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When Dierks Bentley’s band is looking for something to keep it occupied during long bus rides, the group has, at times, turned to artificial intelligence apps, asking them to create album reviews or cover art for the group’s alter ego, The Hot Country Knights.
“So far,” guitarist Charlie Worsham says, “AI does not completely understand The Hot Country Knights.”
By the same token, Music Row doesn’t completely understand AI, but the developing technology is here, inspiring tech heads and early adaptors to experiment with it, using it to get a feel, for example, for how Bentley’s voice might fit a new song or to kick-start a verse that has the writer stumped. But it has also inspired a palpable amount of fear among artists anticipating their voices will be misused and among musicians who feel they’ll be completely replaced.
“As a songwriter, I see the benefit that you don’t have to shell out a ton of money for a demo singer,” one attendee said during the Q&A section of an ASCAP panel about AI on Nov. 7. “But also, as a demo singer, I’m like, ‘Oh, shit, I’m out of a job.’”
That particular panel, moderated by songwriter-producer Chris DeStefano (“At the End of a Bar,” “That’s My Kind of Night”), was one of three AI presentations that ASCAP hosted at Nashville’s Twelve Thirty Club the morning after the ASCAP Country Music Awards, hoping to educate Music City about the burgeoning technology. The event addressed the creative possibilities ahead, the evolving legal discussion around AI and the ethical questions that it raises. (ASCAP has endorsed six principles for AI frameworks here).
The best-known examples of AI’s entry into music have revolved around the use of public figures’ voices in novel ways. Hip-hop artist Drake, in one prominent instance, had his voice re-created in a cover of “Bubbly,” originated by Colbie Caillat, who released her first country album, Along the Way, on Sept. 22.
“Definitely bizarre,” Caillat said during CMA Week activities. “I don’t think it’s good. I think it makes it all too easy.”
But ASCAP panelists outlined numerous ways AI can be employed for positive uses without misappropriating someone’s voice. DeStefano uses AI program Isotope, which learned his mixing tendencies, to elevate his tracks to “another level.” Independent hip-hop artist Curtiss King has used AI to handle tasks outside of his wheelhouse that he can’t afford to outsource, such as graphic design or developing video ideas for social media. Singer-songwriter Anna Vaus instructed AI to create a 30-day social media campaign for her song “Halloween on Christmas Eve” and has used it to adjust her bio or press releases — “stuff,” she says, “that is not what sets my soul on fire.” It allows her more time, she said, for “sitting in my room and sharing my human experiences.”
All of this forward motion is happening faster in some other genres than it is in country, and the abuses — the unauthorized use of Drake’s voice or Tom Cruise’s image — have entertainment lawyers and the Copyright Office playing catch-up. Those examples test the application of the fair use doctrine in copyright law, which allows creators to play with existing copyrights. But as Sheppard Mullin partner Dan Schnapp pointed out during the ASCAP legal panel, fair use requires the new piece to be a transformative product that does not damage the market for the original work. When Drake’s voice is being applied without his consent to a song he has never recorded and he is not receiving a royalty, that arguably affects his marketability.
The Copyright Office has declined to offer copyright protection for AI creations, though works that are formed through a combination of human and artificial efforts complicate the rule. U.S. Copyright Office deputy general counsel Emily Chapuis pointed to a comic book composed by a human author who engaged AI for the drawings. Copyright was granted to the text, but not the illustrations.
The legal community is also sorting through rights to privacy and so-called “moral rights,” the originator’s ability to control how a copyright is used.
“You can’t wait for the law to catch up to the tech,” Schnapp said during the legal panel. “It never has and never will. And now, this is the most disruptive technology that’s hit the creative industry, generally, in our lifetime. And it’s growing exponentially.”
Which has some creators uneasy. Carolyn Dawn Johnson asked from the audience if composers should stop using their phones during writing appointments because ads can track typed and spoken activity, thus opening the possibility that AI begins to draw on content that has never been included in copyrighted material. The question was not fully answered.
