Posts Tagged ‘royalties’


BurrellesLuce Backs Media in AP Lawsuit

Wednesday, February 27th, 2013

The advent of digital technology has created some pretty interesting debates over the fair use of copyrighted content and how publishers can be paid for their news contributions and protect their copyrights.

By violating copyright – even inadvertently – PR professionals can expose their organization, clients, and constituents to a number of liabilities. That is why BurrellesLuce has worked directly with publishers and other content providers (for close to 30 years) to establish use agreements that pay publishers royalty fees and allow our customers worry-free access to copyrighted content.

We are staunch supporters of commercial use of content with the expectation that those providing a similar services to ours should also pay for the use of the content. We are also long-time members of the The Software and Industry Information Association (SIIA) and believe that people, including PR and communications practitioners, should pay for commercial use of content. We have had a turnkey copyright compliance program in place since 2008 and we work to educate our customers on copyright compliance and the proper use of licensed content.

The same cannot be said for other companies in the media monitoring and evaluation space. Some aggregators, posing as monitoring services or search engines – depending on what best serves their position of the day – are not curating content, but archiving and hosting a database of publisher’s content. This creates challenges for PR and marketing pros, and some media monitoring firms expose their clients to potential liability.

At BurrellesLuce we curate content on behalf of our clients and charge a royalty. Those royalties go back to the publishers. PR professionals are understanding, more and more, why these measures are necessary. They recognize the difference between a genuine media monitoring service and an aggregator. They realize they may be exposing their organization, as well as their clients, to substantial copyright liability by using the latter.

The difference is best outlined in an article by Neiman Journalism Labs, which discusses the difference between search engines and aggregators.  A search engine, like Google and its “free” business model, typically provides links to the original content and pays a licencing fee to the copyright owners, while aggregators repackage the publishers’ copyrighted material, send it to their customers, and charge their customers without paying a royalty to the publishers.  As a genuine full-service media monitor, BurrellesLuce uses a business model that ensures that the publishers get paid for the use of their copyrighted content, and gives our customers the peace of mind that comes with compliance with the law.

Artists and Record Labels Are At It Again … This Time It’s For Keeps

Wednesday, August 24th, 2011

the doors at the whiskey a go go - Google ImagesThis past weekend I was lucky enough to catch the Sunset Strip Music Festival in LA.  Seeing Motley Crue and Public Enemy, playing live outside on the Strip, and The Doors, live at the Whiskey A Go- Go, where they started as a house band in the 60’s, (with David Brock on vocals doing a mind blowing rendition of Jim Morrison), was truly an unreal experience … and just what I needed. Working with the major music labels for the last eight years and following this beleaguered industry from the business side, I always rely on some good-old live, loud music to quickly put things back in perspective for me.

Last week the New York Times wrote an article reporting on yet another potential crushing blow to the music industry, a little known revision to a copyright law from the mid-seventies, dealing with musical artists regaining rights to their songs. Basically the law grants artists “termination rights,” allowing the artists to regain control of their work from the labels, 35 years after the songs release, provided they file the proper forms two years in advance.

“The recording industry has made a gazillion dollars on those masters, more than the artists have,” said Don Henley, a founder both of the Eagles and the Recording Artists Coalition. “So there’s an issue of parity here, of fairness. This is a bone of contention, and it’s going to get more contentious in the next couple of years.” Some big names released in 1978 and eligible to be granted termination rights in 2013 include, Bruce Springsteen’s “Darkness on the Edge of Town,” Billy Joel’s “52nd Street,” and the Doobie Brothers’ “Minute by Minute.

This will be a bone of contention for years and will certainly wind up in court and in the hands of lawyers, some of whom I’m sure were rockin’ right alongside me. Thirty-five years is a long time, but after seeing these bands perform over the weekend with passion and energy, sounding better than ever, something tells me they’re not going away anytime soon, and thank goodness!

Listening to bands tell their stories between songs during the festival reminded me of how this whole thing started and why it’s all here in the first place…and never a  mention of words like copyright or piracy. I say avoid the legal fees, pay the artists instead and let Don Henley go back to singing with his Eagles band mates.

Don’t Go Wrong on Copyright

Monday, March 31st, 2008

Copyright-ComplianceIn the digital age, PR professionals face stricter enforcement on how they may use press clippings. Is this issue on your radar? Have you made any changes to your workflow to ensure you won’t run afoul of copyright? We are curious about your ideas, so please share them. Our thoughts are here in this white paper for anyone who is interested.