As Nicole Daley, a policy intern with the Future of Music Coalition in Washington, DC, writes, Canadian musicians need a petition from an organization—usually a venue, booking agent or manager—to obtain this visa. The petition includes a list of places where the band or artist is scheduled to perform. But these petitions are processed by mail, and we all know how long that can take.
These stories speak to the current conflicted state of many artists’ relationship with technology — we sense the incredible potential of technology, and yet we also sense a failure to live up to that potential, because the technology and the supporting infrastructure isn’t really being built with all of us in mind. Discourse around technology possibilities for artists alternatively gravitates toward the utopic — tech will solve everything and bring about a democratized cultural landscape — and the dystopic — technology will ruin everything, dumb down our audiences, and steal our lunch money!
A coalition of progressive-leaning nonprofit groups says it’s gathered 300,000 signatures for a petition opposing Charter Communications’ (NASDAQ: CHTR) proposed takeovers of Time Warner Cable (NYSE: TWC) and Bright House Networks.
According to a statement released by Free Press, the groups also included ColorOfChange.org, Common Cause, Courage Campaign, Daily Kos, Demand Progress, Future of Music Coalition, National Hispanic Media Coalition, Open Media, presente.org and read more
It might not be the same kind of “open internet” issue the FCC had in mind, or tried to establish, in the net neutrality regulations last year, but “the test for the FCC might be: are they applying the cap to ALL data, or is discrimination happening,” notes Kevin Erickson, spokesperson for the Washington, DC-based Future of Music Coalition. “Granted, streaming video is the way most users would get to the point of that much data usage, but they may not be, technically. Obviously, Comcast would prefer for you to do your binge watching through their Xfinity platform, rather than through Netflix or other ‘over-the-top’ services.
Artists have always struggled to make ends meet, and more so since the drop in sales of physical product, i.e. CDS, cassettes, vinyl, and VHS music videos. A survey of the Future of Music Coalition claims musicians make, on average, $34K a year. Even if true, this figure does not take into account touring and recording expenses. And the business is not made up of the likes of Rihanna or Kenny Chesney who easily make more than $10M a year.
On December 16, a relatively obscure U.S. administrative body issued rules with broad implications for online music. Every five years, the Copyright Royalty Board, or CRB, determines the rates that non-interactive services like Pandora and iHeartRadio will pay to stream sound recordings online. The details are dizzyingy complex, but this time around the bigger Internet radio companies generally cheered the ruling, while SoundExchange, the organization set up to distribute these royalties to artists and copyright holders, expressed disappointment. One set of stakeholders, though, raised existential alarm about the new terms: small, independent webcasters. […] read more
Dish Network made a similar claim, telling the FCC last month that the mergers would “result in two broadband providers controlling about 90 percent of the nation’s high-speed broadband homes between them.” Dish is a member of the Stop Mega Cable group, along with Public Knowledge; Cincinnati Bell; Common Cause; Consumers Union; Dish Network; FairPoint Communications; Future of Music Coalition; Greenlining Institute; ITTA Media Alliance; Open Technology Institute at New America; NTCA-The Rural Broadband Association; Sports Fans Coalition USTelecom; read more
The annual meeting of the Association of Performing Arts Presenters kicked off with a wide ranging discussion of the impact of technology on the arts. Led by Jean Cook from the Future of Music Coalition, a panel of artists and representatives of arts service organizations touched on many different ways that technology is changing the lives of artists, presenters, and audiences. Not surprisingly, much of the discussion focused on the new level of uncertainty that digital technologies bring to artists’ always unpredictable livelihoods, while other parts of the conversation covered new ways that artists can use technology to expand their creative options.
The value investors place on these companies suggests 2015 was an especially difficult year for radio to compete with the Web. This means our songwriters will also feel that.
To Marc Beeson and other music creators in Nashville, the Future of Music Coalition — a 15-year-old organization of activist music creators — holds promise that they can find parity between those who create the art with those who exploit it. Most look to Washington for the answer, and that’s where it will likely come from.
Separately, a Washington, D.C.-based advocate called Russell’s claim “essentially correct.” Kevin Erickson of the Future of Music Coalition, a nonprofit that says it supports a “musical ecosystem where artists flourish and are compensated fairly and transparently for their work,” added by email: “For a variety of reasons, it can be difficult to get complete information on which countries pay for the performance right. Iran and North Korea do not currently pay. China is a bit more ambiguous right now; there may have been a deal struck. We’ve also gotten some conflicting information on Afghanistan and Rwanda.” read more