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.
Internet Streaming, AM/FM & Satellite Radio, TV/Film/Commercial Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
Making up 86% of the catalog's earnings is RIAA-certified Platinum dance hit “Dare (La La La)” by global pop superstar Shakira. Released in 2014, this song charted in 25 different countries and reached No. 1 on six different charts (including Billboard's US Dance Club Songs). Shakira is ranked 37th in the world on Spotify with over 21 million monthly listeners. “Dare (La La La)” has nearly 41 million spins and the video has 75 million YouTube views. “Dare (La La La)” was also featured in a 2014 World Cup ad which claims nearly 1 billion views on YouTube and is honored as one of the Most Shared Ads of All Time.
The Grammy-winning, RIAA-certified Platinum track “Blame It” (also known as "Blame It (On the Alcohol)") by singer/actor Jamie Foxx contributes 36% of historical earnings. The song, featuring T-Pain, was released in 2008 and rose rapidly to the top spot on Billboard's Hot R&B/Hip-Hop Songs chart, where it remained for 14 weeks. “Blame It” received many accolades and nominations, including a win for Best R&B Performance by a Duo at the 52nd Grammy Awards. BET named it their No. 1 music video for 2009. Today, seven years after its release, “Blame It” is Foxx's most popular Spotify song and continues to get radio airplay.
Streaming. Any time one of these tracks is streamed on Spotify, Pandora, or Apple Music, you earn! The track “Dare La La” has over 40 million streams and counting on Spotify alone. In the last 12 months, “Dare La La’s” earnings streaming royalties grew 44%.
Radio. It is worth noting that this catalog has generated significant royalties on the radio. Radio royalties make up 51% of the revenue over all time.
TV/Film. TV/Film placements contribute 27% of this catalog's earnings in the last 12 months. These earnings are the result of “Dare La La’s” placement in the 2014 Danone (Dannon) Activia Yogurt campaign “Dare To Feel Good,” the Nickelodeon film Rags, and more.
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)).
If an asset requires splitting up a catalog by works or percentages, Royalty Exchange may need to provide royalty accounting services to the buyer, seller, or both. This is because the royalty distributor may not be able to split royalties as intended by the asset transfer. Royalty Exchange's involvement helps to ensure accurate royalty payments. It also helps assure buyers and sellers that they are not missing out on potential earnings.
The accounting process often involves manual spreadsheet work and coordinating with royalty distributors. Royalty Exchange's goal is for the accounting service to be temporary. We plan to work with distributors to find solutions that will allow us to revert accounting and payment obligations back to the distributor, removing ourselves from the process. In the meantime, we've instituted the 5% fee to help offset costs in the manual accounting.
Please see the sample accounting agreement document for reference.
Why does Royalty Exchange need to account?
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