Congressman Jerrold Nadler (D-NY), Ranking Member of the House Judiciary Subcommittee on Courts, Intellectual Property, and the Internet, and Congressman Marsha Blackburn (R-TN), Vice Chair of the Energy and Commerce Committee, have introduced bipartisan legislation, the Fair Play Fair Pay Act of 2015.

The act aims to harmonize and modernize the outdated rules that currently govern music licensing for digital and terrestrial radio broadcasts. The act proposes to:

• Create a terrestrial performance right so that AM/FM radio competes on equal footing with its Internet and satellite competitors who already pay performance royalties.

• Bring true platform parity to radio – so that all forms of radio, regardless of the technology they use – pay fair market value for music performances.

• Ensure terrestrial royalties are affordable capping royalties for stations with less than $1 million in annual revenue at $500 per year (and at $100 a year for non-commercial stations), while protecting religious and incidental uses of music from having to pay any royalties at all.

• Make a clear statement that pre-1972 recordings have value and those who are profiting from them must pay appropriate royalties for their use, while we closely monitor the litigation developments on this issue.

• Protect songwriters and publishers by clearly stating that nothing in this bill can be used to lower songwriting royalties.

• Codify industry practices streamlining the allocation of royalty payments to music producers.

• Ensure that artists receive their fair share from direct licensing of all performances eligible for the statutory license.

The bill is cosponsored by Judiciary Committee Ranking Member John Conyers, Jr. (D-MI) and Congressman Ted Deutch (D-FL), a senior Member of the House Judiciary Subcommittee on Courts, Intellectual Property, and the Internet. Rosanne Cash, Elvis Costello, Gloria Gaynor, Cyndi Lauper, and Abdul “Duke” Fakir, the last surviving member of the Four Tops, and numerous other artists joined the Members of Congress in announcing the new legislation.

“The current system is antiquated and broken. It pits technologies against each other, and allows certain services to get away with paying little or nothing to artists. For decades, AM/FM radio has used whatever music it wants without paying a cent to the musicians, vocalists, and labels that created it. Satellite radio has paid below market royalties for the music it uses, growing into a multibillion dollar business on the back of an illogical ‘grandfathered’ royalty standard that is now almost two decades old,” said Congressman Nadler.

“Artists, musicians, producers and radio services alike deserve better. The Fair Play Fair Pay Act fixes this broken and unjust system by making sure all radio services play by the same rules, and all artists are fairly compensated,” Congressman Nadler continued.

“I’m honored to be working with Congressman Nadler on this important bill. Many music creators struggle to make ends meet even when they write a hit song because of a quirk in the copyright law,” said Congressman Blackburn. “The Fair Play Fair Pay Act will ensure that the intellectual property of artists can no longer be exploited by Big Radio without compensation. All radio platforms should be treated the same when they use music to draw in listeners and earn billions in revenue. The playing field needs to be leveled and this is long overdue.”

“Profiting from someone else’s labor and not paying is simply unfair. The failure to adequately pay artists and musicians is particularly harmful to communities like Detroit, which has so many legacy artists who should be compensated fairly for their groundbreaking contributions to the industry. I am happy to support this bill because it provides long overdue fairness for artists regardless of when their music is recorded or where its played,” said Congressman Conyers, Jr.

“Fair market value for music will encourage creativity by music creators,” said Ted Kalo, Executive Director of the musicFIRST coalition. “It will promote innovation among music services. And – most importantly – it will give fans the best music they have ever heard – delivered in the most exciting ways they could ever imagine.”

SAG-AFTRA president Ken Howard praised the bill, saying, “This bill brings music licensing for sound recordings into the 21st century. AM/FM stations will finally pay royalties on the sound recordings they broadcast. Right now, performers receive nothing – no royalties at all – for use of their recordings on AM/FM radio. This is something our members, including the late and great ‘Chairman of the Board’ Frank Sinatra have fought for decades to establish. This bill establishes a uniform fair market value royalty standard for all services and ensures that creators of sound recordings made prior to 1972, some of our most beloved and valued music, are fairly compensated when their music is played. SAG-AFTRA is proud to stand with its partners in the musicFIRST Coalition and urge our lawmakers to finally pass this bi-partisan bill.”

Not all reactions to the bill have been positive. National Association of Broadcasters Executive Vice President of Communications Dennis Wharton issued the following statement: “It is disappointing that this bill retreads years-old policy positions rather than advancing the copyright dialogue through policies that help grow the entire music ecosystem. NAB stands ready to work with Congress on a balanced music licensing proposal that promotes innovation and recognizes the benefit of our free locally-focused platform to the benefit of artists and listeners.”

Maverick artist manager Clarence Spalding joined fellow Kentucky natives Eddie Montgomery and Troy Gentry of country music duo Montgomery Gentry, country-bluegrass singer/songwriter Larry Cordle, cousins Brian Littrell and Kevin Richardson of the Backstreet Boys, and songwriter/author/broadcaster Pete Stamper into the Kentucky Music Hall of Fame on Friday (April 10). Folk music legend Doc Hopkins and R&B group The Moonglows were also inducted posthumously.