But elsewhere, Nashville musicians are beginning to use AI in multiple ways. Restless Road has had AI apply harmonies to songwriter demos to see if a song might fit its sound. Elvie Shane, toying with a chatbot, developed an idea that he turned into a song about the meth epidemic, “Appalachian Alchemy.” Chase Matthew’s producer put a version of his voice on a song to convince him to record it. Better Than Ezra’s Kevin Griffin, who co-wrote Sugarland’s “Stuck Like Glue,” has asked AI to suggest second verses on songs he was writing — the verses are usually pedestrian, but he has found “one nugget” that helped finish a piece.
The skeptics have legitimate points, but skeptics also protested electronic instruments, drum machines, CDs, file sharing and programmed tracks. The industry has inevitably adapted to those technologies. And while AI is scary, early adopters seem to think it’s making them more productive and more creative.
“It’s always one step behind,” noted King. “It can make predictions based upon the habits that I’ve had, but there’s so many interactions that I have because I’m a creative and I get creative about where I’m going next … If anything, AI has given me like a kick in the butt to be more creative than I’ve ever been before.”
Songwriter Kevin Kadish (“Whiskey Glasses,” “Soul”) put the negatives of AI into a bigger-picture perspective.
“I’m more worried about it for like people’s safety and all the scams that happen on the phone,” he said on the ASCAP red carpet. “Music is the least of our worries with AI.”
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BMI is being sold to a New Mountain Capital-led shareholder group in a deal that is expected to close by the end of the first quarter of 2024, a company spokesperson confirmed with Billboard.
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While terms of the deal were not disclosed, the buyer announced that as part of the deal BMI’s current shareholders will allocate $100 million of the sale’s proceeds to songwriters and publishers affiliates “in recognition of [their] creativity.” That planned payout will adhere to BMI’s distribution methodologies.
The deal still needs to be approved by the broadcaster shareholders that have long owned the performance rights organization and will also need regulatory approval.
“Today marks an exciting new chapter for BMI that puts us in the best possible position to stay ahead of the evolving industry and ensure the long-term success of our music creators,” BMI president and CEO Mike O’Neill said in a statement. “New Mountain is an ideal partner because they believe in our mission and understand that the key to success for our company lies in delivering value to our affiliates.”
As part of the agreement, New Mountain is reserving additional capital to fund growth investments and technology enhancement to help BMI’s long-term plan to maximize distributions for its affiliates and improve the service it provides to songwriters and publishers.
“BMI has been a trusted guide and champion of music creators from the beginning, and we are privileged to work with the company and its 1.4 million affiliates to build on that incredible legacy,” New Mountain managing director Pete Masucci said in a statement. “There are numerous growth opportunities ahead for BMI with significant potential to generate more value for the work of its songwriters, composers and publishers. We look forward to working together alongside Mike and his team to capitalize on those opportunities for the benefit of all BMI stakeholders.”
In emphasizing the buyer’s commitment to investment in next generation technology platforms, New Mountain director Mike Oshinsky said in a statement, “There is tremendous opportunity to modernize this critical part of music infrastructure and ensure that long term royalty collections for songwriters, composers and publishers continue to grow. With our support, BMI is ideally positioned to drive this transformation as the only PRO in the world to combine an open-door policy to all music creators with the innovation and commercial drive of a for-profit business.”
Goldman Sachs & Co. LLC served as financial advisor to BMI and Fried, Frank, Harris, Shriver & Jacobson LLP served as its legal advisor. Moelis & Company served as financial advisor to New Mountain, and Simpson Thacher & Bartlett, LLP served as its legal advisor. As part of New Mountain’s investment, CapitalG will also invest a passive minority stake in BMI.
Ashley Gorley was named ASCAP country music songwriter of the year at the 61st ASCAP Country Music Awards. The invitation-only event, which celebrated the songwriters and publishers of country music’s 50 most-performed ASCAP songs of the past year, was held at The Twelve Thirty Club in Nashville on Monday (Nov. 6).
This was the 10th time Gorley has been named ASCAP country music songwriter of the year, which extends his record.
