October was a busy month for Berklee Online! Academic Advisors, faculty, and staff attended conferences from D.C. to L.A., meeting our online students and making face-to-face connections. Read on for photos and stories from the road…
“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists,” said Casey Rae, chief executive of the Future of Music Coalition, an artists’ advocacy group. “In reality, not all artists are able to make those same choices.”
With her last album, “21,” released in early 2011, Adele scored the kind of blockbuster success that the industry had all but written off as extinct. It sold about 30 million copies around the world, making it one of the most popular releases in decades; in the United States, a majority of its 11 million sales were on CD. read more
Through their success, these three women have also accumulated a rare level of power in the industry, allowing them to take risks over how their music is released and consumed, and the rest of the business has taken notice.
“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists,” said Casey Rae, chief executive of the Future of Music Coalition, an artists-advocacy group. “In reality, not all artists are able to make those same choices.”
In response to this article, the Future of Music Coalition (FMC)—a D.C.-based nonprofit group championing musicians and their rights to fair compensation—posted an extensive critique, faulting Johnson’s article on several points. In particular, FMC objects that, by using the U.S. Bureau of Labor Statistics’ Occupational Employment Statistics (OES) to support his conclusion about the rise of musicians in the U.S., Johnson overlooked key limitations and definitional issues associated with the dataset. Similarly, FMC maintains that his findings about musicians’ incomes do not reveal how those incomes are distributed, and how the distribution pattern has changed over time. read more
On Monday and Tuesday, musicians and policymakers gathered at Georgetown again for the summit’s 15th iteration, this time in Lohrfink Auditorium in the Rafik B. Hariri Building. Many of the pressing issues discussed, including music streaming, data, artist compensation and artist advocacy, stemmed from the same discussions at the 2000 summit.
“It’s not like we’ve come out of summit for 15 years with a five-point plan of how we’ll fix the music industry,” Rae said. “But we do promote a more diverse industry that isn’t just one model — respect for artists who aren’t and don’t want to compete at a Taylor Swift, Beyoncé level.”
In order for ASCAP and BMI to effectively compete with SESAC and to most efficiently service their members, their licensees and the general public, the Consent Decrees need modification. First, ASCAP and BMI must be permitted to allow the partial withdrawal of rights by its members, particularly its publisher members. The Consent Decrees have to date been construed to allow publisher members to either use ASCAP or BMI for ALL of their performance rights or for NONE. See Broadcast Music, Inc. V. Pandora Media, Inc. 13 CIV. 4037 (LLS), 2013 WL 6697788 (S.D.N.Y. Dec 19, 2013); see also ASCAP-BMI Consent DecreesFuture of Music Coalition (October 3, 2014).
Ariel Hyatt specializes in digital public relations. She has caught the attention of CNN, Wired, Billboard, Hypebot, and the Washington Post with her unique brand of advice about the uses and misuses of social media. She is in demand at SXSW, the Future of Music Coalition, Grammy Camp, and ASCAP’s I Create Music, among others. Hyatt has also made important contributions to music business studies in the US through her collaborations, for example, with The Clive Davis Institute of Recorded Music at NYU, Belmont, MTSU, and Berklee.
The ad in a publication widely read on Capitol Hill is running just as the Future of Music Coalition concluded its annual Policy Summit in Washington. At the event, musicians and songwriters spoke about organizing to enact changes in the way they are paid at a time when Congress, federal regulators and the courts are examining different parts of the music ecosystem.
WASHINGTON — After years of hanging their heads or sitting on the sidelines as disruptive digital forces chipped away at the music industry’s bottom line, working-class musicians and songwriters are starting to embrace the power of banding together and agitating for change, whether it’s engaging lawmakers to influence policy or joining coalitions that will fight for their interests. At the Future of Music Coaltion’s 15th annual Music Policy Summit here, the unofficial theme that emerged was a need to organize and rally to bring about real changes in the way musicians and songwriters are compensated in an evolving industry. read more
Ahead of a key vote on net neutrality regulations at the European Parliament on 27 October 2015, Tim Berners-Lee, inventor of the protocols that made the World Wide Web a reality, and founding director of the Web Foundation, has appealed to members of the European Parliament (MEPs) to adopt stronger amendments and close a number of loopholes.
Also criticizing the European Union plan are Demand Progress, Fight for the Future, Free Press, and the Future of Music Coalition, the same groups that fought for the Title II-based approach to net neutrality rules the FCC adopted.