration-from-streaming-and-download-services/?ct=t(Fair_Internet_for_Performers)

 

Performers call on European legislators to ensure fair treatment of performers in the digital world

 fair internet for performers

Published on December 5 2016

Read more:

http://www.fair-internet.eu/fair-internet-campaign-event-5-dec-2016/?ct=t(Fair_Internet_for_Performers)

 

Draft Directive on Copyright in the Digital Single Market is a lost opportunity to make a real difference for Europe’s performers

fair internet for performers

Published on September 14 2016

Read more:

http://www.fair-internet.eu/draft-directive-on-copyright-in-the-digital-single-market-a-lost-opportunity/?ct=t(Fair_Internet_for_Performers)

 

Odprto pismo člana Matjaža Jelena

odprto-pismo-clana-matjaza-jelenajul2016.pdf

Povezava:  http://zsvgs.on-net24.si/viewmail.php?e=glosa@sindikat-zsss.si&t=1298

 

Fair Internet partners publish open letter to Pdt Juncker

fair internet for performers

Published on July 12 2016

Read more:

http://www.fair-internet.eu/open-letter-to-pdt-juncker/?ct=t(Fair_Internet_for_Performers

 

Pismo predsednika mag. Andreja Srake v zvezi s predlogom ZKUASP

11. julij 2016

Klikni za vsebino:  glosa-skgzkuasp1172016-1.pdf

 

OIRA: Free tool for risk assessment in the live performance sector

http://www.fim-musicians.org/oira-free-tool-for-risk-assessment-in-the-live-performance-sector/?utm_source=FIM+News+%28EN%29&utm_campaign=359002b8de-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_c7643b1e81-359002b8de-326062817

  

Pismo predsednika mag. Andreja Srake v zvezi s predlogom ZKUASP

15. junij 2016

Klikni za vsebino:  glosa-skgzkuasp1562015.pdf

 

 

MEP Dietmar Köster hosts Fair Internet event

 fair internet for performers

Ekonomska upravičenost popustov pri plačevanju nadomestil kolektivni organizaciji in s tem povezana sodna praska

21. junij 2016

V Sindikatu Glosa spodbujamo, da se v javnosti odpira prostor za pogovore o različnih temah, ki zadevajo naše člane in ostale deležnike, ki so povezani z uporabo glasbenih del. Ena najpomembnejših so nadomestila, ki jih morajo uporabniki glasbenih del po zakonu plačevati kolektivnim organizacijam. Ta zbrana sredstva razdelijo med ustvarjalce glasbenih del. Pri tem pa prihaja tudi do sodnih sporov in različnih sodnih praks.

Temu izjemno pomembnemu področju posvečamo okroglo mizo v torek, 21. junija 2016, med 12. in 13.30 uro, v Maxi klub salonu v Ljubljani.

Več v vabilu predsednika Glose SKG mag. Andreja Srake:   ekonomska-upravicenost-popustov-pri-placevanju-nadomestil2162016.pdf

 

  

Zlata piščal 2015

7. junij 2016

Klikni za vsebino:

http://www.sindikat-glosa.si/sl/news/3-dan-slovenske-glasbe.html

    

 

United Kingdom | MU position on Europe

Published on April 16 2016

Read more:

http://www.fim-musicians.org/uk-mu-position-on-europe/?utm_source=FIM+News+%28EN%29&utm_campaign=7ba4543a95-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_c7643b1e81-7ba4543a95-326062821

 

France | The employer of Belarusian musicians sentenced for not respecting the applicable collective agreement

 

Published on April 15 2016

Read more:

http://www.fim-musicians.org/france-the-employer-of-belarusian-musicians-sentenced-for-not-respecting-the-applicable-collective-agreement/?utm_source=FIM+News+%28EN%29&utm_campaign=7ba4543a95-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_c7643b1e81-7ba4543a95-326062821

 

Extended collective management in Hungary | EJI forces Deezer to comply with the law

 fair internet for performers

Published on April 14 2016

Read more:

http://www.fair-internet.eu/extended-collective-management-in-hungary-eji-forces-deezer-to-comply-with-the-law/?ct=t(Fair_Internet_for_Performers)

  

MEPs express again their interest for the FI campaign

 fair internet for performers

Published on April 5 2016

Read more:

http://www.fair-internet.eu/meps-express-again-their-interest-for-the-fi-campaign/?ct=t(Fair_Internet_for_Performers

