The song “Happy Birthday To You” is the world’s most well known song according to the Guinness Book of Records, composed by Patty Hill and Mildred J Hill in 1893. It earns over $2,000,000 per year in copyright royalties for AOL Time Warner, who bought the piece in 1990. The song “Happy Birthday To You” is the world’s most well known song according to the Guinness Book of Records, composed by Patty Hill and Mildred J Hill in 1893. It earns over $2,000,000 per year in copyright royalties for AOL Time Warner, who bought the piece in 1990. Prior to that Birchtree Ltd owned the copyright but did not have the means to monitor the usage and then it was only earning up to $50,000. The importance tracking music in venues is essential to a thriving income for songwriters and publishers, in other words copyright owners.
When a songwriter, publisher or copyright holder signs a deal for their music to be distributed it will include for it to be played in venues like restaurants, hotels, concert halls for example – this can be playback on CD or performed by other artists other than the original female singers . The reason the copyright has to be licensed out is so that the association can collect royalties for when the music is played. By restricting music to be licensed will only restrict the amount of money made on a song or catalogue of music, and theft of rights to perform or play it may even occur.
Music associations in large western territories, like the UK, South Africa, USA, Australia, Europe and Canada have implemented the law for all music venues to have a license to play music (live, radio or recorded) – yet even in these territories music venues don’t have licenses, which is theft to those copyright owners. There are also still many countries worldwide that do not have laws to enforce licenses to pay royalties in smaller venues playing liv, radio or recorded music accordingly. The power of sharing music is massive, yet an extreme process to trace royalties effectively for every track played.
Just think how many places you walk into and out of in a week that broadcast music – that is just a tiny portion of the number of places these associations have to chase for license fees, globally. Most music associations like PRS, BMI and ASCAP base the royalty calculations on an estimate number of times the song is played or number of units sold based on distribution or sometimes the copyright owner receives a flat fee for the defined period of usage – depending the contract.
The actual amount a venue plays for a license per year is peanuts as to what that artist is worth and it is estimated, however, if every venue did pay up less songwriters would be suing for theft of their copyright. Keep music (a)live, by paying for it.
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