The eight inductees officially joined the 47 previously-inducted members of the Hall, recognizing contributions to music in the bluegrass state and around the globe.

During the 2015 event at Lexington, Ky.’s Lexington Center, Bluegrass Ballroom, an emotional tribute was made for the late Doc Hopkins by his nephew, Kenneth Hopkins, 94, who sang “Will The Circle Be Unbroken.” There were also Bluegrass-infused renditions of “I Want It That Way,” and “Larger Than Life” from Richardson and Littrell, and a performance from Montgomery Gentry.

“When people hear the Backstreet Boys, most people probably don’t equate us with Kentucky, but two-thirds of the Backstreet Boys are strongly, deeply rooted in Kentucky,” said Richardson.

The “Bluegrass State” is rich in its musical heritage across all genres including pop, rock, country, gospel, folk, jazz and more. Since 2002, its hall has recognized Loretta Lynn, Ricky Skaggs, Sam Bush, The Judds, Dwight Yoakam, Crystal Gayle, Molly O’ Day, Exile, The Kentucky Headhunters and Steven Curtis Chapman, among others.

About the 2015 inductees:

The Backstreet Boys has sold 130 million records worldwide and is recognized as the best-selling boy band in history.

Clarence Spalding is President of Maverick Nashville where he manages Jason Aldean, Rascal Flatts, Kix Brooks, Terri Clark and Seth Alley. He managed the award winning duo Brooks & Dunn for 20 years. He has also been involved in the careers of Eddie Rabbitt, Ronnie Milsap, K.T. Oslin, Roger Miller, among others. All combined Spalding’s acts have sold over 70 million records and won over 130 major industry awards. He served as Chairman and President of the Country Music Association (CMA) and currently serves as a member of the Nashville Music Council with Mayor Karl Dean and the Country Music Hall of Fame.

Doc Hopkins is one of the founders of the folk group Cumberland Ridge Runners. He played and performed over seven decades. The Rockcastle County, Ky., native started performing in medicine shows and featured for two decades featuring his combination of spoken word with three-finger-and-thumb guitar style on nationally broadcast radio programs.

Larry Cordle‘s original songs have been recorded by artists such as George Strait, Alan Jackson, Reba McEntire, Trace Adkins, Ricky Skaggs, Alison Krauss and Garth Brooks, among others. Cordle also performs with his own band, Lonesome Standard Time, who have garnered two Grammy nominations of their own and landed No. 1 slots on the Bluegrass and Americana charts. Cordle is also serves as a background vocalist for Nashville sessions.

Montgomery Gentry has charted over 20 singles. The Blaster Records duo will soon celebrate their sixth anniversary as Grand Ole Opry members, and on June 9 they will celebrate the release of a new album.

Pete Stamper is a comedian, songwriter, musician, author, broadcaster. His talents were well recognized within the country music; in the mid-1950s as part of the ABC weekly TV broadcast, Red Foley Ozark Jubilee Show. He made numerous appearances on The Porter Wagoner Show and also from the stage of the Grand Ole Opry. An accomplished songwriter, he has written songs for stars including Red and Betty Foley, Porter Wagoner, Billy Anderson, among others. Today, Pete continues to host a morning show on WRVK in Renfro Valley. In 2008, the Kentucky Broadcaster’s Association honored Stamper with the Stephen Foster Award.

The Moonglows, an R&B vocal group formed in the early 1950s is known for two original Christmas standards: “Hey Santa Claus,” and ”Just a Lonely Christmas,” among Billboard Top 10 hits “We Go Together,” “See Saw,” “Please Send Me Someone to Love” and “Ten Commandments.” The Moonglows were inducted into The Rock & Roll Hall of Fame in March of 2000. Henry Fuqua, the last remaining member, passed away in July of 2010.

Nashville-based entertainment and marketing company, The AristoMedia Group, is celebrating its 35th anniversary.

Founded in April 1980 by President/CEO Jeff Walker as a public relations firm, the AristoMedia Group has grown into a multi-faceted media, marketing and promotion company. The company includes specialized departments, including Aristo P.R. (publicity and PR), AristoVideo (video promotion and marketing), AristoWorks (digital development and marketing), Marco Promotions (secondary and tertiary radio promotion) and Marco Club Connection (dance venue marketing). The company offers project management and music consulting through Jeff Walker and Associates, and digital music delivery for streaming outlets through StreamTrack, launched in 2014.

Walker has received the CMA President’s Award, the CMA Jo Walker Meador International Award, Country Music Association Australia’s Lifetime Achievement Award, the BCMA International Services Award (UK), and the Canadian Country Music Association’s Leonard T. Rambeau International Support Award.

Senior staff of the company includes Craig Bann (Sr. VP Promotion/ Marketing), Rick Kelly (VP of Promotion), Jon Walker (VP of Digital), Christy Watkins (VP of Public Relations/Media Marketing) and Matt Watkins (VP of Marketing/Operations). Located on Music Row, The AristoMedia Group employs 15 full-time and part-time employees.