Gorley, 46, had a hand in writing 10 of ASCAP’s most-performed country songs of the past year, five of which were recorded by Morgan Wallen: “You Proof” (which was named ASCAP country song of the year), “Last Night,” “Everything I Love,” “One Thing at a Time” and “Thinkin’ Bout Me.” Gorley’s other award-winners for the year were “Gold” (Dierks Bentley), “She Had Me at Heads Carolina” (Cole Swindell), “What He Didn’t Do” (Carly Pearce), “Girl in Mine” (Parmalee) and “You Didn’t” (Brett Young).
This is the third time that Gorley has co-written the ASCAP country song of the year. He accepted the honor for “You Proof” alongside winning publishers Round Hill Songs and Sony Music Publishing. The song debuted at No. 1 on Billboard’s Hot Country Songs chart, peaked at No. 5 on the Billboard Hot 100 and became the first song to top Billboard’s Country Airplay chart for 10 weeks.
Gorley has received five CMA nominations for song of the year and five Grammy nominations in songwriting categories — though he has yet to win at either awards show. He has received four Grammy nods for best country song and one for best rock song (for co-writing Weezer’s “All My Favorite Songs”).
Jordan Davis, 35, collected his first ASCAP country music songwriter/artist of the year honor. The MCA Nashville artist’s top 10 Hot Country Songs hits “Next Thing You Know” and “What My World Spins Around” were also honored as most-performed songs. “Next Thing You Know” is nominated for single, song and music video of the year at the 57th CMA Awards, which will be presented on Wednesday. Davis won the CMA Award for song of the year last year for “Buy Dirt,” which he co-wrote with his brother, Jacob Davis, Josh Jenkins and Matt Jenkins and recorded with Luke Bryan.
Sony Music Publishing was named ASCAP country music publisher of the year. The company represents 21 of this year’s most-performed songs including “Heart Like a Truck” (Lainey Wilson), “Heartfirst” (Kelsea Ballerini), “Need a Favor” (Jelly Roll), “Next Thing You Know” (Jordan Davis), “What He Didn’t Do” (Carly Pearce), “Gold” (Dierks Bentley), “Everyone She Knows” (Kenny Chesney), “5 Foot 9” (Tyler Hubbard), “No Body” (Blake Shelton) and “You, Me, and Whiskey” (Justin Moore and Priscilla Block).
ASCAP CEO Elizabeth Matthews, ASCAP chairman of the board and president Paul Williams and ASCAP vice president of Nashville membership Mike Sistad presented what ASCAP calls the “Of the Year” winners.
A complete list of ASCAP Country Music Award winners can be found here: ASCAP.com/countryawards23.
Erin Osmon’s liner notes for Blondie — Against the Odds: 1974-1982 won an ASCAP Foundation Deems Taylor/Virgil Thomson Award on Tuesday (Oct. 31). The collection, which chronicled Blondie, which went from the underground New York punk scene to the pinnacle of the Billboard Hot 100, received a Grammy nomination for best historical album last year.
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Two studies of jazz legend Louis Armstrong were honored. Director Sacha Jenkins was cited for his Apple TV+ documentary, Louis Armstrong’s Black & Blues. Keith Hatschek was honored for his book The Real Ambassadors: Dave and Iola Brubeck and Louis Armstrong Challenge Segregation, published by University Press of Mississippi.
The ASCAP Foundation Deems Taylor/Virgil Thomson Awards, now in their 54th year, are presented to outstanding books, articles, liner notes and broadcast programs on the subject of music.
Established in 1967 to honor the memory of composer, critic, commentator and former ASCAP president Deems Taylor, The ASCAP Foundation Deems Taylor/Virgil Thomson Awards are made possible by the support of the Virgil Thomson Foundation. Virgil Thomson (1896 – 1989) was a leading American composer and critic, and a former member of the ASCAP board of directors.
The ASCAP Foundation Deems Taylor/Virgil Thomson Awards judging panel is comprised of ASCAP members Daniel Felsenfeld, Dom Flemons, Terry Radigan, and Dalit Hadass Warshaw. Jim Steinblatt provided professional guidance and advice.
