In November 2008, Deftones bassist Chi Cheng was seriously injured in a car accident in Santa Monica, California. His injuries were so severe that he's been hospitalized almost ever since, with much of his time spent in a coma in intensive care. If there's an upside, it's that he is now at home with his family.
Deftones are a widely-respected group even outside their core audience of metal fans. This is not doubt do to their genre-spanning sound, which employs atmospherics, tension and release and a strong melodic undercurrent. To call them the "metal Radiohead" wouldn't be a stretch. read more
New business models are springing up all over the Web to help independent musicians get revenue from their music. The Future of Music Coalition recently highlighted some of these in its “Music 2.0” series at the 2009 FMC Policy Summit:
* Internet radio. Internet radio, which is seeing an increase in listenership, plays more artists in more niche genres than traditional radio would ever be able to. Last.fm and Pandora both stream independent music and pay royalties to performers and songwriters. read more
If you've been paying any attention to music biz news this week, you've no doubt stumbled across an item (or ten) about Google OneBox -- the web search company's bold foray into the world of on-demand music. While many of the reports focus on what this new service means for fans hungry to hear tunes with one-click, they don't often drill down into what this might mean for artists and songwriters.
OneBox has already launched, so you could just go try it out right now. Or, you could read what our vigorous research revealed about the new venture. OK, it wasn't really that vigorous -- we simply entered a band into the Google search bar to see what happened next. read more
Today's post is by Brian McTear, co-founder of Philadelphia's Weathervane Music Organization -- a nonprofit community that works with independent musicians to support and advance their careers. Weathervane's efforts revolve around a program called the Weathervane Music Project Series: a curated series of audio and video recordings featuring the artists, their music and artfully produced video of the actual recording sessions.read more
The Future of Music Coalition (FMC) held its annual music policy summit earlier this month, right in our backyard at Georgetown University. The FMC is a national nonprofit organization working ?to ensure a diverse musical culture where artists flourish, are compensated fairly for their work, and where fans can find the music they want.
The three-day event hosted some excellent speakers from various positions in the music industry. Bertis Downs, ?fifth? member of R.E.M., as well as Mike Mills gave very interesting interviews and panel discussions. Peter Jenner, who has represented the likes of Pink Floyd, T. Rex, the Clash and Billy Bragg, gave excellent commentary on copyright issues, as did Hank Shocklee of Public Enemy, and media prankster Kembrew McLeod. Ian MacKaye, and Daniel Elk from Spotify also spoke.
We did it! Another amazing Future of Music Policy Summit is behind us, but we’ll always have the memories. This year’s conference â€” our eighth â€” was probably our best yet; if you were with us at Georgetown University in DC from Oct. 4-6, you definitely know what we’re talking about. Maybe you were one of the thousands of people who watched the live webcast? Either way, we thank you so much for participating in the event. Read on for some of the highlights, as well as a few other things we’ve been working on in our “spare time.”
1. Future of Music Policy Summit 2009: awesomeness roundup!
2. FMC, PBS’ Independent Lens & Community Cinema present COPYRIGHTCRIMINALS
3. Music 2.0 and the “29 Streams”
4. Big wins for Low Power FM
5. Performance Rights Act passes in Senate Committee
6. FMC’s Michael Bracy on NPR’s “Sound Opinions”
7. Still fighting for net neutrality
8. FMC, musicians and speech
9. Travel and appearances
10. SanFran MusicTech is back!
11. How are we doing?
One company that measures such stats says definitely.
While it may not seem like much of a surprise that web radio plays more artists than traditional broadcasters, new data supplied by streamSerf — a company that monitors and reports on music played on terrestrial and web radio — highlights a pretty big disparity. According to the company, last month American broadcast radio stations played 25,399 unique artists (this includes public radio stations) while Internet radio stations played 829,971 unique artists. We're no mathematicians, but apparently that's 32 times as much. read more
Today, (Oct 15, 2009), the Senate Judiciary Committee passed their version of the Performance Rights Act of 2009 in voice vote. This is an important step in ensuring that performers and sound copyright owners (usually the labels) are compensated when their music is played (or "performed") on over-the-air radio. read more
he music industry is trying to survive and possibly reinvent itself. Artists want to get paid. And consumers want music quickly, with no strings attached. Are all three goals achievable, and if not, who will lose out? Can unfettered access to the Internet co-exist with artists’ desires to get paid for their music? Can the music industry hack its way through a maze of legal obligations and create a new business model that entices fans before they disappear into the digital underground, where music runs wild and free?
These questions dominated the Future of Music Policy Summit in the nation’s capital, an annual gathering of some of the industry’s leading thinkers and innovators, alongside representatives of the music, technology, business and government communities.
A very inspiring organization, the Future of Music Coalition, have released a series of videos that explore new music industry models. The significance of these models is that they take into account how artists need to be compensated, but recognize the need to be relevant in culture. Of all of them, the subscription-based models stick out the most to me. Music consumers are no longer in the mindset of paying for music on a ?per unit? basis. Instead, we have come to expect to get our music for free, immediately, and involve little effort. A subscription service could possibly function within a culture like ours because it mostly matches this criteria. Subscription services, like Rhapsody, ?feel free? because it is an all you can eat buffet ? a once per month, small fee. In turn, a subscription offers the same flexibility and feel of free downloading.