Billy Corgan made a less-than compelling case yesterday before Congress in support of the Performance Rights Act, which would force radio stations to pay royalties not only to the songwriters of the songs they play but to the performers on those songs as well. It’s a nice thought and all, especially considering stories such as Standing in the Shadows of Motown, but not a very nice thought when considering Billy Corgan, who is a multimillionaire.
Though I myself am a music performer who has been played on the radio, I’m against the Performance Rights Act and I’ll tell you why. It should have been enacted 60 years ago, when the “hit single” came into being and when radio had the prominence to absorb such payments. Corgan states the laws on radio compensation haven’t changed for 80 years. That’s the very reason radio can’t bear the undue burden.
The business model of radio stations has evolved around the long-held and reasonable idea that it’s the record labels’ responsibility to compensate their performers. Radio advertises the record, the public buys it, and the artist gets whatever deal the artist signed with the label for.
If the artist signs a shitty deal (all major label deals are shitty deals), or if the label is stiffing the artist, or—this one’s good—if the digital age comes along and destroys music sales, why go after analog radio? Simple: because people like Corgan can. Because it’s there. He can’t demand money from “sdream75,” an anonymous user who can’t stop uploading torrents of Siamese Dream, but he can go after radio stations, who are one of the few institutions left in the music business doing the relatively right and honorable thing.
The Performance Rights Act would misdirect understandable frustration with the self-cannibalization of the music industry at large toward a valuable—and similarly struggling—friend of the performer. It would absolutely kill small local stations like the KRSH. What we’d be left with is ClearChannel stations with corporate-issued playlists, prerecorded shows streaming from a computer, and DJs who may as well be programmed robots.
Incidentally, Corgan also spoke out a few weeks ago in support of the Ticketmaster / Live Nation merger (he’s managed by Ticketmaster CEO Irving Azoff), which officially makes him a mouthpiece of the devil.