 

FIM condemns the decision of the Egyptian Musicians Union’s President to suspend 6 singers

FIM logo

 fair internet for performers

Published on March 22 2016

Read more:

http://us2.campaign-archive2.com/?u=12d93bc559f547fd6dbc78a46&id=c5bba9b9e2&e=70c33c2021

  

Berlin | Musicians, actors and authors/composers meet Commissioner Oettinger

 fair internet for performers

Published on February 24 2016

Read more:

http://www.fair-internet.eu/german-artists-meet-commissioner-oettinger/?ct=t(Fair_Internet_for_Performers)

 

Odprto pismo Matjaža Jelena

odprto-pismo-clana-matjaza-jelena22122015.pdf

Povezava:  http://zsvgs.on-net.si/viewmail.php?e=glosa@sindikat-zsss.si&t=1290

 

'Europe’s performers urge EU legislators to turn words into concrete actions'

fair internet for performers

Published on December 9 2015

Read more:

http://www.fair-internet.eu/europes-performers-urge-eu-legislators-to-turn-words-into-concrete-actions/?ct=t(Fair_Internet_for_Performers)

  

'EU Copyright reform should include a guarantee for fair remuneration for creators and performers'

 fair internet for performers

Published on October 14 2015

Read more:

http://us2.campaign-archive2.com/?u=12d93bc559f547fd6dbc78a46&id=50fb800532&e=70c33c2021

 

'EU Commission’s study on the remuneration of authors and performers'

fair internet for performers

Published on October 6 2015

Read more:

http://us2.campaign-archive1.com/?u=12d93bc559f547fd6dbc78a46&id=f6b8d1a1bf&e=aec41acde2 

 

'VP Ansip committed to ensuring that performers be fairly remunerated'

fair internet for performers

Published on October 5 2015

Read more:

http://us2.campaign-archive1.com/?u=12d93bc559f547fd6dbc78a46&id=c0d7978a1f&e=aec41acde2

 

'Towards a Digital Single Market Act'

fair internet for performers

Published on September 24 2015

Read more: 

http://us2.campaign-archive2.com/?u=12d93bc559f547fd6dbc78a46&id=36078c738f&e=aec41acde2

http://www.europarl.europa.eu/meetdocs/2014_2019/documents/juri/pa/1062/1062520/1062520en.pdf?ct=t(Fair_Internet_for_Performers)

 

Polka reprezentanca Slovenije

Zamisel o polka reprezentanci se je pojavila na nastopih, kjer se glasbeniki srečujejo. Cilj ni le druženje glasbenikov izven glasbenih voda, temveč ideja nosi tudi dobrodelno noto: na tekmah glasbeniki in obiskovalci prispevajo denar za otroke iz finančno nestabilnih družin. Za dobro voljo po vsaki tekmi primejo v roke še inštrumente.

Več na:  http://www.zsvgs.net/?lang=&option=static&id=19

  Polka reprezentanca Slovenije

 

'Reda report adopted by EU Parliament'

fair internet for performers

Published on July 9 2015

Read more:  http://www.fair-internet.eu/press-release-vote-on-reda-report/?ct=t(Fair_Internet_for_Performers

 

'Oral amendment to art. 25 of Reda report by Mary Honeyball MEP'

fair internet for performers

Published on July 6 2015

FAIR INTERNET PARTNERS SUPPORT ORAL AMENDMENT BY MARY HONEYBALL MEP

AEPO-ARTIS, EuroFIA, FIM and IAO, partners of the FAIR INTERNET campaign representing over 500.000 musicians, singers, actors and dancers in the EU, express their support in advance of the vote in plenary on 9 July for the oral amendment proposed by Mary Honeyball to paragraph 25 of the Reda report on the implementation of the 2001/29/EC (Copyright Directive).

Read more

 

'The JURI Committee votes on the Reda report'

 fair internet for performers

Published on June 16 2015

EU Parliament’s Legal Affairs Committee vote on the Reda report on the implementation of Directive 2001/29/EC: the Parliament missed an opportunity to unambiguously support performers’ welfare in the on-demand environment.