The AristoMedia Group President/CEO Walker notes, “When I started the company, the compact disc was still in development, the Internet was over a decade away from major acceptance, and digital downloads and streaming were not even in the music business vocabulary. The times have driven the company to continuously re-invent our service offerings and expand into new areas I could not have imagined 35 years ago. We strive to stay ahead of our industry’s needs and I’m proud of the company AristoMedia has become.”

The Country Music Hall of Fame and Museum (CMHoF) gave a behind-the-scenes look at Alan Jackson from some of his closest industry pals this past weekend (April 11).

Label executives Tim DuBois and Mike Dungan joined songwriter Jim McBride (“Chasin’ That Neon Rainbow,” “Chattahoochee”) for a panel discussion alongside Jackson’s Strayhorns band members Roger Wills (bass) and Danny Groah (guitar). Led by CMHoF’s Michael McCall, the hour-long talk ran in conjunction with the hall’s recently extended Alan Jackson: 25 Years of Keepin’ It Country, exhibit.

Three dimensions of the star were noticed through the candid discussion: His quiet nature does not keep him from standing up for his beliefs; He is a man of generosity; The stars aligned in his favor.

His quiet nature doesn’t keep him from standing up for his beliefs

Dungan: I was first struck by how hard Alan was to talk to. He was so shy. Where I come from artists have massive egos. This was the most aw-shucks, quiet guy I had met. Turns out that was probably his biggest calling card. The fans responded to this quiet unassuming nature. We used to get frustrated with him because he didn’t like to do a lot of press or do talk shows or interviews, it was very uncomfortable for him. George Strait was also the same way and anytime we tried to coerce Alan into doing something he’d say, ‘George Strait don’t do that.’ Now you look back and see these two massive careers of Alan and George. I’m grateful that we’re looking back at 25 years. I think part of it was they didn’t burn themselves out by talking about every detail of their lives every time a camera came on. But there’s a thing about him that as Clive Davis would say the indefinable it thing–the star factor despite the quietness. The minute Alan walks in the room you wanted to know about him. It’s that elusive star thing that few people have. It more than compensated for the shyness.

Wills: I was worried about his shyness, too. I thought the only thing that’s gonna keep him from a record deal is that he just wouldn’t talk. I’d get him off to the side and say, ‘Go and talk to these people.’

Groah: Before the [CMAs] he said, ‘I don’t know if I’m gonna do it or not, [referring to cutting short his performance of “Pop A Top,” in protest of the CMA overlooking George Jones’ “Choices”]. If I look over at you and nod, then go into it. Sure enough, he gave the nod and there we went.

Dungan: He got an immediate standing ovation.

McBride: He put the band on the spot.

Groah: [Previously], at the 1994 ACM Awards, Alan wanted to play live. In those days they wanted the music to be tracked. So the band is really just playing air guitar…

Dungan: …They told Bruce (drummer) whatever you do don’t hit the cymbals. He said, “How can I even act like I’m playing the drums with no cymbals?” So he elected to go in with no sticks.

McCall: Does that ever come back to the label?

DuBois: It was over and done, everyone in the audience loved it.

Groah: Bruce didn’t get paid from the TV show but Alan paid him.

Groah: [And after 9/11], we were supposed to do “Where I Come From,” I think. We got a call a couple days from Alan to start working on “Where Were You (When The World Stopped Turning).”

He is a man of generosity

Groah: I had a lawnmower accident I thought would end my playing guitar. I hadn’t been home from the hospital 15 minutes when Alan and Denise showed up. He said, “Don’t worry about your job. I’m gonna pay you just like you were working. It doesn’t matter how long it takes.” That’s the kind of guy he is. Not just for me, but he’s been there for all the band when things happen.

Dungan: A guy who worked for us at Arista had a [medical condition] Alan went to see him in the hospital and Alan said, “Your TV is pretty small.” The next day these guys wheeled in a big television, compliments of Alan Jackson.

The stars aligned in his favor

DuBois: His long legs and blond hair just worked. He had the whole package. And it happened at a time in Nashville that I call the Great Flush at the end of ’89. For the only time I can remember, radio opened its arms to a whole crop of new artists. The system was primed and Alan just rushed through. You just couldn’t do that today. The climate is so different. That was before the Telecommunications Act when you had small family stations. Also, videos were relatively new and they gave Alan a personality. I give Alan and Barry Coburn (Alan’s then manager) the credit for those.

Dungan: Alan would have a hard time [breaking out] now. I’m a believer that this thing we call country music should be wide—as pop, or as country as you want. If the next Alan Jackson came into my office, I would sign them in a heartbeat. It would be tough, but I’d go for it because music is the backbone of everything.

DuBois: I thank my lucky stars he came along in my life. Luck can play such a part because there are other people who will go unnamed today that I believed in as much as Alan. But for some reason it didn’t happen for them. He is an exceptional talent and we were extremely lucky to intercept his orbit.