Where do you get your media? If you’re like millions of people, it’s probably some combination of the internet, broadcasting and even old-fashioned print publications. As the adage goes, information is power — now more than ever before. Which is why diversity of channels and viewpoints is so important. The internet is amazing in this regard, but it’s only part of the picture. Local media can offer a platform for community voices that tend to get lost in the vastness of the global internet. Not to mention the fact that not every American has access to affordable broadband. This is why it is crucial to nurture diversity of content and programming on traditional media platforms like radio. read more
Washington can be a wacky place. Case in point: on November 19, 2012, the Republican Study Committee (RSC) — an independent congressional body that advances party-centric policy analysis — issued a brief containing some pretty ambitious ideas for reforming federal copyright law. No sooner than the document was made public, it was yanked, with RSC Executive Director Paul Teller stating: “Yesterday, you received a Policy Brief on copyright law that was published without adequate review within the RSC and failed to meet that standard. Copyright reform would have far-reaching impacts, so it is incredibly important that it be approached with all facts and viewpoints in hand.” read more
The 2012 Future of Music Summit has come and gone, and if you were one of the more than 2,000 live viewers (and countless more tweeters, etc.), you know it was one for the books. And if you missed it, don’t worry: we’ll have complete archives of the event uploaded as soon as possible. read more
On Tuesday, November 13, 2012, FMC will host its 11th Future of Music Summit in Washington, DC. Our ELEVENTH! As always, the event will tackle the emerging issues at the intersection of music, technology, law and policy. Our goal is to bring together stakeholders with different – even opposing – views, so we can dissect and discuss complicated topics, giving musicians a clearer sense of the issues, the players, and how decisions made by policymakers in Washington, DC might affect their livelihood. read more
[This post was authored by FMC Communications Intern Olivia Brown]
Vo Minh Tri (Viet Kang) and Tran Vu Anh Binh are Vietnamese protest musicians. Their songs combine militaristic percussion, traditional musical elements, lamenting vocals and saxophone and guitar solos, dealing with issues ranging from violent foreign invasions and territorial disputes to nonviolent protest. Their creativity reflects deep concern for the future of their country under the rule of an oppressive, speech-stifling government. Both artists have recently become victims of the oppression that they oppose, after YouTube videos featuring their protest music paired with images of war and oppression in Vietnam gained attention on YouTube.
Tri and Binh are some of the most recent victims in a long history of censorship in the arts. After their music videos were noticed by the Vietnamese government, they were charged with using propaganda to turn Vietnamese citizens against the government. Having been convicted, the two are now set to spend four and six years in prison, respectively. The U.S. State Department has called for their release, citing a history of oppression on the part of the Vietnamese government as well as a failure to comply with international standards for freedom of expression.
The Future of Music Summit 2012 is less than two weeks away! While the event is currently at capacity for in-person attendance, there’s no need to worry…the entire schedule of panels and conversations will be streamed online for you to watch from anywhere. Sign up to get a reminder email the morning of the Summit!
Don’t let the distance stop you from participating - join the conversation online by using the hashtag “#FMC12,” or organize your own local viewing party. We’ve put together some helpful tools to make it easy to host an event in your own home. Visit our resources page to find viewing party checklists and customizable flyers you can use to prepare your own event. Get together with your friends, colleagues or community to talk music, tech and policy with FMC.
With two weeks left until the upcoming presidential election, we’re in the midst of “that time of year again.” No, we’re not talking about the relentless attack ads, the political posturing, the frenzied fact checking or prattling punditry from talking heads and armchair quarterbacks alike. We’re talking about campaign playlists…particularly, instances in which artists disapprove of their songs being used in particular political contexts.
It happens almost every election cycle: a politician selects a song to play on the campaign trail. They’re oblivious for a while, thinking that paying licensing fees will suffice. Then…a cease and desist order, or an awkwardly public counter-message from the artist. read more
If you were to pose the question of why unauthorized downloading is so pervasive many answers would probably refer to the prevalence of convenient, unrestrictive file locker services. This wouldn’t be wrong—file lockers clearly provide the infrastructure that people need to go about their unauthorized downloading activities. Opposition to file locker services tends to focus on their role as enablers and facilitators of unauthorized downloading, and in some cases, their tendency to turn a blind eye to the illegal exchanges that are obviously happening on their websites. read more
You’re a touring artist performing in small-capacity clubs. You’re a registered writer with ASCAP, and you want to receive your live performance royalties for playing your songs in concert. Sounds reasonable, right? Well, up until this week, it wouldn’t have been possible unless you met the rather restrictive criteria to be included in ASCAP’s monitoring sample, which determines who gets paid what for live performances.
Prior to the announcement of their new OnStage program earlier this week, ASCAP only monitored “all songs performed in the 200 top-grossing concert tours, as well as selected other major live performance venues, covering headliners and opening acts” and “live symphonic and recital concerts,” according to their website. As a result of this practice, smaller acts found it impossible to seek royalty payments for their live performances unless they were openers on a large, monitored tour.