2010 Summit Schedule
2010 Summit Schedule
Sunday, Oct 3 | Monday, Oct 4 | Tuesday, Oct 5
SUNDAY, OCTOBER 3
|
9:30 – 11:30 AM |
Musician's Online PR & Marketing Master Class This 90-minute master class will walk you through how to combine social media (Twitter, Facebook, blogs etc.) to effectively create two-way conversations online. When combined with traditional marketing techniques, these strategies will help you build your fanbase and earn money without wasting valuable time and effort. |
|
12:00 – 12:05 PM |
Welcome |
| 12:05 – 1:05 PM McNeir Auditorium Webcast |
To-Do's and You: The New Artist Checklist Many new artists start by drafting a checklist for success. Garage soundproofed? Check. Stickers made? Check. How about web domain registered? Or intra-band agreement drafted? In this introductory session, we'll take a look at 12 things all new artists — from country crooner to hip hop rhymesayer — should do at the beginning of their careers to ensure that their creative output and band relationships are charting the right course. Erin McKeown Musician |
| 1:05 – 1:10 PM McNeir Auditorium |
A Word from Our Sponsor: American Federation of Musicians Why Do Musicians Need a Union? |
| 1:20 – 2:20 PM McNeir Auditorium Webcast |
Health Care Reform and its Impact on Musicians A 2010 Future of Music Coalition survey found that 34 percent of the 1,400 musicians surveyed didn't have health insurance — twice the national average. Congress has succeeded in passing a health care reform bill, but what does it mean for “real musicians” — namely, those artists and songwriters trying to make a living in a time of unprecedented economic challenge? What will the bill do to expand coverage for the creative class, and what do musicians and their advocates need to know to take advantage of new opportunities? Advocates for musicians will join with health policy experts to discuss key elements of this landmark legislation and how we're going to get all musicians insured by 2014. |
| 2:20 – 2:40 PM |
BREAK |
| 2:40 – 3:40 PM McNeir Auditorium Webcast |
Where it's Stat: Fan Data for Artists and Labels Until a few years ago, "data" to an indie artist meant an unsorted inbox of detail-devoid sales reports. But thanks to today's highly sophisticated analytic services, musicians and labels can now track and aggregate information on a full range of fan, sales and promotional movement. How can musicians use this information to further their careers? Join us for a tour of data-centric tools that can keep track of Twitter chatter, Last.fm plays, Facebook fan counts, webpage hits and much more. Lee Martin Experimental Development, SoundCloud |
| 2:40 – 3:40 PM McNeir Auditorium |
A Word from Our Sponsor: .MUSIC Music Branding: Why Artists Need an Official .MUSIC Website |
| 3:55 – 4:55 PM McNeir Auditorium Webcast |
The New Hustle: Direct-to-Fan Case Studies Today's musicians have a wide array of widgets, websites, devices and services to reach fans and wrangle revenue. Though what pays off for one artist might not work for another, there are still insights to be gained from successful direct-to-fan experiments. Take a peek at a few savvy artists' digital assets and hear how they promote and distribute their music, manage crucial information and build authentic — and lucrative — relationships with fans. Marcus Johnson CEO/Founder, Three Keys Music/FLO Brands, LLC |
| 5:00 – 6:00 PM McNeir Auditorium Webcast |
Bred for Cred: Indie Labels in 2010 Indie labels are rolling up their sleeves and actively reshaping how their artists can flourish in a noisy, networked world. How are today's indies distributing their music? Creating buzz around releases? Selling merch? Accounting for royalties from dozens of different sources — some of them fractions of pennies? This nuts and bolts conversation will cover how indie labels are overseeing their rosters and managing digital assets in a rapidly changing environment. Dawn Barger Manager, Post Hoc Management |
| 6:00 – 8:00 PM ICC |
Screening of Barbershop Punk Keeping the independent/punk spirit alive, barbershop quartet fan Robb Topolski takes on the nation’s largest cable company, only to find himself at the center of a federal investigation, inspiring a larger story of censorship, individual voice and access. View the trailer: For more information on the film visit BarbershopPunk.com Filmmaker Georgia Sugimura Archer and Bernard Cook, Associate Dean and Director of Film and Media Studies at Georgetown College will lead a Q&A session directly following the screening. This screening is FREE and open to the public. |
| 6:30 – 9:30 PM Nam Viet (Arlington, VA) |
Welcome Pho Dinner - RSVP requested Make sure you get into town early enough to kick off the Policy Summit at FMC’s traditional opening night Pho dinner. Our Pho dinners at Nam Viet set the stage for an incredibly friendly event, so join us for delicious soup and a debate warm-up. Click here for directions NAM VIET It’s a short walk from the Clarendon Metro stop (orange line), just off Wilson Blvd. RSVPs go to Nicole Duffey at nicole@futureofmusic.org. NOTE: The restaurant will not issue individual checks, so please bring cash with you to pay your portion of your table's tab. |
MONDAY, OCTOBER 4
| 9:00 – 9:15 AM Lohrfink Auditorium |
