Among certain observers, it has become fashionable to contrast the “old model” and the “new model” of the music industry. This conjures up images of a dystopian analog past where the business was run by a bunch of cigar-smoking execs & predatory middlemen out to screw artists, and a utopian digital future where a leveled playing field will allow for artists and fans to join together in group sing-alongs while music flows like water. read more
(post authored by Communications Intern Olivia Brown)
Back in 2011, UNESCO (the United Nations Educational, Scientific and Cultural Organization) established that, starting in 2012, April 30 would be International Jazz Day. The day comes at the end of Jazz Appreciation Month , a music festival created by a curator at the Museum of American History. Established in 2001, the festival includes a slew of events across the District, country, and world.
We’re proud to endorse the Jazz Journalist Association’s Jazz April campaign to highlight these events and celebrate the unifying and diplomatic effect of jazz music across the globe. This year’s main event is set to be held in Istanbul and will be streamed online, and there are dozens more events from Albania to Zimbabwe.
Not long ago, we reported on US Register of Copyrights Maria Pallante’s House Judiciary Committee testimony regarding “the next great copyright act.” Pallante described the need to update our existing laws to make them not only more comprehensible to the average American, but also work better in a rapidly-evolving technological landscape. We thought that her reasoning was sound and that she was focusing on the right areas, including the incredibly complicated licensing environment for music.
Clearly, the commitee was listening. Yesterday, at a Library of Congress event marking World Intellectual Property Day, Chairman Bob Goodlatte (R-VA) signaled his intent to review the Copyright Act (which was passed in 1976 and took effect in 1978), with an eye to optimizing the laws to reflect current realities. You can read Goodlatte’s full remarks here. (Self-referential bit — Goodlatte also gave a keynote at the 10th Future of Music Summit.)
Post authored by Communications Intern Olivia Brown.
The National Endowment for the Arts (NEA) is currently without permanent leadership. Former Chairman Rocco Landesman — an accomplished Broadway producer and country-western enthusiast — resigned from his position this past November, wrapping up a successful four-year stint. As President Obama is expected to appoint a new chairman in the coming weeks, now is a opportune time to reflect on what qualities we’d like to see in Landesman’s replacement.
When the powerhouse social media platform Twitter arrived in 2006, we saw some clear potential for music. 120-character text limitations aside, it seemed the service was destined to become a powerful engine for music discovery given the real-time, rapidfire exchange it facilitated.