Future of Music Coalition filed these comments with the Copyright Office in their Notice of Proposed Rulemaking on the “Gap in Termination Provisions” in the Copyright Act.
The Copyright Office released an analysis acknowledging the “gap” in the termination clause of the 1976 Copyright Act, which foreclosed individuals from dissolving grants made before Jan. 1, 1978 of copyrighted works not created until after that date. The comment also applauds the Copyright Office’s proposal to limit their new “gap” closing regulation, that grants will be read from the date of creation of the copyrighted work, to apply only to works that fell in the “gap.”
You may recall a blog post from back in October 2009, called The 29 Streams. In it, we attempted to enumerate all the possible revenue streams available to today’s musicians – from traditional CD sales to performance royalties to merchandise to synch licenses and more. read more
Washington, D.C.— Continuing a decade of work in understanding and improving conditions for musicians, national nonprofit organization Future of Music Coalition has launched the Artist Revenue Streams project (ARS), which seeks to gather crucial information about the ways U.S. artists are currently generating income from their music or performances, and whether this has changed over the past ten years. The project is funded in part by a two-year grant from the Doris Duke Charitable Foundation, with additional support from YouTube. read more
Well, maybe not the sound check, but the live performance counts — at least with BMI. The Performance Rights Organization (PRO) BMI recently established BMI Live, an online program that lets songwriters upload setlists from their performances at live music venues — and receive payment for the songs that are played.
BMI has always paid royalties based on live performances, but only conducted a census survey on the songs played on the top 200 tours.
With BMI Live, the PRO aims to provide its registered songwriters and composers with financial revenue from performance venues as small as your local music venue, or as large as Madison Square Garden. read more
This article is by FMC advisory board member Whitney Broussard, Esq. It originally appeared in the University of Georgia School of Law Intellectual Property Journal entitled Symposium: The Changing Face of Copyright Law: Resolving the Disconnect Between 20th Century Laws and 21st Century Attitudes (Vol 17, Number 1, Fall 2009). read more
Ten years ago, no one would have predicted that we’d mostly all be listening to music via MP3 files, CDs would be all but dead, and vinyl record sales would be up. The music industry today is morphing so fast that it’s difficult for anyone—record label owner, musician, fan—to keep up. Casey Rae-Hunter, who speaks on a panel at the Creative Alliance at the Patterson this week, works at the Future of Music Coalition. Mission: “[ensuring] a diverse musical culture where artists flourish, are compensated fairly for their work, and where fans can find the music they want.” He kindly took time out of a vacation to California last week to talk to us about payola, the looming music cloud, and Amanda Palmer.
Given how opposed the National Association of Broadcasters (NAB) has been to the concept of paying performing artists and sound copyright owners for the over-the-air broadcast of their work, we think this is pretty significant. Of course “significant” doesn’t mean inevitable. Let’s review the facts. read more
[This post was co-authored by FMC Policy Intern Eric Perrott]
There’s no doubt that the 10th Anniversary Future of Music Policy Summit (Oct. 3-5, 2010) sparked plenty of conversations and even some controversy. Topping the list of the latter was the onstage chat between award-winning musician/producer T. Bone Burnett and music scribe Greg Kot of Chicago Tribune. Any press is good press, but we’re wondering if maybe some of the articles missed T Bone’s overall point. read more
A musician’s job is to create music, and nothing more. Any other responsibility corrupts his or her artistic integrity.
OK. That’s an adorable idea, but let’s get real. These days, artists are able to exercise individual control over each aspect of their careers, but that can be a lot of work. The good news is that technology has created lots of efficiencies in everything from recording, marketing, to booking. What once took huge teams now can now be accomplished with anyone with a decent laptop and an internet connection. Yet there are spaces where DIY hasn’t gained much of a foothold. read more