Welcome |
|
9:15 – 10:25 AM |
Where's My Jetpack? We're ten years into a digital transition that shows no sign of winding down, and people are still making predictions about where the music industry is heading. What are the players and prognosticators predicting for the next decade? Which of today's structures will stand the test of time? Direct-to-fan, on-demand, in the cloud or off the grid, this conversation featuring all-star panelists will consider what the future holds for musicians, songwriters and labels. Step right up and place your bets on the future of music. Chuck D Musician, Activist; Co-founder, Public Enemy |
|
10:30 – 10:50 AM |
Keynote: Rocco Landesman Chairman, National Endowment for the Arts |
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10:55 – 11:55 AM |
Sound Decisions: Informed Policymaking for Creative Communities Improving our cultural infrastructure should be a priority for American recovery, and music certainly has a role to play. Innovation, education and investment are all necessary components, and each will depend on the right policy frameworks. To find the proper balance, decisionmakers need to hear from artists about what they need to improve conditions in their own communities. There's definitely plenty to improve, from live venues to music in schools to access to technology and the public airwaves. This panel of high-level policymakers will talk about government efforts to address these concerns, and how creators can plug in. Jonathan Adelstein Administrator, Rural Utility Service, US Department of Agriculture |
|
12:00 PM – 12:45 PM |
Craig Finn, Hank Shocklee and Jill Sobule in conversation with Ana Marie Cox Craig Finn Musician, The Hold Steady |
| 12:45 – 1:45 PM |
LUNCH: Geniu$ Bar & SoundExchange Workshop Geniu$ Bar SoundExchange: What It Is, Why It Pays, and How to Get Your Share |
| 1:45 – 2:15 PM Lohrfink Auditorium Webcast |
Charlie Angus in conversation with Walter McDonough Charlie Angus Member of Parliament, House of Commons (Timmins, ON); Musician; Broadcaster |
| 2:00 – 3:00 PM Fisher Colloquium |
State Department's Bureau of Educational and Cultural Affairs: Informational Session for artists and managers In 2007 the LA-based, multi-ethnic hip-hop band Ozomatli set out on a World tour, with stops in Burma, China, Mongolia, Vietnam, Madagascar, South Africa, Egypt, Indonesia, India, Jordan and even Nepal, where they played the first free concert by a band from the West to 14,000 folks in Kathmandu. How did this all come together? Ozomatli served as US cultural representatives under the auspices of the U.S. Department of State. Ozomatli's tour carried on a tradition of cultural diplomacy that stretches back to the likes of Duke Ellington, Benny Goodman, and Louis Armstrong. Amy Blackman Manager, Amy B MGMT/Cookman |
|
2:20 – 3:30 PM |
Monsters of Data For decades, the music industry has relied on a few basic metrics to gauge a band's popularity and understand career arcs: SoundScan reports, airplay charts, tour grosses. But what happens to our understanding of music's "value" when it's possible to collect billions of points of data, online and off? What can massive amounts of traffic and consumption data -- from P2P downloads to subscription plays, YouTube hits -- tell us about where and how people are accessing music? How are we now using this data? How has it affected musicians' choices? And have music fans changed their consumption patterns to either protect or reduce their privacy? A panel of data monsters will discuss what billions of data points can tell us about the future of music consumption and access. danah boyd Senior Researcher, Microsoft Research Eric Garland Founder/CEO, BigChampagne Media Measurement Erin McKeown Musician Tim Quirk Musician; Recovering online music executive Peter DiCola Assistant Professor, Northwestern School of Law (moderator) |
|
3:35 – 4:05 PM |
Tim Westergren in conversation with Kara Swisher Tim Westergren Founder and Chief Strategy Officer, Pandora |
|
4:10 – 4:45 PM |
T. Bone Burnett in conversation with Greg Kot T. Bone Burnett Musician, Composer, Producer |
| 5:00 – 6:00 PM Conference Center and Lohrfink Auditorium |
CONCURRENT SUPERSESSIONS: Who's Your Ticket Master Now? The Magical Mashup Between Live Music and Social Networks (webcast) Back in the day, folks heard about shows in primarily three ways: an announcement on your local radio station, posters and flyers hung around town and word of mouth. Today, concert promoters and bands use email blasts, Twitter, Facebook and more to get people in the door. On the fan side, technology makes it simple to create custom alerts, search for cheap tickets, and even "demand" a band come play in your town. Clearly, this beats yesterday's scattershot promotional efforts, and experts predict further synergies in the near future. What new strategies are helping promoters fill the house? What tools are bands using to promote their own gigs, or route their tours through known fan hotspots? And how are concertgoers benefiting from this data mashup? Our panel will consider these questions and more. Ian Hogarth Co-founder and CEO, Songkick Future-Proofing Regulations The word “regulation” is guaranteed to raise blood pressures in the Beltway, whether you’re for more of