The FAIR INTERNET campaign partners, who represent over 500.000 musicians, singers, actors and dancers, welcome today’s acknowledgement by the European Parliament’s Legal Affairs committee of the need for fair and appropriate remuneration for all categories of rightholders, as mentioned in paragraph 3 of the Reda report on the implementation of Directive 2001/29/EC (“the Copyright Directive”).

Read more

 

Taking atypical workers into account in the audiovisual and performing arts sectors

 

Published on June 8 2015

In Amsterdam, on 20 May 2015, FIM, FIA, UNI-MEI and the EFJ organised the first workshop of their joint project on the protection and representation of “atypical” workers, i.e. those who are not employed by a permanent contract. This project has the financial backing of the European Commission and the assistance of a consultant, Pascale Charhon, tasked with collecting information needed for research work within the scope of the project.

Read more:   http://www.fim-musicians.org/atypical-workers-amsterdam-2015-05

  

Drugi dan slovenske glasbe

 29. maj 2015

Klikni za vsebino:

 http://www.sindikat-glosa.si/sl/news/2-dan-slovenske-glasbe.html

   

 

Praznik glasbe

http://www.sindikat-glosa.si/sl/news/praznik-glasbe.html

 

 

IFPI attacking performers’ remuneration rights

  

Published on May 21, 2015 Filed under: Africa, Collective management, Intellectual property

In April 2015, IFPI wrote to the Kenyan Copyright Office to demand removal of Section 30A of the Kenyan Copyright Act. Adopted in 2012 after a wide debate, this exemplary provision provides performers with equitable remuneration for the broadcasting and communication to the public of their performances, but also for the right of making available on demand, bringing it in line with what FIM, EuroFIA, AEPO-ARTIS and IAO are demanding in Europe. Read more:

http://www.fim-musicians.org/ifpi-kenya-copyright-act?utm_source=FIM+News+%28EN%29&utm_campaign=6f9b0aa339-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_c7643b1e81-6f9b0aa339-326062821

  

Safeguarding the Income of Musicians

http://www.wipo.int/wipo_magazine/en/2015/02/article_0002.html

May 2015

By Horace Trubridge, Assistant General Secretary, British Musicians’ Union, London, United Kingdom

In the mid-1990s, technological changes started to transform the way we access and consume music. It became clear that creators operating in the digital marketplace needed additional safeguards. To this end, authors, performers and record companies (“phonogram producers”) were granted the exclusive right to authorize or prohibit the use of their works “through interactive networks such as the Internet.” The so-called “making available right”, as contained in the WIPO Copyright Treaty (WCT), the WIPO Phonograms and Performances Treaty (WPPT) and more recently the Beijing Treaty on Audiovisual Performances, seeks to enable new uses of protected content in the digital marketplace and to help right holders fight piracy.

Musicians’ unions are lobbying for a fairer share of digital income for performers. (Photo: Photo: iStockphoto © ola_p)

 But despite the best of intentions, many believe the way this right is now being applied is failing performers because of the dynamics of the music industry. A growing number of musicians are calling for the right to be reviewed to ensure it serves its intended purpose, namely to deliver an income stream for artists in the same way that the very successful right to equitable remuneration does.

Legislators and academics have long held the view that the most valuable rights afforded to performers are exclusive rights, such as the right to reproduce and distribute a work. These rights have value, can be traded and, until recently, had to be specifically assigned to allow third parties to exploit them.

The problem for featured artists is that once these exclusive rights have been assigned to a record label, they are subject to the terms of their recording contract with the record company.

Artists are not getting their fair share

In almost all cases, no money flows to artists from the exploitation of their exclusive rights until they have paid back – through royalties from the sale of recordings – all of the money that the record label has either advanced to them or paid out in recording costs. The grim reality is that most artists never recoup these sums and never see any artist royalties. That, however, does not mean that the record label does not make any money from this arrangement.

In simple terms, if the artist is advanced GBP100,000 to cover recording costs and a personal advance, and goes on to sell 50,000 records earning a royalty of GBP50,000, the artist still owes the record label GBP50,000.

The record label’s share of proceeds from sales will typically be three times greater than that of the artist. So while the artist still owes the label GBP50,000 the label has earned GBP150,000 and is GBP100,000 up on the deal.

