“Who the [heck] is this guy and why is he trying to sell me a warm sack of [poo]?”
This question lit up my mind last week, as I sat in the audience for the Future of Music Coalition Policy [sic] Summit in Washington, DC. The guy in question was, in fact, a US Senator — Sen. Ron Wyden (D-OR) — while said warm-sack-of-[poo] was the Internet Radio Fairness Act (IRFA), which Sen. Wyden is sponsoring in the Senate. read more
[…]This disconnect between old media companies and new is hilariously illustrated by comments that one of the bill’s sponsors, Senator Ron Wyden, a Democrat from Oregon, made recently at the Future of Music Coalition Summit. After some harsh words for the major labels, Wyden said the following, as quoted by Digital Music News: “Now, if it weren’t for the disruptive independent record labels — I’m talking about people like I.R.S. and Sub Pop and Tim/Kerr — we might never have known much about bands like R.E.M., and Nirvana and the Replacements … I sure want us to remember their enduring influence on not just rock music, but on their contributions to our culture and an entire generation.” read more
WASHINGTON, D.C.— There were moments Tuesday during the annual Future of Music Summit where the conversation about revenue in the digital music industry sounded like a scrum over crumbs, a desperate fight over an increasingly shrinking pie.
“There is so much competition for so much music, and it’s all so devalued,” said one exasperated music entrepreneur, Rodney Whittenberg. He was one of hundreds of musicians, executives, attorneys, policy makers and journalists who attended the conference, presented by the advocacy group the Future of Music Coalition. […]
[…]When it comes to an issues as complex and contentious as copyright, artist compensation, and fair business, maybe real clarity was simply too tall an order. A panel with four intelligent and strongly-opinionated players whose top goal is to advocate their position (and not necessarily educate an audience) arguing for 40 minutes was doomed to (as they say) generate more heat than light.
Truly the Future of Music Coalition put together a great panel of speakers (as well as a truly terrific day of content). Unfortunately, as it goes with issues like this, it’s arguable whether any audience member was able to come away with a cooler or clearer head.[…]
[…] Casey Rae, deputy director of the musicians advocacy group The Future of Music Coalition, said he’s all for new approaches that pay artists directly rather than funneling money into the “black hole” of major-record-label accounting. But he was still skeptical of Rdio’s offer, which he saw as mainly a public relations effort.
He argued that there’s a finite number of fans an artist can deliver to Rdio, so there’s only so much an artist can hope to make from the new system. But those customers can deliver far more in value to the service than Rdio will ever pay to the artist who recruited them, Rae-Hunter said. read more
[…]Lowery’s concerns are mostly shared by Casey Rae, co-director of the Future of Music Coalition. But their preferred solutions are pretty different.
For Lowery, the solution is advocating and creating the environment for an ethical Internet. For Rae and the rest of the FMC, it’s more about creating much easier access to music - so easy, in fact, that the desire to use illegal file sharing will be greatly reduced.”We believe artists should be paid for their work,” Rae explained, and that’s the environment his organization is trying to set up. read more
[…]Artists are also worried about the merger’s consequences. “It’s all totally stacked against the creator,” said Casey Rae-Hunter, who heads the Future of Music Coalition, an organization representing independent and unsigned musicians. “And the Universal-EMI merger gives them even more leverage to do really scary things.”
[…]”This was supposed to look a lot different,” said Rae-Hunter, who also runs the tiny, independent record label Lux Eterna and records as The Contrarian.
“We were supposed to not just solve the access problem about reaching new audiences, but also to monetize that activity in a way in which 99 percent of that activity was not captured by the major labels,” Rae-Hunter said. “But we see now that the majors still dictate the terms.”[…]
[…]Universal told the Journal the E.U.’s approval “will benefit the artistic community and music industry” and that Universal is glad it will hold onto more than two-thirds of EMI’s global business. But IMPALA, a trade group representing European independent record labels, protested that the required sell-offs wouldn’t be enough to limit Universal’s increasing grip on the market. Casey Rae, deputy director of the U.S. nonprofit Future of Music Coalition, told Politico that “there’s not really going to be any number of divestitures that will make this a groovy deal.” Somewhere, someone at General Electric, the majority owner of Universal-owning (and now EMI-owning) Vivendi, a French media conglomerate, is chanting “swag.”
Meteoric transformations in the creation and distribution of music over the past ten years have drastically changed this landscape. New technologies like digital music stores, streaming services and webcasting stations have greatly reduced the cost barriers to the distribution and sale of music, and a vast array of new platforms and technologies — from blogs to Bandcamp to Twitter — now help musicians connect directly with fans. Subsequently, it’s easier than ever for musicians to retain control of their creative output and to benefit more directly when their music is performed, licensed or purchased. […]