it, less of it or none of it. In light of the Deepwater-Horizon spill and Wall Street meltdown, however, it seems clear that some governmental handbrakes are necessary. What about regulations that impact the music and creative industries? From broadband to broadcasting to business mergers, there are no shortage of issues and no shortage of approaches. What needs regulation? When is it too late to regulate? Which government body should be responsible? What can creators do to be part of the debate? How do we make sure we don’t end up living in Groundhog Day? Our panelists will explore these questions while trying to preserve their fragile sanity. Harold Feld Legal Director, Public Knowledge The Terminator: The Brewing Battle over Copyright Termination and Transfer After a certain period of time, some authors of musical compositions and sound recordings are able to terminate their copyright transfers and licenses to regain ownership of their songs and recordings. Starting in 2013, a motherlode of potential terminations and reversions will arrive for music from the era of late ’70s rock and early punk. The record labels are prepared to sue to protect their control over copyrights. One likely legal tactic will be to claim that sound recordings aren’t subject to termination because they were created as “works for hire.” This would make the record companies the legal authors (and displease a lot of artists). Some attorneys predict a battle over the very definition of “author” for sound recordings. Is it the featured artist? The entire band? Should it include the producer and the sound engineer? We’ll kick off with a brief overview of the legal framework, then look at the competing arguments and what artists need to know about the process. Ken Abdo Vice President and co-chair of Entertainment Law Department, Lommen Abdo Law Firm Rockin' the Quad: Workable Models for Music on Campus Often, a band's most valuable fans are college students. With disposable incomes, pockets full of gadgets and a highly networked environment, it's easy for college students to ingest music. Are campuses an endlessly-refreshed customer base for the music industry, or a hotbed of unchecked infringement? How are today's college-age students accessing music? Which music services are they using and on which devices? Are there particular business models that may be appealing to students, parents and administrators? Is there an appropriate balance between encouraging lawful behavior and imposing deterrents to curb filesharing and conserve bandwidth? Who gets to decide policy — the government or the universities? This session will bring together higher education administrators, rightsholders and students for a discussion about student preferences in music acquisition, and the role that higher learning institutions might play in the overall activity. Presented in collaboration with EDUCAUSE. Zach Pentel Owner, 808 Management Radio, Radio With so much innovation happening in the digital space, it's easy to lose sight of one of music's oldest and most durable technologies: broadcast radio. Although limited in comparison to online platforms, 21st-century radio still has plenty of untapped potential. What do over-the-air enthusiasts see as the future for this American asset? Given radio's unique properties, could renewed local emphasis boost its viability? What new business models might help commercial radio repair the damage done by consolidation? Can playlist diversity win back listeners who have already embraced digital services? How might non-commercial alternatives be expanded, and what's standing in the way? What's the FCC's role in keeping radio relevant? Our passionate and informed panelists are ready to tune into the issues. Peter Doyle Chief, Audio Division, Media Bureau, Federal Communications Commission Creative Capital: Musicians, Money, and the Tools That Bring Them Together It's clear that some musicians are having success generating revenue through non-traditional strategies. Whether they're working with student labels, reaching out to corporate sponsors, or monetizing opportunities to join them for a round of miniature golf or pharmacological exploration, artists are doing what they do best: getting creative. With the traditional label system in a state of protracted evolution, many artists are seeking alternative sources of financial support. What systems can replace certain functions traditionally served by labels? And what systems and strategies exist to help musicians obtain the necessary financial backing to continue creating? Eli Ball CEO, Lyric Financial |
| 6:30 – 8:00 PM Black Cat |
Cocktail Party Join us for drinks at Black Cat's Red Room. Black Cat |
| 8:00 PM – Midnight Black Cat |
Dear New Orleans - A Benefit Concert Future of Music Coalition and Air Traffic Control Present: Since Hurricane Katrina, a diverse group of musicians have headed to the cradle of American music to learn firsthand about efforts to rebuild and sustain this vital city and its music communities. To mark the five-year anniversary of Katrina and the floods, dozens of these musicians have contributed to the critically-acclaimed compilation, Dear New Orleans. The album benefits nonprofits working to support the region's unique musical and cultural traditions and to protect and restore crucial environment and community resources. This D.C. show pays tribute to the city of music with one-of-a-kind collaborations between album artists and celebrated New Orleans musicians. Dear New Orleans is available for download: www.dearno.la. Bonerama with Buy tickets here now! |