The jewel in the artist’s crown

In 1996 performers in the UK were granted the right to equitable remuneration for the public performance and broadcast of their recordings (often referred to as “fixed performances”). This right cannot be assigned to a third party and cannot be swept up in recording contracts. As such, performers enjoy royalty payments from the very first airplay of their recordings. In the UK, this right is administered by the music licensing organization PPL. The money that PPL collects from license holders and distributes to performers has become an essential income stream for featured and non-featured artists alike.

In the early years of their careers, artists are extremely vulnerable to third parties seeking to bind them to long-term contracts requiring them to sign away all their rights. The balance of power in the negotiation between a fledgling artist and a major record company is so heavily weighted towards the record company that the artist rarely comes out with a favorable deal. The record company typically sweeps up all assignable rights in the recording contract to recoup any and all expenses associated with making and promoting the artist’s recordings. Any personal advance received by the artist is often swallowed up in repaying loans and buying better equipment. This leaves them reliant on the income from live performances and from the right to equitable remuneration to survive. The equitable remuneration right has become the jewel in the crown of performers’ rights because it is non-assignable under the law.

 New business models throw up unforeseen issues

The valuable making available right was granted to performers and producers in 1996 through the WPPT, and introduced in the European Union in 2001. Streaming services such as Spotify and Deezer did not exist back then. No one could have predicted that they were on the horizon, let alone that they would become so popular.

The making available right was implemented when music lovers were turning to iTunes and other digital platforms to purchase and download their music. It was brought in to deal with this change in consumer behavior, and did so effectively. Many countries (including the UK) implemented the making available right as an exclusive right, assignable to a third party.

Record labels throughout the world assumed that the making available right was among the rights normally included in their contracts with artists, paying them the same royalty rate as that paid for a physical sale. Whether the record companies have a legal right to assume such assignment of the making available right is questionable and the subject of ongoing legal challenges in the Scandinavian courts.

Agreements between record companies and artists traditionally include clauses conferring “all rights existing now or that come into existence in the future in all territories of the world, the universe and its satellites” to the record company. The labels are relying on this wording to defend their assumption of ownership of the making available right.

The cost of sending a sound file to a digital platform is miniscule, yet labels maintain it is fair to pay artists the same royalty as that paid on CD sales.

Exclusive rights versus non-assignable rights

Had the right to equitable remuneration been implemented as an exclusive right, doubtless the assignment of that right too would have been assumed by the labels. Leaving aside this question, paying an artist the same royalty for the sale of a digital download and for a physical sale is clearly unfair. A record company incurs substantial costs in selling physical products, including manufacture, storage, transportation and distribution, but in the sale of a digital download these costs disappear. The cost of sending a sound file to a digital platform is miniscule, yet the labels maintain that it is fair to pay artists the same royalty as that paid on CD sales.

And poor royalty payments become an even bigger problem when the making available right is applied to streaming services.

The rise of streaming services

Streaming is a phenomenal success. It offers music lovers the opportunity to access an enormous catalogue of music either free (supported by advertising) or at a very low price (GBP9.99 a month in the UK). Moreover, there is growing evidence that at last, these platforms are leading people away from illegal sites and helping to reduce music piracy. This is all very good news for the music industry. But of concern to performers is the fact that record labels are now applying the making available right to streaming services.

Music streaming is a very different service from download-to-own services like iTunes. It is also a very different consumer experience.

In reality, streaming services are a sophisticated version of radio; radio for the new generation, if you like. Consumers using Spotify do not feel they are purchasing the music they listen to in the way they do when using iTunes. The experience is more akin to listening to a broadcast and yet, because listeners can tune in at any time and any place, the law treats streaming as a form of making available.

Lawyers tell us that the fact that the listener can pause, skip, and so on means that streaming cannot be classed as a broadcast, only as making available. Hmm, really? The fact is that the most popular services on Spotify are the curated playlists where the listener chooses, for example, “dinner jazz” or “fitness” and a selection of music is then streamed to their device. The listener only knows the type of music (not the specific tracks) he or she will be listening to. Is that any different from listening to Jazz FM or Planet Rock or even the chart show? When you listen to the chart show on the radio, you may well know exactly what songs you are going to hear, you just don’t know the order of play. As a consumer experience, is that any different from listening to the curated REM playlist on Spotify?

A fair share for musicians

Another important point to consider is the impact of streaming on radio as we know it today. As mentioned above, the right to equitable remuneration has become a significant source of income for performers whose work is broadcast

Galerija