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Streaming: help us change the game!

Rallia Christidou

Whilst music stream­ing busi­ness­es devel­op at a quick pace, per­form­ers are still not reward­ed fair­ly — if at all — when their per­for­mances are exploit­ed online.

Together with three oth­er inter­na­tion­al organ­i­sa­tions (AEPO-​ARTIS, FIA and IAO), FIM is involved in the Fair Internet cam­paign, which is ask­ing for the intro­duc­tion in EU law of a fair and equi­table remu­ner­a­tion to be paid to per­form­ers every time their per­for­mances are used online.

This cam­paign needs your sup­port. Here is what you are request­ed to do
 — Sign the cam­paign peti­tion and share it on social net­works.
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Fair Internet | Artists meet European MPs

Campaign event at EU parliament, Strasbourg

The work of the European Parliament on the pro­posed European Directive on copy­right in the dig­i­tal sin­gle mar­ket is reach­ing its end: after the opin­ion com­mit­tees, the Committee on Legal Affairs (JURI) will be stat­ing its posi­tion on 21 June on the text which will be sub­mit­ted to a vote of the European Parliament, in prin­ci­ple dur­ing the com­ing weeks.

The Parliament’s CULT (Culture) and ITRE (Industry) Committees have already come out in favour of the intro­duc­tion, for per­form­ers, of a non-​transferable, collectively-​administered right to remu­ner­a­tion.
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Tidal suspected of huge fraud

tidal-logo

Launched in Sweden in 2014, the Tidal music stream­ing ser­vice has since 2015 belonged to the Project Panther Ltd Company, owned by rap­per Jay‑Z mar­ried to singer Beyoncé.

Competing with plat­forms such as Spotify, Deezer or Apple Music, Tidal under­scores a more equi­table redis­tri­b­u­tion of its rev­enues in favour of artists and the avail­abil­i­ty of part of its cat­a­logue in MQA for­mat, a new stan­dard aimed at an audio­phile clien­tele.

While Tidal’s prof­itabil­i­ty per­spec­tives are more uncer­tain than ever, a report from the Center for Cyber and Information Security (CCIS) from the Science Faculty of Norway (the coun­try where Tidal’s par­ent com­pa­ny is locat­ed) indi­cates that Tidal alleged­ly allo­cat­ed 320 mil­lion false lis­ten­ings to two albums: Kanye West’s The Life of Pablo and Beyoncé’s Lemonade.
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Senegal | AMS is changing everything for the music sector

Senegal workshop (May 2018)

In keep­ing with the meet­ing held in March 2017, FIM and AMS organ­ised a new work­shop in Dakar from 14 to 16 May 2018, with­in the scope of the region­al pro­gramme for union train­ing backed by Swedish con­fed­er­a­tion Union to Union. On this occa­sion, vis­its to the Ministry of Labour, employ­ers and ILO helped define a coher­ent strat­e­gy towards con­clud­ing col­lec­tive agree­ments and mak­ing head­way along gen­der equal­i­ty lines.

The work­shop, which opened with a speech from the Minister of Culture, was also attend­ed by a rep­re­sen­ta­tive from UNESCO’s Dakar Office and a rep­re­sen­ta­tive from ILO-​ACTRAV.
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The FIM-​Pearle* hands-​on guide to CITES is now available

CITES handbookFIM and Pearle* are pub­lish­ing a guide which tells you all you need to know (or prac­ti­cal­ly) on admin­is­tra­tive oblig­a­tions linked to the imple­men­ta­tion of CITES

The Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) impos­es a cer­tain num­ber of oblig­a­tions on those trav­el­ling with an object which, whol­ly or par­tial­ly, comes from a pro­tect­ed ani­mal or plant species. Musical instru­ments con­tain­ing ivory, ebony, rose­wood or a species belong­ing to the Dalbergiae fam­i­ly are con­cerned by these mea­sures.
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Streaming: pro-​rata vs user-​centric distribution models

First pub­lished on the SML web­site

More for few or few­er for more – The results of a com­par­a­tive study on pro rata and user-​centric dis­tri­b­u­tion mod­els


Currently, the mon­ey goes to the most lis­tened tracks instead of being allo­cat­ed in accor­dance with the consumer’s choic­es

The study com­mis­sioned by Finnish music orga­ni­za­tions explored the dif­fer­ences between the pro rata mod­el favor­ing the most lis­tened tracks and being in use in stream­ing ser­vices, and the alter­na­tive user-​centric mod­el based on indi­vid­ual consumer’s choic­es.
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EU | Rights of self-​employed workers

ETUC workshop | Amsterdam, Feb. 2018A work­shop organ­ised by ETUC is con­sid­er­ing solu­tions for restric­tions imposed on self-​employed work­ers by nation­al com­pe­ti­tion author­i­ties

In Amsterdam, on 14 February 2018, the European Trade Union Confederation (ETUC) organ­ised its third the­mat­ic work­shop on self-​employed work­ers, with the active help of EAEA. The meet­ing focused on self-​employed work­ers who, in a cer­tain num­ber of coun­tries, are deprived of the ben­e­fit of col­lec­tive agree­ments as a result of com­pe­ti­tion law.

The work­shop brought togeth­er rep­re­sen­ta­tives of union con­fed­er­a­tions from all over Europe, jurists and spe­cial­ists from the International Labour Organization and the Council of Europe.
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Guatemala | FIM Seminar for Central America and the Caribbean

Guatemala seminar | Dec. 19-21, 2017

By Ananay Aguilar

On 19 – 21 December 2017, FIM held a sub-​regional sem­i­nar in Guatemala City for musi­cians’ unions in Central America and the Caribbean in the frame­work of a region­al project fund­ed by Swedish organ­i­sa­tion Union To Union, with sup­port from SMF. The event brought togeth­er rep­re­sen­ta­tives from Colombia, Costa Rica, Cuba, El Salvador, Guatemala, Panamá and Dominican Republic. The local group, organ­ised by Gilmar Mejía from Musicartes, con­sist­ed of enthu­si­as­tic lead­ers drawn from the whole coun­try for a new musi­cians’ union, in addi­tion to rep­re­sen­ta­tives to oth­er, already estab­lished, music organ­i­sa­tions.
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Africa | Sub-​regional workshop on gender equality

FIM workshop - Tanzania

This FIM meet­ing focus­ing on gen­der equal­i­ty brought togeth­er union rep­re­sen­ta­tives from eleven English-​speaking African coun­tries

From 20 to 22 November 2017 in Dar es Salaam, Tanzania, FIM and the Tanzanian Urban Musicians’ Association (TUMA) organ­ised an exchange and train­ing work­shop on gen­der equal­i­ty in the music sec­tor, which had finan­cial back­ing from Union to Union. This was the sec­ond African meet­ing after a first work­shop in Dakar in January 2016. The meet­ing took place in the pres­ence and with the active sup­port of Union to Union and SMF rep­re­sen­ta­tives.
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