• According to a new research study by Nielson Online, social sites like Facebook have surpassed e-mail as the number one online activity, with two-thirds of the world’s population visiting social networking or blogging sites.  What’s more, the “stickiness” of these sites is expanding, with one of every 11 minutes spent online being devoted to social networking activities.  And, in a finding to confirm the frustration and consternation of many teenagers, the fastest growing audience on Facebook is the 35-49 age group.  Which may explain such Facebook groups as “Cool Parents Who Have Facebooks”, although we at digitalhhr can proudly say we have avoided joining that one.)
• In perhaps one more sign of the ubiquity of social networking sites, Citigroup is rolling out a MySpace-branded Visa credit card.  Its marketing pitch is geared to fiscal responsibility-a bit of an ironic twist considering Citibank’s own (mis)adventures in that area.  But Citibank is also trying to preach to its intended audience, providing bonus points to be used for concerts, movie premieres and music downloads, as well as the ability to earn points for donations and charitable deeds.  Citi has also adopted a “manifesto” including such planks as “The environment, the economy, our very security …They’re the consequences of people not thinking about consequences.” 
• In the coming weeks, members of the Online Publishers Association (OPA) such as ESPN, Forbes.com and iVillage plan to roll out new, flashier, in-your-face, ad display units aimed at grabbing visitor attention better than the average banner ad.  While enabling advertisers to get more creative with their online ads, the new formats will hopefully help publishers make more money from fewer ads, since an abundance of ad inventory has been depressing revenue. 
• Continuing the social networking news, Hulu quietly added a new social networking feature that allows users to add friends, recommend videos or shows to one another and leave messages for one another, a la Facebook.  The site, which just celebrated its 1st birthday has even more reason to celebrate.  In just one year, it has become the number two site among the top online video properties, with 9.5 million unique viewers in February viewing 308 million video streams. 
• Google introduced its Google Voice integrated phone service, which was built on top of technology developed by GrandCentral, a company acquired by Google in 2007.  With its host of features, Google seems to be aiming less at replacing any one telephone service-such as VoIP or voicemail transcription or conference calling-and more at insinuating itself in as many aspects of telecommunications services as possible. 

• Some good news for Yahoo for a change as its stock jumps 7% on a report that Jonathan Miller, former CEO of AOL, is talking with private and sovereign equity funds about funding a buy-out of the company.  More details here.
• Maybe some good news for the economy??  E-commerce sales jumped 15% on Cyber Monday, according to a report by comScore.
• MySpace is rolling out a new service to enable members to look at video clips embedded on their home pages via their mobile phones.  The service will be free to users, with MySpace bundling the video clips with ads.  More information here.
• Goldman Sachs is looking into launching an online bank.  The move appears to be one of the initiatives that GS is undertaking to expand its asset base now that it is a bank holding company.  Here’s the report from the Wall Street Journal detailing the news.

  Royalty Rate Analysis

After months of hearings, testimony and deliberations, on October 2, 2008, the United States Copyright Royalty Board (CRB) announced newly established rates for royalties to be paid to writers and composers (as opposed to performers) whose musical compositions are made and distributed as sound recordings (i.e., phonorecords), including via (1) physical recordings (e.g., CDs, tapes, vinyl, etc.), (2) permanent digital downloads, (3) ringtones, (4) limited/tethered digital downloads and (5) interactive streaming.

 These new rate determinations, which will remain in effect until December 31, 2012, break new ground. Following a drawn-out battle between the National Music Publishers’ Association (NMPA) (representing song writers and composers) and the Recording Industry Association of America (RIAA) and the Digital Media Association (DiMA) (representing the record labels and digital music retailers, respectively), the CRB established, for the first time, a rate for the distribution of ringtones (24¢ per delivery), while surprisingly maintaining the same rates for the distribution of physical recordings and permanent downloads of digital recordings that had been in effect since January 1, 2006 (9.1¢ per delivery). The rates for the distribution of sound recordings as limited/tethered downloads (i.e., downloads that only play a fixed number of times or for a fixed period of time) and as interactive streams (i.e., online digital streams of recordings selected by an end user on an on-demand basis), both of which had been slated for resolution by the CRB among the other rates at the outset of the lengthy proceedings, were actually negotiated to a consensus by the parties during the hearings, and their settlement was adopted by CRB, subject to ratification following public comment.

