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How much does a songwriter like me get paid for a stream? Well it depends. Varies month to month and service to service. But the short story is... Each month you take 15.35% of the streaming service adjusted gross revenue call that "Tentative All in Pool 1" Then take 26.2% of the money that the streaming service paid to labels and distributors, but limited by a cap of $1.10 per subscriber. Call that "Tentative All in Pool 2." Then you choose the greater of those two and that is your "All in Pool." Next you subtract any monies paid to performing rights organizations (BMI, ASCAP, SESAC, GMR etc) and this becomes your "Payable Pool." But before we start splitting up the money, we need to check the "Alternate Payable Pool." The alternate payable pool is a "floor" calculation. it depends on whether your listening on a ad supported, subscription or bundled subscription, but usually its $0.60 x # of subscribers. That's your alternate payable pool. Now you choose the greater of the two payble pools and divide by the total number of streams that month. That give you a number somewhere in the range of $0.0005-$0.0009 per stream. So that's how much I get a stream. It's all in the US Copyright Office Copyright Royalty Board Proceedings, I can send you a link.

Here for your listening pleasure is "Farther Along," from my new jazz-gospel hybrid album with Dr. Ricky Dillard, Sweet, Sweet Spirit. Visit RonCarterJazz.com for your CD copy, and listen to Sweet, Sweet Spirit on all of your favorite streaming platforms.

Chris Cooke: SoundExchange boss says all EU countries must change copyright rules so European radio royalties flow to American performers #IRespectMusic thetrichordist.com/2026/03/23/chr… via @thetrichordist

How do you generate billions of bot streams without being detected? Thats the real story.

The Constitutional Shadow of the White House AI Framework: Law Without Law musictech.solutions/2026/03/21/the… via @musictechsolve

Heartbroken that Chuck Norris has passed on.   I grew up watching Chuck on the screen.  He was larger than life.  A true icon.  He portrayed characters I wanted to be like when I grew up.  I never missed an opening weekend for one of his films and have such wonderful memories of going to see them with my dad.  I had a full collection of his movies at home, and I wore out the VCR watching him in LONE WOLF MCQUADE, THE DELTA FORCE and the MISSING IN ACTION films.   To meet him while still in uniform and then to have his support when I stepped into the world of publishing when, without hesitation, he blurbed my debut novel meant the world to me.  There are martial artists. There are actors. There are movie stars.  And there are legends.  So sad that this legend is no longer with us but also comforted in knowing he achieved a rare type of immortality through his work, work that we can all return to over and over, bringing him back into our homes to spend time with the man who inspired so many.  I will miss you, my friend.  We all will 🙏

I’ve long said that current actors will now compete with dead actors for roles, due to AI usage. If anyone wants to see the checklist of ways AI implementation will pollute the business, here’s what I wrote in 2023: credo23.com/AIINFILM

The Great White House AI Copyright Dodge: Managed Decline, Global Spillover, and the Rise of David Sack the Chief Personhood Denier musictechpolicy.com/2026/03/20/the… via @musictechpolicy

The DARK WOLF Podcast drops next week!  Thank you to the cast and creative team who all took time out of their busy personal and professional schedules to reunite and talk through DARK WOLF! Check out the podcast and then rewatch the show armed with behind-the-scenes stories to enrich the viewing experience!   For extra credit go from DARK WOLF to THE TERMINAL LIST in advance of upcoming THE TERMINAL LIST Season 2 TRUE BELIEVER news… Looking forward to getting everyone back together soon!

Resellers, Speculative Tickets, and the FTC’s “Moment of Availability” musictechpolicy.com/2026/03/12/res… via @musictechpolicy

One More Thing About Perplexity musictechpolicy.com/2026/03/13/one… via @musictechpolicy

The CLEAR Act's Transparency Promise—And Its Structural Gaps artistrightswatch.com/2026/03/06/the… via @artistrights

THE FOURTH OPTION is “in the books!” I finished my final pass of edits this morning and sent it back to Simon & Schuster!  Now it’s on to the next project…as soon as I sign all these pages… Order your signed edition today via the link: jackcarr.co/Signed-The-Fou…

Spotify, SeatGeek, and the Expanding Extraction MachineWhen Platform Leverage Meets Ticketing Power musictechpolicy.com/2026/02/19/spo… via @musictechpolicy

Suno and other platforms like it can stick it where the sun don't shine, @suno your platform is garbage. Open Letter: Say No to Suno musictechpolicy.com/2026/02/23/ope… via @musictechpolicy

talk about raising the roof! Speechless.

Very welcome news that the UK government has announced new online safety measures today. The Online Safety Act was written before the rise of generative AI tools like Grok and the law has clearly struggled to keep pace. I know how urgent this is because I have experienced AI-enabled abuse myself. It is not harmless and it is not victimless. The harm lingers long after images are removed. The government is now consulting on powers to act more quickly making clear chatbots must tackle illegal content, curbing addictive features such as auto-play and endless scrolling for children, tightening age checks and preventing VPN workarounds, and enabling ministers to intervene within months rather than years

@JackCarrUSA @bodleianlibs that must be a great feeling Jack.

Very special day visiting the John le Carré Tradecraft exhibit at Oxford. This @bodleianlibs exhibit and THE SPY WHO CAME IN FROM THE COLD stage adaptation in London were the inspiration for this trip to the UK. After serving in the British Army and British Intelligence during the Cold War, le Carré turned to writing full time in 1963 with the success of his third novel, THE SPY WHO CAME IN FROM THE COLD. He lives on through the immortality of his work. A true master of the craft. “Out of the secret world I once knew I have tried to make a theatre for the larger worlds we inhabit. First comes the imagining, then the search for reality. Then back to the imagining, and to the desk where I’m sitting now.” - John le Carré

"I mean you've got twitter feeds of randos that are just studying where our airplanes go and publishing it, consolidating it like, if US anaylsts did some of that we would consider it Secret or maybe even Top Secret" - Maj. C Randolph USAF @MitchellStudies @TheLukeReport