More information about The ASCAP Foundation Deems Taylor/Virgil Thomson Awards is available here.
The 2023 award recipients are as follows:
The Deems Taylor/Virgil Thomson Broadcast/Media Award in pop music: Director Sacha Jenkins for his Apple TV+ documentary, Louis Armstrong’s Black & Blues.
The Deems Taylor/Virgil Thomson Broadcast/Media Award in concert music: Writer and director Harry Lynch for his documentary, Florence Price and the American Migration, which aired on Now Hear This, a mini-series hosted by Scott Yoo on Great Performances, PBS.
The ASCAP Foundation Paul Williams “Loved the Liner Notes” Award for pop music: Erin Osmon for Blondie – Against the Odds: 1974-1982 by Erin Osmon on Universal Music Enterprises (UMC) and The Numero Group. The “Loved the Liner Notes” Award was established in 2016 and is funded by Paul Williams, president of The ASCAP Foundation.
The Deems Taylor/Virgil Thomson Book Awards in pop: Dan Charnas for his book, Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm, published by MCD, a division of Farrar, Straus & Giroux.
Keith Hatschek for his book The Real Ambassadors: Dave and Iola Brubeck and Louis Armstrong Challenge Segregation, published by University Press of Mississippi.
Deems Taylor/Virgil Thomson Book Awards in the concert music field:
Amy C. Beal for Terrible Freedom: The Life and Work of Lucia Dlugoszewski, published by University of California Press.
Licia Carlson for Shared Musical Lives: Philosophy, Disability, and the Power of Sonification, published by Oxford University Press.
A Special Recognition Award is given to William Rothstein for The Musical Language of Italian Opera, 1813-1859, published by Oxford University Press.
The ASCAP Foundation Deems Taylor/Virgil Thomson Award recipients for articles published in 2022:
The Deems Taylor/Virgil Thomson Award for an article in the pop music field is presented to Ted Olson for his article “The Life of Blind Alfred Reed,” published on Music of Our Mountains.com.
The Deems Taylor/Virgil Thomson Award for an article in the concert music field goes to Jacek Blaszkiewicz for his article “Verdi, Auber and the Aida-type,” published by Cambridge Opera Journal.
The Virgil Thomson Award for Outstanding Music Criticism in the pop music field recognizes Ashley N. Kahn for his “The New Jazz Émigrés: Insights from noted artists living abroad,” published on WBGO.com.
The Virgil Thomson Award for Outstanding Music Criticism in the concert music field is presented to Nathan Platte for his article, “Mixed Motives: Soviet Symphonies and Propagandistic Duplicity in The Iron Curtain (1948),” published by Music & Politics.
ASCAP CEO Elizabeth Matthews was among those honored on Sunday night, Oct. 29, at the 2023 Songwriters of North America (SONA) Warrior Awards gala in West Hollywood. The event was hosted by Grammy-nominated songwriters Bonnie McKee and Shane Stevens.
The other honorees were songwriter Justin Tranter; country artist and podcast host Rissi Palmer; and the late songwriter Allee Willis, who co-wrote the Friends theme, “I’ll Be There for You.” That song had added resonance on Sunday since Matthew Perry, one of the stars of that long-running sitcom, had died just the day before.
At the event, ASCAP chairman of the board and president Paul Williams and Grammy-winning songwriters and producers Jimmy Jam and Terry Lewis lauded Matthews’ achievements. Hit songwriter MoZella performed the Miley Cyrus smash “Wrecking Ball.” (All are ASCAP members.) There were also video tributes to Matthews from Stephen Schwartz, NE-YO, Marcus Miller, Desmond Child, John Platt and Ashley Gorley, among others.
“To be recognized by SONA means the world to me,” Matthews said in accepting the honor. “I know that songwriters are the true musical warriors – unbelievably brave and remaining strong in the face of uncertainty every day as new technology challenges their livelihoods. Yet, songwriters are still able to remain vulnerable and go deep creatively, opening their hearts to write the music that we all love. I am constantly inspired by songwriters and it has been an honor of a lifetime to work for and alongside music creators.”
