Morning Fix: Rolling Stones Promoter on Pissing Off Brokers; YouTube Launching Subscriptions; Pandora Listening Caps Decrease Usage

The new a la carte subscription plans for some of its professional video channels could be announced as early as this week. Charging subscription fees will allow the online video provider to add a second revenue stream and help finance a broader content offer.
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Pandora’s monthly listening caps pulled down listener hours in April without resulting in a corresponding fall in unique listeners, company revealed Tuesday. The Internet radio company's 40-hour limit on monthly mobile listening caused listener hours to drop 12% to 1.31 billion in April from 1.49 billion in March.
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There has long been three opinions about how to beat piracy; through legislation and enforcement, through better legal services, or both. Although piracy continues to exist as numerous new music services have launched, there’s no doubt consumers have far better options (free-of-charge streaming, DRM-free downloads) than they had just a few years ago.
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Content creators will likely receive less than 30% of any subscription dollars flowing to YouTube via a subscription plan that the Silicon Valley company will launch in the coming weeks, according to an executive familiar with the product. YouTube last year announced it would develop a subscription model for a tier of premium channels.
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EMI Music will be allowed to pay itself for the foreign exploitation of Duke Ellington music, a New York appeals court has ruled. The decision is a defeat for Paul Ellington, the grandson of the great jazz pianist, who sued EMI for hundreds of thousands of dollars. He alleged that EMI had breached a 1961 songwriter royalty agreement with Ellington by deducting fees for foreign affiliates before accounting to Ellington's 50 percent share of net revenue.
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Metadata is not one of those sexy topics you bring up at a cocktail party -- unless, perhaps, it’s directly tied to your livelihood and how much money you stand to earn. Bottom line: “If [the data’s] no good, people don’t get paid,” said Jonathan Bender, chief operating officer of SoundExchange.
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As a part-time A&R rep for labels like Epic Records and Universal Republic, Sean Glass often found his hands tied when he was ready to get behind a potential signing. “I was working in film at the time and whenever I would do work to break artists in-market people would say, ‘Why don’t you just put this artist out yourself?’ And I’d say no because I didn’t have a label.”
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