TUESDAY, OCTOBER 5
| 10:00 – 10:05 AM Lohrfink Auditorium |
Welcome |
|
10:05 – 10:25 AM |
Keynote: Victoria Espinel US Intellectual Property Enforcement Coordinator, Office of Management and Budget |
| 10:25 – 11:55 AM Lohrfink Auditorium Webcast Part 1 Webcast Part 2 |
Presentations from Facebook, YouTube, CASH Music and Nielsen Entertainment Musicians depend on technology now more than at any other time in history. Mostly, artists care about two things: can they get on the platform, and will it make life easier? Our four unique presenters will answer these two questions and also describe what goes into creating a truly music-friendly service. Consider it an insider's view of how code becomes gold. Hear about Facebook's music initiatives, how Nielsen Entertainment is evolving its offerings, YouTube's vision for music and video and CASH Music's artist-centric, open-source tools for artists. A reaction panel will follow the presentations and will discuss what was seen and heard. Meredith Chin Manager of Corporate Communications, Facebook |
|
12:00 – 1:10 PM |
A River of Nickels? The Changing Nature of Artist Compensation It's no secret that the music industry has experienced meteoric changes in the past 10 years. Many outside observers are quick to categorize technological developments like digital music stores, streaming services, social networks and webcasts as positive improvements for creators, but almost all analyses of the effects of these changes rest purely on assumptions that they have improved musicians’ bottom lines. This panel will bring together artist managers and attorneys to discuss what's going on at the ground level: How are bands currently generating income from their music, performances and brand (sales, licensing, merch, shows, among many others)? What technologies have shown to be the most empowering, and the most disruptive? In other words, how are today's artists participating in available revenue streams? A report from the front lines of artist compensation. Amy Blackman Manager, Amy B MGMT/Cookman |
| 1:10 – 2:10 PM |
LUNCH: Geniu$ Bar & SoundExchange Webcasters Meeting Geniu$ Bar SoundExchange: Webcasters Meeting |
| 2:10 – 3:10 PM Conference Center and Lohrfink Auditorium |
CONCURRENT SUPERSESSIONS: Marshall Mathers Legal Matters: Is a Download a Sale or a License? (webcast) In early September, the 9th Circuit Court of Appeals overturned a lower court ruling and found that UMG must pay Eminem royalties for downloads sold via iTunes under the licensed masters provision of the recording agreement. The suit resolved a fundamental disagreement about the nature of a digital download: is it equivalent to a "sale" in the terrestrial world, and therefore accounted at the artist's contract rate (usually around 10%), or is this a license of a master recording that falls under the "master license" provision of the contract that would be calculated at a 50 percent royalty rate. Some speculate that this ruling could have a major impact on how labels calculate what they owe to musicians for digital sales, especially for legacy contracts. Others say that this is simply a contractual dispute between two parties and -- besides -- newer contracts generally specify how digital downloads are paid. However, there are similar cases underway, including a complaint against Sony brought by Cheap Trick and Allman Brothers whose recordings were released (and likely recouped) before digital downloads were even a possibility. Join us for a lively session where industry experts will discuss the different positions represented in this suit, and read the tea leaves on the future of licensing and downloads. Dave Frey Silent Partner Management Future of Music...Video Back in the 1980's, video killed the radio star. But now, with YouTube, UStream, Vevo and dozens of other platforms, video is making stars. Instead of radio or albums, video is now many fans' first stop for music discovery. But the landscape is complicated. User-generated sites present an artist's million dollar "official" video right alongside low-res cell-phone footage grabbed at a live show, or a geeky teenager's parody clip. And, audio/visual as a platform involves a rat's nest of copyright and licensing issues. Then there's the evergreen concert video and a host of fascinating music-oriented documentaries. Video is clearly large and growing, but is it enough to build business models on? How are musicians, video producers and labels balancing costs against quality? How are they turning views into dollars? Will licensing concerns put the kibosh on crowdsourced creativity? Is music merely wallpaper for the visual eye candy? This discussion will explore the explosion of online video and its impact on today's — and tomorrow's — music industry. Patricia Aufderheide Professor and Director of Center for Social Media, School of Communication, American University Legislative Briefing on the Public Performance Right After decades