“As a friend of Beth’s, I know firsthand how tirelessly she works above and beyond her very very big job of running ASCAP,” said SONA founder and executive director Michelle Lewis. “I want everyone to know what I know and see what I see — that she is the ultimate warrior for creators.”
Tranter, a Grammy nominee for song of the year six years ago for co-writing the Julia Michaels hit “Issues,” has advocated for the LGBTQ+ community and worked with stars such as Selena Gomez, Britney Spears, Gwen Stefani, Lady Gaga, Justin Bieber and many more.
In 2007, Palmer became the first African American woman in 20 years to reach Billboard’s Hot Country Songs chart. She achieved the feat with her single “Country Girl,” which was followed by two more hits, “Hold on to Me” and “No Air,” a cover of the Jordin Sparks/Chris Brown pop smash.
Willis won a Grammy in 1986 for best album of original score written for a motion picture or a television special for co-writing The Pointer Sisters’ hit “Neutron Dance” on the Beverly Hills Cop soundtrack. Her most famous works are the Friends theme and Earth, Wind & Fire’s “September.” Willis was inducted into the Songwriters Hall of Fame in 2018. She died in 2019 at age 72.
Steve Mac, Pablo Bowman Navarro and Aynzli Jones are the top winners at the ASCAP London Music Awards 2023, which shine a light on British songwriting and composing talent for their U.S. success. This year, the winners will be revealed on @ascap social media Tuesday (Sept. 26), starting at 10:30 a.m. ET.
Navarro takes home three awards including songwriter of the year and top Hot Dance/Electronic song. He shares the latter award with Sarah Baby Blanchard, Claudia Valentina and Lostboy for co-writing “The Motto” by Tiësto and Ava Max. The song reached No. 2 on Billboard’s Hot Dance/Electronic Songs chart.
Navarro also wins a Hot Dance/Electronic song award for “Numb” by Marshmello and Khalid, which reached No. 3 on the Hot Dance/Electronic Songs chart. Navarrro co-wrote the song with Richard Boardman, a fellow member of songwriting collective The Six. Navarro has gained a profile as a top hitmaker over the last few years with a catalogue that includes Anne-Marie and Marshmello’s global hit “Friends” as well as tracks for stars such as Bebe Rexha, Jonas Brothers and Alan Walker. His catalogue has accumulated 7 billion streams on Spotify.
Mac takes home both song of the year and top streaming song for Ed Sheeran’s smash, “Shivers.” The song reached No. 4 on the Billboard Hot 100 and remained on the chart for a full year. It also topped charts around the world, surpassing 1.35 billion streams on Spotify. Mac and Sheeran previously collaborated on 2017’s “Shape of You.” These two gongs represent Mac’s 19th and 20th ASCAP London Music Awards.
Jones wins his first ASCAP London Music Award with the Hot 100 song award for Doja Cat’s “Woman.” The song from Doja’s third studio album rose to No. 7 on the Hot 100 and, like “Shivers,” logged a full year on the chart. “Woman” also received a Grammy nod for record of the year, marking the third consecutive year Doja was nominated in that marquee category.
Top box office film of the year goes to Daniel Pemberton for his soundtrack for The Bad Guys. He also takes a top box office film award for his work on Amsterdam. Other top box office film awards go to John Lunn for Downton Abbey: A New Era, Dickon Hinchliffe for Father Stu, and Robin Carolan and Sebastian Gainsborough for The Northman. Joby Talbot wins for the second year in a row for Sing 2, Patrick Doyle wins for Death on the Nile and Jonny Greenwood wins for Licorice Pizza. The Radiohead multi-instrumentalist and composer was recognized in the same category last year for his soundtrack to Spencer.
In the world of film and TV streaming, Natalie Holt wins two awards — top streaming film for The Princess, and top streaming series for Obi-Wan Kenobi. Other top streaming series awards go to Scottish band Mogwai for the crime drama Black Bird and Anne Nikitin for The Dropout.
The trio of Barrie Cadogan, Virgil Howe and Lewis Wharton are awarded the top cable series award for the soundtrack to Better Call Saul, while Julian Gingell and Barry Stone win top network series again this year for their work on American Idol.
