“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists,” said Casey Rae, chief executive of the Future of Music Coalition, an artists’ advocacy group. “In reality, not all artists are able to make those same choices.”
With her last album, “21,” released in early 2011, Adele scored the kind of blockbuster success that the industry had all but written off as extinct. It sold about 30 million copies around the world, making it one of the most popular releases in decades; in the United States, a majority of its 11 million sales were on CD. read more
In response to this article, the Future of Music Coalition (FMC)—a D.C.-based nonprofit group championing musicians and their rights to fair compensation—posted an extensive critique, faulting Johnson’s article on several points. In particular, FMC objects that, by using the U.S. Bureau of Labor Statistics’ Occupational Employment Statistics (OES) to support his conclusion about the rise of musicians in the U.S., Johnson overlooked key limitations and definitional issues associated with the dataset. Similarly, FMC maintains that his findings about musicians’ incomes do not reveal how those incomes are distributed, and how the distribution pattern has changed over time. read more
Through their success, these three women have also accumulated a rare level of power in the industry, allowing them to take risks over how their music is released and consumed, and the rest of the business has taken notice.
“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists,” said Casey Rae, chief executive of the Future of Music Coalition, an artists-advocacy group. “In reality, not all artists are able to make those same choices.”
In order for ASCAP and BMI to effectively compete with SESAC and to most efficiently service their members, their licensees and the general public, the Consent Decrees need modification. First, ASCAP and BMI must be permitted to allow the partial withdrawal of rights by its members, particularly its publisher members. The Consent Decrees have to date been construed to allow publisher members to either use ASCAP or BMI for ALL of their performance rights or for NONE. See Broadcast Music, Inc. V. Pandora Media, Inc. 13 CIV. 4037 (LLS), 2013 WL 6697788 (S.D.N.Y. Dec 19, 2013); see also ASCAP-BMI Consent DecreesFuture of Music Coalition (October 3, 2014).
WASHINGTON — After years of hanging their heads or sitting on the sidelines as disruptive digital forces chipped away at the music industry’s bottom line, working-class musicians and songwriters are starting to embrace the power of banding together and agitating for change, whether it’s engaging lawmakers to influence policy or joining coalitions that will fight for their interests. At the Future of Music Coaltion’s 15th annual Music Policy Summit here, the unofficial theme that emerged was a need to organize and rally to bring about real changes in the way musicians and songwriters are compensated in an evolving industry. read more
The Pandora settlement had been considered likely after the Sirius settlement, but it still means “people can exhale,” said Future of MusicCEOCasey Rae. “Having tensions between the U.S.’ biggest webcaster and the music community on this issue isn’t productive.” The Pandora settlement covers only past performances of pre-1972 recordings, but it gives Pandora until the end of 2016 to reach licensing agreements with the labels. Pandora, like Sirius, appears to have decided to settle based entirely on a “cost-benefit” analysis of the legal landscape that showed they were likely to face similar lawsuits across the country, said Dina LaPolt of LaPolt Law, an IP and entertainment law firm. read more
According to the Future of Music Coalition, a Washington, DC-based nonpartisan, nonprofit organization, any time a song plays at a rally, campaigns must “ensure that they have a public performance license covering the composition’s use. Most major public venues such as convention centers and arenas typically purchase blanket licenses from performance rights organizations” like ASCAP, BMI and SESAC, which allow campaigns to use songs to which they have secured permission. read more
The Future of Music Coalition estimated that the major labels may have to hand over $2 billion in extra royalties to heritage acts if they lost the cases. The Dixie Chicks put it more simply in their claim against Sony– calling the royalties and accounting process “systematic thievery”.
Here the people at the Future Of Music Coalition speak with Sharky Laguana of the band Creeper Lagoon about his recent piece entitled “Streaming Music is Ripping You Off” in which he criticizes streaming services for their use of the “Big Pool” method of royalty distribution.
Has the digital age been good to musicians? That bombshell question was recently asked by the New York Times in its cover magazine story, “The Creative Apocalypse That Wasn’t,” written by Steven Johnson. The article received a lot of blowback from many working musicians. Here in Allegro, we’re pleased to publish a rebuttal to the article by our friends at the Future of Music Coalition. But let’s cut to the chase. For our members, the issues that we care about in the digital domain are very basic: