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Mercuriadis's 'Hot Seat' Interview Hits On An Uncomfortable Truth

In the most recent Celebrity Access feature, In the Hot Seat with Larry LeBlanc, global music titan Merck Mercuriadis tackles a thorny and often unspoken issue that plays into creators getting

Mercuriadis's 'Hot Seat' Interview Hits On An Uncomfortable Truth

By External Source

In the most recent Celebrity Access feature, In the Hot Seat with Larry LeBlanc, global music titan Merck Mercuriadis tackles a thorny and often unspoken issue that plays into creators getting the short end of the stick in the so-called ‘value gap’ chain in a lengthy interview that offers a fresh perspective on the bankability of copyrights. 


… Here’s what is not being said. When we look at the past 5 years of reporting, it would be fair to summarize it as neither Spotify nor Apple pay enough. That, to the greatest respect to the music industry, is not the full truth. Of course, we believe what Spotify pays currently or what Apple pays currently (for songs) is anemic to where we want it to be. But that’s not the truth.

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In terms of the songwriting community, the truth is that Spotify and Apple are keeping 30% of the money in exchange for the service that they provide. That is not a bad price to pay for the service that they provide. What is not fair is the split between recorded music and songs. And what is not fair is the influence that Sony, Universal, and Warner, as the three big recorded music companies, have over (their affiliated publishing companies).

Sony, Universal, and Warner which should be the three biggest advocates for songs because they are the three biggest song companies, but they cannot advocate to the degree that they should because they are owned by recorded music.

With recorded music (companies), you have 4/5th of the money going that way. They make a huge margin and, in general, they own the act (their recorded catalogs) in perpetuity; and then on the song side of the business, you’ve got 1/5th of the money going that way. They (affiliated major publishers) make a small margin in relative terms, and they don’t own the assets in perpetuity.

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– The complete interview can be found online here.

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MILLENNIUM PARADE
Billboard Japan

MILLENNIUM PARADE

Music News

Japan’s MILLENNIUM PARADE Coming to Toronto on 2024 Global Tour: See the Schedule

The band, led by Daiki Tsuneta of King Gnu, will kick off the trek on Nov. 2 in Mexico City.

MILLENNIUM PARADE is set to launch its first-ever global tour called the WHO AND HOW TOUR 2024 in November, traveling to nine cities around the world for 10 shows.

The band, led by Daiki Tsuneta of King Gnu, will kick off the trek in Mexico City, then hit Los Angeles, New York, Toronto, Berlin, Paris, London, Utrecht, and Tokyo. The Tokyo shows will take place at Tokyo Garden Theater on Dec. 19 and 20. The tour will mark the first time in three years that the band performs live.

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