On Wednesday (Sept. 21), members of ASCAP turned out for the organization’s 12th annual We Write the Songs concert at the Coolidge Auditorium in Washington, D.C.As in previous years, the concert was held to celebrate gifts from The ASCAP Foundation to the Library of Congress “of the original manuscripts, lead sheets, lyrics sheets, photos and letters of some of America’s greatest creators of words and music,” according to a press release.
Co-hosted by The Library of Congress, Librarian of Congress Carla Hayden and The ASCAP Foundation president Paul Williams, the night featured performances by songwriters and producers performing songs they wrote or co-wrote. They included Jermaine Dupri, performing “Confessions/Confessions Part II” (Usher) and “We Belong Together” (Mariah Carey); Madison Love, performing “Kings & Queens” (Ava Max) and “Turbulence” (P!nk)”; Pasek & Paul, performing “Waving Through a Window” (from Dear Evan Hansen) and “This is Me” (The Greatest Showman); Matthew West, performing “My Jesus” (Anne Wilson) and “Truth Be Told”; and closing act Jimmy Jam and Terry Lewis, performing “Human” (The Human League) and “Miss You Much” (Janet Jackson).
The night’s performers were introduced by members of Congress from both sides of the aisle, including Rep. Mark Green (R-TN), who introduced West; Rep. Hank Johnson (D-GA), who introduced Dupri; Rep. Jerrold Nadler (D-NY), who introduced Pasek & Paul; and Congressional Songwriters Caucus co-chairs Rep. Ted Lieu (D-CA), who introduced Love, and Rep. Ben Cline (R-VA), who introduced Jam and Lewis.
“To us music creators, the Library is the Fort Knox of our copyrights — thank you for being our allies in protecting creators’ rights,” said Williams, also ASCAP’s president/chairman as well as a songwriter, at the event. “We have ASCAP members from all 50 states, in each and every district of our great nation. Some of our songwriters and composers may not be household names, but their songs are instantly recognizable and beloved by millions, all thanks to the hard work they put in behind the scenes to soundtrack our lives.”
The concert was held ahead of ASCAP’s annual Stand With Songwriters advocacy day in D.C. on Thursday, during which songwriters and composers were slated to meet with members of Congress. This year, a particular focus was on the growing influence of artificial intelligence (AI), with ASCAP members on hand to urge lawmakers to adhere to the six key principles for AI adopted by the ASCAP board of directors earlier this year.
In addition to songwriters and producers who performed at the We Write the Songs concert, those slated to participate in the advocacy day included songwriter-producer Cirkut along with ASCAP songwriter, composer and publisher board members Bob Bruderman, Desmond Child, Marti Cuevas, Sharon Farber, Dan Foliart, Ree Guyer, James M. Kendrick, Evan Lamberg, Michelle Lewis, Alex Shapiro, Jonathan Singer and Jimmy Webb.
ASCAP additionally invited its songwriter, composer and music publisher members from all 50 states to join in the lobbying effort via social media all week long.
Check out photos from the We Write the Songs event below.
Image Credit: Mariah Miranda/ASCAP
Elizabeth Matthews, ASCAP CEO (center), with Jimmy Jam and Terry Lewis at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Nicole George-Middleton, ASCAP SVP of Membership and Executive Director of The ASCAP Foundation (center); with Jimmy Jam, Terry Lewis, Benj Pasek and Justin Paul at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Rep. Judy Chu, Jimmy Jam and Elizabeth Matthews, ASCAP CEO, attend ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Jimmy Jam, Sen. Bill Hagerty, Paul Williams, ASCAP President and Matthew West attend ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Paul Williams, ASCAP President and Chairman of the Board speaks at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Benj Pasek and Justin Paul perform at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Matthew West performs at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Madison Love performs at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Carla Hayden, 14th Librarian of Congress, speaks onstage at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Rep. Hank Johnson speaks onstage at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Jermaine Dupri performs at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Jimmy Jam and Terry Lewis perform at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
The significance of Washington washed over me as my flight dodged the historic monuments and we descended into DCA. An interesting metaphor for the opportunities and challenges of advocating for music creators’ rights in today’s lightning round race into the future.
