For decades, broadcasters have enjoyed an exemption that allows them to not pay performers and labels when they terrestrially broadcast music. This hardly makes sense, especially compared to digital services like Pandora or Sirius XM, which pay not only songwriters and composers, but also performers and sound copyright owners. This is why the recent deal struck between broadcasting behemoth Clear Channel and Big Machine Records to pay out for “terrestrial” spins seems so significant. read more
Has technology leveled the playing field to a point that musicians can do it all themselves? And an even more critical question, should they try to do it themselves? What are the net effects of teammates and partnerships on musicians’ earning capacity? This article examines data collected through the Artist Revenue Streams project to better understand the impact – and tradeoffs – associated with musicians, income and teammates. […]
Over the last two years, electronic music has become bigger across the United States than at any point in history, even at the height of the rave era in the 1990s. For lifelong fans, its sudden rise has been astonishing. For years, while house and techno were born essentially in the Midwest of America, those of us stranded stateside have looked on as electronic became a staple of European pop culture, while we were left seeking out underground clubs and boutique record stores, feeling niche-ier than ever. But now, dance music is so mainstream that the corporate powers that be have rebranded it—electronic dance music, or EDM, which self-respecting dance music fans tend to despise. read more
The Senate Judiciary’s subcommittee on Antitrust, Competition Policy and Consumer Rights will hold a hearing on Thursday afternoon to examine the planned merger of Universal Music Group and EMI.
[…]On Monday afternoon, the authors of the Public Knowledge-Consumer Federation paper will speak at a briefing on Capitol Hill to discuss the merger. Casey Rae Hunter, deputy director of the Future of Music Coalition, will join Public Knowledge’s Jodie Griffin and the Consumer Federation’s Mark Cooper. Chris Naoum, co-founder of Listen Local First, will moderate.
[…]Universal’s deal would reduce the number of major record companies to three from four, and give the company — already the largest record group by revenue — a 40 percent share of the global recorded music market, according to most estimates.
Others in the music industry, including the Warner Music Group and independent organizations like the Future of Music Coalition, also oppose the Universal deal. But the deal has supporters, too, including some artist managers and American labor unions representing musicians and performers.
[…]Groups that advocate for musicians are happy to see the deal but they also believe it isn’t setting the right precedent. “Big Machine Records is an independent label with some superstar acts, so I imagine that some of those big name artists have considerable leverage and can get favorable terms in any deal,” says Casey Rae, who is with the non-profit music advocacy group Future of Music Coalition. “But it begs the question about all of the other artists out there who may not have that kind of bargaining power.” read more
During an interview with musician Rebecca Gates. Among the other topics we meandered to were those of modern media, the various challenges presented by putting out records in 2012. She mentioned the Future of Music Coalition, and the 42 streams of revenue it had identified for musicians.
I joked that was 41 more than had been identified for newspapers. […]
Following the creation of “Paul’s Boutique,” sampled musicians began to more regularly seek paydays for use of their music, sometimes suing to receive their fees. As Kembrew McLeod and Peter DiCola cite in their book Creative License, rap musicians quickly became alert to litigious artists. Posdnuos of the rap group De La Soul recalls avoiding George Clinton music while he was pursuing Westbound Records for sampling-related damages and George Harrison because of his distaste for rap. By the 1990s, it was also becoming clearer that rap was not a passing fad. Rap music was a lucrative business with opportunities for copyright holders to earn money off the music they owned by allowing others to sample it. Costs
Thursday, May 24, Air Traffic Control and the Future of Music Coalition’s “Dear NOLA: A Concert for New Orleans” will return to the Blue Nile, showcasing a singular evening of performances by both local and national musicians.
The concert is the culmination of the two organizations’ artist activist retreat, which brings musicians annually from around the country to New Orleans to meet and discuss different ways to integrate activism and philanthropy into their work.
Proceeds from the concert will once again go to benefit New Orleans-based nonprofits Sweet Home New Orleans and the Gulf Restoration Network, two organizations with a legacy of commitment to preserving and protecting Louisiana’s cultural and natural environments.
What does the future hold for the major labels? Do they need to consolidate to remain competitive in the face of music piracy? Would the cost of music rise? Would they stymie growth and creation of streaming sites such as Pandora and Spotify?
Casey Rae, Deputy Director, Future of Music Coalition, an artists’ advocacy group.
C. Evan Stewart, attorney who practices antitrust law; Partner with Zuckerman, Spaeder law firm based in New York.