Topic: Ascap

Suno AI has entered a partnership with Warner Music Group to settle litigation and establish a framework for compensating the music industry for AI-generated content. The deal focuses on publishing rights and suggests that AI companies can identify specific copyrighted elements within their training data.

Zaniyah Monet becomes the first AI-generated artist to land on a Billboard radio chart with the song "How Was I Supposed to Know." The record deal, reportedly worth $3 million, has sparked backlash from advocacy groups like United Musicians and Allied Workers over the lack of AI protections for human creators. While a human poet named Talisha Nikki Jones reportedly prompts the AI, the music industry is viewed as using the project as a trial balloon for future automated content.

The rise of AI music tools like Suno allows users to create high-quality songs that are not registered with licensing bodies like ASCAP or BMI, making them ideal for podcast use. The hosts propose launching "No Agenda Records" to publish and promote AI-generated tracks, including parodies and original compositions. They envision a future where AI-produced hits are paired with human performers to create new forms of digital stardom.

A discussion regarding the music industry touched on the personal lives of artists like Grace Slick and Roger McGuinn. The hosts explored the opaque nature of ASCAP and BMI royalty payments, noting that even legendary performers often face difficulty tracking their earnings from streaming and airplay.

Spotify recently removed several comedy albums from its platform following a dispute over spoken-word performance rights. Comedians are seeking royalties similar to those paid to songwriters through organizations like ASCAP and BMI. Since "No Agenda" is categorized as a comedy podcast, the hosts speculate on whether they are owed back-pay from major streaming platforms.

The legal structure of music performing rights in the United States is explained, focusing on the 50-50 split between composers and publishers. Organizations like ASCAP, BMI, and SESAC act as intermediaries, collecting royalties through blanket licenses traditionally paid for by venues rather than individual performers. The statutory duty of publishers to maximize revenue often leads to conflicts when artists attempt to block specific public performances of their work.

ASCAP and BMI have introduced new "political entity licenses" that shift the burden of music licensing from the venue to the specific political campaign. The Rolling Stones and the Tom Petty estate are using these new frameworks to threaten the Donald Trump campaign with legal action for unauthorized song use. Legal experts question the validity of these licenses under 17 U.S. Code 110, which provides exemptions for certain non-commercial performances.

The program concludes with a critique of the buzzword "solutioning" used by PG&E and a debunking of a Democracy Now! report regarding Donald Trump's use of Prince's music. The hosts explain that venue performance licenses (ASCAP/BMI) allow for the legal playing of music at rallies regardless of estate objections.

The implementation of the EU Copyright Directive is expected to mirror the "blanket license" model used by Performing Rights Organizations (PROs) like ASCAP and BMI. These organizations collect revenue from businesses and broadcasters to distribute to artists. The new laws are viewed as a mechanism for European rights groups to extract revenue from American tech giants like Google and Facebook.

A review of novelty Christmas music features tracks composed entirely of animal sounds. One project involves individual goat vocalizations mapped to musical notes, while another features a sophisticated arrangement of dog growls and barks. The discussion touches on the creative effort required to arrange these "animal choirs" into recognizable holiday carols.

John Oliver's "Last Week Tonight" segment on politicians using unauthorized music is criticized for propagating a legal lie. While artists like Queen and Usher complain about Trump using their songs, venues typically pay for blanket ASCAP/BMI licenses that allow such use. The segment argues that as long as the music isn't used as a direct endorsement, the use is legally permitted.

The band Queen and other musicians have expressed frustration over the Trump campaign's use of their music, specifically "We Are The Champions." The hosts explain the reality of blanket performance licenses from BMI and ASCAP, noting that as long as the venue is licensed, the artists have little legal recourse despite the media narrative of "unauthorized" use.

The hosts clarify the legalities of playing music at political rallies, noting that campaigns with proper ASCAP or BMI licenses cannot be forbidden from playing specific songs. While artists often complain publicly, they have little legal recourse under copyright law, though they may attempt to sue under the Lanham Act or right of publicity.

Donald Trump's arrival featured a low-altitude flyby in his Boeing 757, set to the "Air Force One" movie soundtrack. The production is criticized for poor timing and a repetitive three-song playlist that included Elton John's "Tiny Dancer" and The Rolling Stones' "You Can't Always Get What You Want." Legal requirements for performance fees through ASCAP and BMI are discussed.

The Federal Register details a Section 301 investigation by the U.S. Trade Representative into Ukraine's intellectual property practices. The investigation targets the administration of royalty collection societies and the use of infringing software by Ukrainian government agencies. This move is characterized as the U.S. government asserting its interests with the newly installed Ukrainian leadership.

The American Society of Composers, Authors and Publishers (ASCAP) filed a lawsuit against AT&T in federal court. The legal action seeks to classify mobile phone ringtones as public performances subject to copyright royalties.

Technical issues with the No Agenda stream provider, Primcast, are addressed. Adam Curry praises "The Dvorak Interlude," a music program produced by Dvorak that is now in rotation on the 24/7 stream, noting that all necessary licensing fees are being tracked.

Trade shows serve as primary hubs for wholesale buyers and sellers, though consumer interest in these events has grown significantly. Performance rights organizations like ASCAP and BMI frequently monitor these venues to collect licensing fees from booth operators playing music, a practice that extends to small businesses such as hair salons and workshops.