I have visited many times over the years to fight for the rights of songwriters on Capitol Hill. This week, songwriter members of the American Society of Composers, Authors and Publishers (ASCAP) will once again be with me in Washington for “We Write the Songs,” a performance held at the Library of Congress and co-presented by The ASCAP Foundation. Hit songwriters will play for Members of Congress and others and share the stories behind their beloved songs. As songwriters, we are also here to affirm our rights as artificial intelligence (AI) and other technologies seek to use our creations.
ASCAP is a unique entity in the music world — we are the only performance-rights organization (PRO) founded and governed by democratically elected music creators and publishers. As a membership organization, we represent nearly a million songwriters, composers, lyricists and music publishers across every genre. We are also the only U.S. PRO that operates on a not-for-profit basis so, unlike others whose profits may go elsewhere to corporate dividends and private equity investors, we put creators first in everything we do.
As the chairman of ASCAP’s board, I have seen our industry go through immense changes. When music moved from records to tapes to CDs to pirated online listening, our members descended upon Washington to ensure the rights of songwriters were respected across new platforms and listening experiences.
Emerging technologies – whether it be streaming or AI – have always presented our industry both challenges and opportunities. But in every instance, we as songwriters are often the first to feel the effects when technology outpaces the law.
During Songwriter Advocacy Day, held the day after We Write the Songs, ASCAP members – the songwriters, composers and publishers that form the soundtrack to our lives – will meet with Members of Congress and urge them to protect creators in the age of AI.
At ASCAP, we have developed six guiding principles for AI and we need Congress to act to uphold them:
Human Creators First, prioritizing rights and compensation for human creativity
Transparency, in identifying AI vs. human-generated works and retaining metadata
Consent, protecting the right for creators to decide whether their work is included in an AI training license
Compensation, making sure creators are paid fairly when their work is used in ANY way by AI, which is best accomplished in a free market, NOT with government-mandated licensing that essentially eliminates consent
Credit, when creators’ works are used in new AI-generated music
Global Consistency, an even playing field that values intellectual property across the global music and data ecosystem
While most songwriters work behind the scenes, our work has enormous value to an industry that generates $170 billion a year for the U.S. economy. But we have long been over-regulated — we are some of the most heavily controlled small business owners in the country. Roughly three-quarters of the average American songwriter’s income is subject to federal government regulations. All the while, big media and tech companies are consistently looking for ways to pay songwriters less by regulating us even more.
ASCAP has embraced new and emerging advances in technology, and we have the capacity and infrastructure to manage it at scale. But it has remained painfully clear that any new technology needs to respect existing copyright law. Music creators are concerned about the threat to their livelihood and 8 out of 10 believe A.I. companies need better regulation. Our mission at ASCAP is to help music creators navigate the future while protecting their rights and livelihoods, and enabling the type of innovation that will move the entire music industry forward.
Just because AI requires a high volume of inputs, that does not mean it cannot be licensed or deserves an exception under the law. Just as we’ve approached the streaming market, we believe the opportunities presented by AI can be realized in the free market. To do so, we need lawmakers to stand with songwriters and not give big tech and AI companies a free ride with government-mandated licenses for AI.
AI is a new challenge, but we are well positioned to meet this challenge as we always have in the face of new technologies. We are ready to help chart the path, and we look forward to sharing those insights — and breaking it down on the dance floor — with the same lawmakers whose partnership and enthusiasm has helped us to fight for the rights of songwriters as new technologies emerge.
ASCAP president and chairman of the board Paul Williams is an Oscar-, Grammy- and Golden Globe-winning composer and lyricist who has written “The Rainbow Connection,” “We’ve Only Just Begun,” and many other hits.
