Among the many questions about the legal landscape for webcasting, Bonneville International Corp. v. Peters clarifies how copyright law applies to your favorite AM/FM radio station s website. On October 17, 2003, the Third Circuit held that such AM/FM webcasts must pay a public performance royalty to owners of sound recordings, thus narrowly defining the digital public performance right exemption for a nonsubscription broadcast transmission codified at 17 U.S.C. 114(d)(1)(A). Positive though it may be, the Bonneville decision sorts out only one small strand within the intricate web of rules and exemptions that Congress has woven to create the limited rights available for sound recordings. The complex statutory compulsory licensing scheme that currently administers the digital public performance right seems out of sync with facilitating the exchange of licenses. Thus, as some copyright rules for webcasting become clearer, the system overall remains too byzantine to allow the online broadcasting industry to stabilize. This Note examines the implications of Bonneville. Part I describes a conception of the webcasting, including AM/FM radio webcasting, internet webcasting, personalized internet webcasting Part II discusses the holding in Bonneville. Part III outlines the evolution of the digital performance right in sound recordings under the Copyright Act. Part IV describes the scope of exclusive right in sound recording and its limited types. Finally, Part IV proposes suggestions in Korea Copyright Act.