The Ivors Academy of Music Creators
Hundreds of members of the international music industry have signed an open letter to record labels titled “Pay Songwriters,” calling for better financial treatment from the record labels that are riding a tide of streaming-powered success. That success is evidenced by the strong numbers in the IFPI annual global report on recorded music released today, which showed that despite the pandemic, which has deeply impacted physical music sales,  global recorded music revenues rose 7.4% in 2020 to $21.6 billion, only slightly below 2019’s 8.2% — with streaming revenue up nearly 20% year-on-year to $13.4 billion..
It has been signed by dozens of songwriters, producers and executives, including Andrew Lloyd Webber, Giorgio Moroder, Stargate, MNEK, Ross Golan, Rick Nowels, Natalie Hemby, Savan Kotchecha and many more.
Helienne Lindvall, Chair of the Songwriter Committee & Board Director,
This would not constitute owning their work in any way: it’s a simple cost-covering exercise. This per diem would be non-recoupable from the artist share. Pay writers a per diem (a per day allowance). We’ve canvassed our membership (and their managements) and believe paying a minimum per diem of £75 / $120 to each songwriter working with your artist would be a sensible and structure-preserving measure.
The letter, issued by the U.K.-based Ivors Academy of Music Creators, is billed “An Open Letter to Record Labels,” and begins with the synopsis: “We need a sustainable model of compensation for music writers that reduces the risk of writers quitting the business or taking on second jobs due to the increasing costs of operating.”
With Warm Regards,
Again, we've canvassed our membership (and their managements) and we believe a minimum of four (4) points on net revenue to be shared among the non-performing songwriters on a record would be a sensible and structure-preserving measure. Give writers points on the master from the label share
This would enable writers to be properly rewarded when their work is used, and to participate in the rewards of the success of your artists.
“The Ivors Academy of Music Creators represents the very best in songwriting and composition. We want to prevent a downward trend in the quality of songwriting from music creators being underpaid.
“However, many now find themselves in a deeply unenviable position. Songwriters of the past risked their investment because there was a chance of returns if a song was used or indeed a hit. Without the possibility of those returns where is the incentive? In the past, songwriters have reaped great rewards for their work, and indeed many learnt their trade when this was still the norm. Sadly no longer: 100,000 streams of a song will not cover the price of a cup of coffee. A songwriter could have many millions of streams and still be incapable of making rent in the cities where their work is done. This question should cause us to reflect.
There is a sincere danger that we may lose a whole class of writers before people truly comprehend the situation and the model is fixed. We need a sustainable model of compensation for music writers that reduces the risk of writers quitting the business or taking on second jobs due to the increasing costs of operating. “We can see that the record industry has experienced a huge upturn in revenues whilst songwriter profits have collapsed.
Even when many hours of a writer’s work do not ‘make the record,’ it provides necessary comparison for A&R decision-making. It begins: “We all know how much songwriters are relied upon, not only for songs but for inspiration, direction and development within the contemporary music industry. Emerging artists are often put into the hands of songwriters first. These creators undertake a huge personal and professional investment in every artist who walks through their doors.
https://twitter.com/IvorsAcademy/status/1374294871968776193?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet” />
We are not able to place demands upon anyone who employs our members, but we have a rich overview of the state of play – we can see how catastrophic circumstances are becoming and we believe there is a two-pronged remedy: “The Ivors Academy is not a union.
For more information and to sign the letter, head to https://www.paysongwriters.com/.
“We urge you to consider and act upon this proposal as swiftly as possible. We need to recognise and support the work of songwriters to maintain a strong and healthy music industry for the future.

Yet despite the many times the boys drop f-bombs, they retain an innocence. Those "sixth-grade things" involve shenanigans like intentionally smuggling drugs, learning how to kiss, and running from the police.
"Annabelle's been watching 'Dateline,'" the three whisper among themselves. "She knows what cocaine is."
The young stars of the film — Jacob Tremblay, Keith Williams, and Brady Noon — told the audience they were relieved to be in the presence of grown-ups.
So if you wouldn't mind signing the release that's coming around…" "We're super glad to be with adults because we're not even allowed to see our own movie," Tremblay joked of the film, which likely secured a hard R-rating. "But not anymore. We finally get to watch it because we're with a room full of adults.
"Ever since we made 'Superbad,' our work, we think honestly has very much matured over the years," Rogen told the crowd of theater owners at Caesars Palace. "We're growing up, I'm wearing a suit."
Seth Rogen and Evan Goldberg's upcoming comedy "Good Boys" answers the age old question: "How f—ed up can one day get?"
Tremblay's character's younger sister pops in to assert her drug knowledge, saying, "I know what cocaine is." One moment in the trailer that played particularly well in the room unfolded as the boys hid out in a tent made out of sheets.
During the studio's presentation to exhibitors, Universal showcased footage and brought out big names for upcoming titles, including the "Fast and Furious" spinoff "Hobbs & Shaw," with Dwayne Johnson and Jason Statham; "Last Christmas," a rom-com starring Emilia Clarke, Henry Golding, and Emma Thompson; and "Cats," the big-screen adaptation of Andrew Lloyd Webber's Tony-winning musical.” /> 16. "Good Boys," which premiered at this year's SXSW Film Festival, hits theaters on Aug.
The duo behind hit comedies like "Superbad," "Pineapple Express," and "Sausage Party" took the stage at CinemaCon, the annual exhibition trade show taking place in Las Vegas, to tease what Rogen refers to as their "Most refined, cultured work to date."
Peter Levinsohn, president and CEO of Universal Filmed Entertainment Group, introduced the cast. Before Rogen and crew took the stage, Levinsohn mused about the "disruption" roiling the theatrical business, alluding to the media consolidation taking place and the rise of streaming services.
We need to start doing sixth-grade things." The footage starts with Tremblay's character telling his friends, "We're in sixth grade now.
"This reinvention process can be really exciting," said a decidedly unenthused-sounding Levinsohn. His remarks were frostily received by the audience of theater owners, many of whom are none too pleased with the changes taking place in the business.
Please believe this is not us, but our characters." Before the trailer rolled, Tremblay threw in one final disclaimer: "We apologize for what we're about to do and say.
"Nobody wants to follow Led Zeppelin, but someone has to do it." "It's hard to follow such an electrifying presentation," Rogen joked of Levinsohn's clearly well-rehearsed remarks.