ASCAP will honor contemporary Christian singer-songwriter Matthew West with the Golden Note Award during ASCAP’s Christian Music Awards celebration on Oct. 2 in Nashville. Explore Explore See latest videos, charts and news See latest videos, charts and news The invitation-only event celebrates the writers and publishers of ASCAP’s most-performed songs in Christian music over the […]
American Society of Composers, Authors and Publishers (ASCAP) has launched a new social media campaign that appears to be in response to a recent Billboard exclusive that revealed that ASCAP’s main competitor, Broadcast Music Inc (BMI), may sell itself to a private equity firm. Sources say the potential deal has an estimated price tag of $1.7 billion.
Just two days after the Billboard story was published on last Wednesday (Aug 23), ASCAP — which, along with BMI, is one of the largest U.S.-based performing rights organizations — posted a graphic on Instagram and X (formerly known as Twitter) that read: “ASCAP. Creators first. Not for profit. Not for sale.” In the caption of the post, ASCAP continued to point out that it is the “only U.S. PRO that operates as a not-for-profit” and that it is the “only one founded and governed by songwriters, composers and music publishers.”
In the last three days, the organization has posted seven other similar posts on its socials, seemingly highlighting their distinctions from BMI. The posts include quotes like: “Private equity never wrote an iconic love song,” “ASCAP. Growth without greed,” and “ASCAP writers. Who owns us? Who gets paid? You. And you.”
ASCAP CEO, Elizabeth Matthews, provided a statement about the social campaign to Billboard, saying “it’s important for everyone to understand what makes ASCAP different. We are a membership association, founded and run by songwriters, composers and music publishers. We are the only US PRO that operates as a not-for-profit, and our distribution policy is set by a board of writers and publishers, who are elected by our members. ASCAP’s governing articles require us to put creators first, which puts us in a category of one. And we’ve been overwhelmed by the positive response from our members.”
“Our focus is not on how our competitors position themselves,” replied a representative of BMI when asked to comment on ASCAP’s latest social posts. “Relying on the past never sustained a business for the future. Our goal is to stay ahead of the changing industry and invest in our business to grow the value of our affiliates’ music. Any path forward would prioritize the best interests of our songwriters, composers and publishers, including their financial success. Our focus is on delivering for our affiliates.”
BMI first began experimenting with its business model in March 2022 when it hired Goldman Sachs as an outside advisor to explore new strategic opportunities for growth. This was believed to include a possible sale to an outside firm, but by August 2022, Bloomberg announced that BMI had ditched its exploration of such a sale. A few days later, Billboard found that the PRO laid off about 30 staffers from its workforce, citing “uncertain” economic conditions.
By October 2022, BMI announced that it would be switching from its 80-plus year status as a non-profit organization to a for-profit company. In an interview with Billboard at the time, the company’s CEO and president, Mike O’Neill, explained that the company made this switch because “growth requires investment, not just maintenance… This new [commercial] model will grow at a faster rate.”
This summer, reports surfaced that BMI was once again considering a sale. O’Neill explained to his staff in a memo that the company’s new for-profit model and recent investments into improving its operations “has only intensified outside interest” in purchasing the PRO.
Amid growing concern about the future of BMI, songwriter groups — including Songwriters of North America, Black Music Artists Coalition, Music Artists Coalition, Artists Rights Alliance, and SAG-AFTRA — provided Billboard with an open letter to BMI on Aug. 18. Outlining three areas of concern, the songwriter groups question how they will be impacted by BMI’s increased profits; the proceeds from any potential BMI sale; and what may happen operationally at BMI in the event that the organization is sold. “Songwriters have a right to understand these decisions and how it impacts us,” the letter read.
Days after, Billboard reported that multiple sources say BMI is considering an offer to sell to New Mountain Capital, a private equity firm that has been quietly shopping for music assets over the last few years, according to sources. The deal has yet to be signed, as New Mountain Capital has entered an exclusive window to scrutinize the deal. Sources suggest that the deal, if it takes place, will be worth around $1.7 billion.
In response to that exclusive, the same songwriter groups provided Billboard with another open letter to BMI on Aug. 28, expressing that they were “extremely disappointed and upset” to hear the news of a possible sale. The coalition asked for BMI’s chief executive to respond to songwriters with more information “prior to taking any other action” towards the possible sale to New Mountain.