The announcement of the rates for limited downloads and interactive streaming of recorded music are of the utmost importance to both the publishers and the record labels alike because, prior to the announcement of the proposed rates, any service seeking to offer limited downloads and/or interactive streaming of recorded music was required to negotiate a royalty rate with individual writers, publishers or mechanical royalty collections agencies such as Harry Fox. In other words, copyright ownership in a sound recording alone (or obtaining a license from the owner, typically a record label) does not allow for the distribution of that recording without first obtaining a license from the song writer or publisher owning and/or controlling the copyright in the musical composition contained therein. Section 115 of the Copyright Act, also known as the “mechanical compulsory license”, however, provides a mechanism whereby a licensee (typically retailers or record labels) may be automatically granted a license to distribute sound recordings containing songs that they neither own nor control simply by adhering to the terms of the compulsory license and paying the rates set by the CRB. In other words, the express permission of song writers and publishers is not required to make and distribute sound recordings incorporating their musical compositions, provided that the licensee pays the applicable rates and complies with the terms of the statute.

As evidenced over the last two years, the trend among social networking websites (e.g., MySpace, etc.) and other digital entertainment websites (e.g., imeem, last.fm, etc.) has been the inclusion of digital music in forms other than traditional webcasting or internet radio (i.e., non-interactive streaming, where the end user does not select each individual sound recording) in favor of a more personalized user experience. Obtaining a license to provide interactive streaming, however, has thus far been both a lengthy and expensive process, but now website publishers will only be required to negotiate licenses with the sound recording owners or providers and pay the required mechanical license fees and the applicable public performance fees without the need to negotiate a separate licensing arrangement with the publishers.

The new mechanical royalty rates for limited downloads and interactive streaming are unlike the statutory rate structure for physical recordings, permanent digital downloads, and ringtones, all of which are all based on per unit calculations (i.e., “penny rates” or a fixed amount per distribution). Instead, these new rates are based on a percentage of revenue formula, with varying rates based on the business model of the service offering the musical recordings, including subscription-based and ad-supported models. In other words, the amount due to each publisher whose work is incorporated in a sound recording selected by an end user for streaming or downloading is a certain pro-rata percentage of revenue earned by the service or digital platform.

   The calculations are relatively complex, requiring multiple steps that vary according to the type of service. For all service models described in the proposed rate settlement, however, the calculation begins with a determination of monthly “service revenue” for the applicable accounting period, or all revenue recognized by the service from end users from the provision of the licensed activity, including subscription fees, sponsorships, commissions and third party advertising in connection with the interactive streaming and limited downloads offered on the service. The service revenue is then multiplied by the applicable percentage, which is identical across the all service models (10.5%). This amount is then subject to increase based on the applicable minimum payment amounts if the percentage of service revenue fails to exceed the minimums according to the type of service (i.e., whether music subscription fees are charged or whether the service is free or ad-supported).

For example, in the case of music subscriptions services (4 of the 5 service models), the applicable minimum payment is the greater of (a) a fixed amount for each paying subscriber ($.15-$.80) or (b) a fixed percentage of the amount paid by the service to the owners of the sound recordings (i.e., licensing fees paid to the recording labels and content aggregators) for the rights to steam and offer downloads of the recordings (17-22%). In the case of free or ad-supported models, the only applicable minimum is the fixed percentage of the amount paid to the owners of the sound recordings (18%-22%). Ultimately, the total amount due to the publishers is the percentage of service revenue or the applicable minimum payment amount (which ever is greater), less all public performance fees paid by the service provider to the applicable performing rights organizations for the rights to stream the applicable recordings.

These first time mechanical rates for music on ad-supported and free services represent a significant shift in the digital music space. First, it effectively removes any fixed payment obligation on such services (i.e., no penny rates based on the amount of subscribers, downloads, or streams) other than 10.5% of service revenue or the fixed percentage paid to the owners of the sound recordings. Second, the absence of fixed dollar minimums provides much-needed flexibility for new business models to emerge and should allow them to continue to exist, as many would cease to be profitable if required to remit fixed dollar amount minimums when all revenue generated is dependent on alternate sources, including the receipt of advertising dollars.

Once the proposed rates are ratified, expect to see increased streaming activity in the digital music space among purveyors of online content, especially social networking websites. In fact, within a few days of MySpace’s recent launch of its streaming music functionality, MySpace Music, the service had already well surpassed one billion streams, providing further evidence that a per stream or subscriber/member minimum would be cost prohibitive.