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Harvard’s student-run radio station, WHRB, and hundreds of other college not-for-profit radio stations may be forced to stop wireless web streaming altogether if they are not exempt from the charges. Although the 1998 Digital Millennium Copyright Act established the principle that the web was not exempt from royalty fees, it was only earlier this year that the Library of Congress Copyright Division set the actual fee, at seven-hundredths of a penny per song per person. At the same time, the library mandated that royalties be paid retroactively for all songs broadcast...

Author: By The CRIMSON Staff, | Title: Royalties Kill Our Radio Star | 10/30/2002 | See Source »

...federal Digital Millennium Copyright Act states that all stations must pay fees for each song played on the Internet as well for each listener who’s hearing the song...

Author: By Monica M. Clark, CONTRIBUTING WRITER | Title: WHRB Faces New Streaming Charges | 10/25/2002 | See Source »

...copyright act stimulated a large appeal by radio stations, as well as a website built to protest it. The site lists a number of stations affected by the bill, including WHRB. It also encourages people to write their members of Congress and complain that a new bill attempting to compromise on the royalty issue was “negotiated and agreed upon without educational and community station input...

Author: By Monica M. Clark, CONTRIBUTING WRITER | Title: WHRB Faces New Streaming Charges | 10/25/2002 | See Source »

...February 2002, an arbitration panel decided that the fee would be 0.07 of a penny per song, per person. In July, the Library of Congress’ copyright office ruled in favor of it. Currently, the decision is on appeal in the United States Court of Appeals for the District of Columbia Circuit...

Author: By Monica M. Clark, CONTRIBUTING WRITER | Title: WHRB Faces New Streaming Charges | 10/25/2002 | See Source »

...their own back catalogs. The market had to change, and I had to get the LSO into a position to deal with that." Since the LSO is run by its musicians, Gillinson had some persuading to do. Historically, musicians received a flat fee for recording sessions, and handed over copyright to the record company. Gillinson suggested a profit share. Instead of incurring studio costs of some €40,000 per session, he would record live concerts for which the LSO was already getting paid. The players would forgo any extra fee until a CD release started making money. Gillinson secured...

Author: /time Magazine | Title: The DIY Symphony | 10/20/2002 | See Source »

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