Historic royalty income is no indication of future royalty income. Future royalty income is dependent upon future sales and licensing revenue generated by the sound recordings or compositions associated with this listing.
Sep 08, 2016, 3:07 PM MDT
Life of the author + 70 years
Past 4 Quarters' Royalties:
$75 ASCAP Assignment Fee
Singer-songwriter Janice Robinson has 20+ years in the music industry. Her major breakthrough came in the 90s as she gained worldwide success when she joined the Italian Eurodance group, Livin' Joy. Serving as the lead singer, she wrote and recorded the group’s 1994 single “Dreamer” which became an international hit, reaching number 1 in the UK and entering the top 10 in many other European countries. Labeled as a Eurodance classic, “Dreamer” is still played to this day.
Up for auction is 50% of the seller's songwriter share of public performance royalties for a collection of musical works from the seller's ASCAP catalog. This asset has generated $7,952.85 in the most recent 4 quarters of statements. ASCAP will distribute the royalties to the winner of this auction on a quarterly basis. The winner will receive the first domestic royalties payment in October 2016 and the first international royalties payment in November 2016. More detailed financial information can be found in the “Financials” tab below.
Bid now for a chance to collect royalties any time “Dreamer,” or any other song in this catalog, is played.
What is being sold?
50% of the seller's songwriter share of public performance royalties for a collection of musical works from the seller's ASCAP catalog.
How does this asset make money?
Every time “Dreamer” or any other song in this catalog played on iTunes, Pandora, Spotify, or any other type of public performance, you earn royalties. ASCAP makes payments quarterly and the next ASCAP domestic royalties payment is scheduled for October 2016 and the first international royalties payment is scheduled for November 2016.
What is interesting about this asset?
Janice Robinson is an internationally known singer-songwriter who is influential in today’s Eurodance sound. She was initially known as the lead singer of Livin' Joy before pursuing her solo career in 1999.
The highlight of this catalog is the 1994 hit “Dreamer,” which makes up 76% of this catalog's income. “Dreamer” became an international hit when it was released and is now considered a Eurodance classic. In the United States, “Dreamer” reached number 1 on the Billboard Dance Club chart in 1994 and spent 15 weeks there.
The catalog also includes songs from Janice's debut solo album, The Color Within Me, as well as songs Janice wrote for other artists, such as Belgian singer Natalia, Ashley Tisdale, and more. The 2005 song “Risen,” performed by Natalia, reached number 2 on the Belgian charts when it was released and is included in this catalog.
IMPORTANT NOTE: Possession of the songwriter’s portion of this asset must be taken via a trust, which is required due to ASCAP’s assignment policy. Please see the Post-Auction Process tab for further information.
What rights are included?
About the royalty distributors
ASCAP is the American Society of Composers, Authors and Publishers (ASCAP), a membership association of more than 575,000 composers, songwriters, lyricists and music publishers of every kind of music. Through agreements with affiliated international societies, ASCAP also represents hundreds of thousands of music creators worldwide.
Public performance royalties are payments made by radio stations, hotels, restaurants, night clubs, etc. to the composition copyright holder(s) for each public performance of the copyrighted work. In the U.S., public performance royalties are typically paid to performing rights organizations (e.g., ASCAP, BMI) who then distribute the royalties to the copyright holder(s).
Mechanical royalties are royalties deriving from per-unit payments made by recording companies or digital download providers to the composition copyright holder(s) for every purchase of a sound recording that reproduces the copyrighted composition.
Non-interactive digital performance royalties are payments made by non-interactive music services (i.e. those that mimic the experience of a radio broadcast) of a statutorily-set amount (on either a per-play or annual basis—depending on the type of service) to SoundExchange for the benefit of the sound recording copyright holder and the performing artists for the right to perform the copyrighted sound recording via non-interactive, digital means.
non-interactive digital performance royalties
The royalties owed to the creator(s) of a musical composition which are paid in return for the right to reproduce, distribute, or perform the copyrighted work.
A musical composition is one of the two copyrightable parts of a recorded song. It consists of the song's music, including any accompanying words, (i.e. the portion of a song that is capable of being fully expressed as sheet music) and is separate from any particular recording of the song or its performance by any particular artist.
A sound recording is one of the two copyrightable portions of a recorded song. It results from the fixation of a series of musical, spoken, or other sounds in a tangible (at least momentarily permanent) medium.
The portion of royalties owed to the owner of a sound recording. The owner may the performing artist, the producer, or another party (such as a record label) who contractually acquired the ownership of the copyrighted work (e.g., through a recording agreement), owns it by virtue of an employer-employee relationship with the creator(s) of the work, or specially commissioned the work.
rights owner's share
The portion of royalties owed to the performers of a sound recording in return for the right to perform the copyrighted work via non-interactive, digital services (e.g., Pandora, Spotify).
The portion of royalties owed to the music publisher which are paid in return for the right to reproduce, distribute, or perform a copyrighted musical composition, arising from a contractual obligation (i.e. a publishing agreement) or employer-employee relationship with the creator of composition (i.e. the songwriter(s)).
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