of debate, we're very close to seeing the establishment of a public performance right for sound recordings in the US. Documents released in August showed that MusicFIRST and the NAB had drafted a compromise agreement, which would calculate royalties paid to performers and sound recording copyright owners based on a small percentage of radio station net revenue. As with all pieces of proposed legislation, the devil is in the details. In addition to establishing the performance right, the draft agreement suggests that all mobile phones be required to carry an FMradio chip. It also recommends that the Copyright Royalty Board be permanently removed from the rate-setting process. During this session, we'll ask stakeholders to discuss the important components in draft legislation, and how it will ultimately impact musicians and songwriters. Jennifer Bendall Executive Director, MusicFIRST Coalition Cause, Collaboration and Culture: Using Music for Social Change Musicians are natural organizers for social change. Music can be a symbol of shared strength, or a voice of defiance, or an expression of peace. But, like any means of social change, using music as an organizing tool needs to be done with an awareness of how different genres -- and different types of musician activism -- can be used to achieve different outcomes. How can music-based activism effectively support broad-ranging coalitions? How do organizers turn entertainment into increased social and political clout? How have musicians themselves organized to ensure fair wages and good jobs? Join us for this discussion where panelists will share knowledge of working within various music communities and cultures. Jonny 5 Emcee, Flobots; Board President, Flobots.org Money for Nothing, and Your Bits for Free? Music Access Charges, Bundled Services and Beyond There have been conversations about a "music access charge" for a number of years. The concept: internet service providers license music from the labels and aggregators. Then the ISPs add a small fee or levy to each consumers' broadband or mobile phone bill, which then give subscribers access to licensed music "for free". The funds collected by the ISPs are then distributed to artists and rightsholders based on usage and downloads. It's the public utility model applied to music, and has the potential of not only generating significant revenue for rightsholders, but also undercutting online piracy. In some countries (including Denmark, England and Canada), this theory is being put to the test in the marketplace. Are US based ISPs and telcos interested in this model? Will they need to be forced to the table by industry and government? What are the boundaries (legal, political, financial, technical) to such enactment? David Touve from Washington and Lee University, co-author of a number of papers on the topic, will present some of current thoughts about the feasibility of various models, panelists will discuss the status of the concept abroad, and discuss if -- or how -- it would be enacted in the US. David Basskin President & CEO, Canadian Musical Reproduction Rights Association (CMRRA) Taming The Metadata Monster: How Music Performance Data is Delivered and How Artists Get Paid In this session we'll look at two practical examples of how the music business is attempting to conquer the data monster to provide better services to music fans, and make sure artists are actually getting paid. We'll peek behind the curtain at the infrastructure that serves up the millions of data points - from who played on what track to who owns the rights - that ultimately determine how much recognition, credit, and cash ultimately goes to the artist. This panel will feature presentations from the National Federation of Community Broadcasters and SoundExchange on the complex challenges of metadata aggregation as well as some creative solutions to addressing incomplete and inaccurate data. Rob Kaye Executive Director, MetaBrainz Foundation |
| 3:25 – 4:35 PM Lohrfink Auditorium Webcast Part 1 Webcast Part 2 |
Partly Sunny with a Chance of Fog: Forecasting "Music in the Cloud" Much of the recent chatter in the music/tech industry is the inevitability of consumers' music collections being accessed and stored "in the cloud." What would a cloud-based service look like? Would there be remote music lockers? Would streaming subscription services be available on multiple devices? What are the licensing hurdles to getting there, and the compensation issues for content owners? Even more important, once all the recorded music is accessible, how do we extract value from the cloud? How do we get consumers to pay for it? And what are the implications for musicians? A panel of rightsholders, technologists and artist representatives will discuss the "cloudy" future of music access. Brendan Benzing Chief Product Officer, Rhapsody International |
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4:40 – 5:10 PM |
Damian Kulash in conversation with Neda Ulaby Damian Kulash Musician, OK Go |
| 5:30 – 8:00 PM Eighteenth Street Lounge |
Cocktail Party Join us for drinks at the Eighteenth Street Lounge The Eighteenth Street Lounge is located at: |
* All items and speakers subject to change
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