Make sure you get into town early enough to kick off the 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
1127 N. Hudson Street (at Wilson Blvd.), Arlington, VA
www.namviet1.com
 703-522-7110

It’s a short walk from the Clarendon Metro stop (orange line), just off Wilson Blvd.

NOTE: The restaurant will not issue individual checks, so please bring cash with you to pay your portion of your table’s tab.

Join us for a local music showcase at IOTA Club & Cafe featuring artists from the surrounding DC/MA/VA community and a presentation on the Fair Trade Music DC initiative.

Featuring:

Crys Matthews
The Cowards Choir
Black Masala

Showcase is presented by Fair Trade Music DC, Metro Music Source and Listen Local First.

Kristin Thomson Co-director, Artist Revenue Streams Project, Future of Music Coalition
Michael Bracy Co-founder & Board Chair, Future of Music Coalition

The latest presentation from FMC’s influential Artist Revenue Streams (ARS) project examines data that highlights the value of music. Of course, the term “value” can be hard to define when talking about creative expression—is it the price paid for a musical artifact or experience? Is it in the social or emotional impact of a particularly resonant work? Is it tied to copyright or distribution platform? Even having zeroed in on specific value, how might it be measured? Can something with so many associations and blended meanings even be quantified? Sifting through the mountains of artist data collected over three years, the ARS team has learned a lot about artist attitudes and experiences when it comes to money. We’ve also benefitted from musicians and composers sharing their own perceptions about the value of music. This presentation will look at the unique challenges around determining music’s cultural and commercial worth, with an emphasis on what our research indicates about how the artist community considers these distinctions.

Jean Cook Director of Programs, Future of Music Coalition

The various agencies of the federal government are engaging in issues around copyright and technology to an unprecedented degree. How do policymakers perceive the many challenges and opportunities facing today’s creators? What role should government play in addressing a complex and evolving space for creative expression and commerce? Should the federal agencies act as a spur to Congressional action, or temper the legislative branch’s more outré actions? Our two distinguished speakers will describe how their respective offices and branches are considering these issues and more.

Featuring:

Shira Perlmutter Chief Policy Officer and Director for International Affairs, U.S. Patent and Trademark Office
Jacqueline Charlesworth Appointed General Counsel & Associate Register, U.S. Copyright Office

With the Congress and the Copyright Office currently conducting a review of the existing copyright law, it is more important than ever for those in the music community to make their perspectives known. This session offers insights from a range of stakeholders whose personal and professional experiences are the kind that must be taken into account in any proposed updates to the Copyright Act. In the following short presentations, you’ll hear about what is and what isn’t working in the current regime, and what policymakers should consider in order to support a healthy and diverse music ecosystem.

Featuring:

Sandra Aistars Executive Director, Copyright Alliance
Count Producer, Composer, Mixer & Remixer
Melvin Gibbs Bass Guitarist, Composer & Producer
Peter Jenner Producer & Manager, Sincere Management
Erin McKeown Musician, Writer & Producer
Jeremy Peters Director of Creative Licensing & Business Affairs, Ghostly International & Ghostly Songs
Casey Rae Interim Executive Director, Future of Music Coalition (moderator)
Eddie Schwartz President, Songwriters Assocation of Canada

The Band as a Business Workshop

Massachusetts entertainment lawyer, writer and musician Paul Rapp will lead a spirited and frank workshop on practical and strategic legal considerations for the working musician. Topics will include copyrights, trademarks, band, publishing, co-songwriter and management agreements, performing rights organizations, digital aggregators, online music licensing services, online streaming services, and using samples and recording cover versions. Q&A.

Paul Rapp Attorney, Musician, Community Radio Leader, Writer & Adjunct Professor of Law, Albany Law School

In the Networking Space, Salons A+G

A dichotomy is at play for jazz; it’s a cultural and economic driver in the community, yet we know jazz musicians are often underpaid and certainly under resourced in many ways. Given jazz’s unique value proposition as a declared national treasure, how do we go from a hidden treasure to a treasure trove? An important goal is to become a stronger partner for policy makers. To do this we must first identify points of connection, define obstacles and pathways and develop initial steps for greater collaborative engagement. With input from key stakeholders from the jazz community, we’ll look to present one or two action points to vet with policy makers in the public session immediately following. Please join us as to discuss fresh ideas that bring more jazz to more people and strategize how to mobilize and execute on the local and national levels.

Jocelyn Bogen Director, US Conference of Mayors
Melvin Gibbs Bass Guitarist, Composer & Producer
Peter Gordon President/Co-founder, Thirsty Ear Recordings & Jazz Forward Coalition (moderator)
Cedric Hendricks Executive Producer, Congressional Black Caucus Foundation Jazz Forum & Concert
Michael Orlove Director of Presenting and Artist Communities, National Endowment for the Arts

In Conference Center Rooms 5+6

Once upon a time, radio was pretty straightforward: DJs spun records that were broadcast over the airwaves to a community of listeners. Now, radio takes on many forms—there’s satellite, webcasting, simulcasts of terrestrial signals—and DJs can be algorithms. All of this complicates how music is licensed on both the publishing side and the master side. Debates about the benefits and pitfalls of direct licensing vs. blanket licensing, either by statutory or other government-established structures. What does this mean for the broader class of musicians and songwriters? How are performing rights organizations responding to an increase in direct deals? Should terrestrial radio be able to skip on compensating all performers just because they’ve got special arrangements to pay some? How does leverage in negotiations, private and otherwise, affect artists’ bottom lines? Our panel of experts will dive into the details on the ins-and-outs of “radio” and revenue.

Bruce Bouton First Vice President, Recording Musicians Association International
Ann Chaitovitz Attorney-Advisor, US Patent & Trademark Office, Office of Policy & International Affairs (moderator)
Gary Greenstein Partner, Wilson Sonsini Goodrich & Rosati
Jim Griffin Managing Director, OneHouse
David Oxenford Partner, Wilkinson Barker Knauer LLP
Hillel Parness Partner, Robins, Kaplan, Miller & Ciresi LLP
Eddie Schwartz President, Songwriters Association of Canada

In Lohrfink Auditorium

This presentation highlights the different strategies musicians need to engage different tiers of fans - from the unaware and barely interested to the most die hard fanatics - and provides insight on how Tim has arranged the editorial and merchandising piece of various services he’s worked for to best reflect that reality.

Tim Quirk Head of Global Content Programming, Google Play

Jean Cook Director of Programs, Future of Music Coalition (moderator)
Dennis Dreith AFM & SAG-AFTRA
Mike Fink Artist & Label Relations Manager, Pandora
Jim Griffin Managing Director, OneHouse
Chris Yorks Director of Repertoire Management, SoundExchange

Digital technology makes a lot of things things easier for musicians, but it also means there’s no one way to generate revenue and grow careers. Debates are currently raging about the amount of money creators receive on platforms like Spotify and Pandora, but that’s hardly the whole story. The compensation picture for creators depends on a lot of factors, from licensing frameworks to userbase size to an artist’s specific role and stage of career. There are “crowdfunding” websites like Indiegogo, Pledge Music and Kickstarter, which some say represent the future of funding for creative projects. YouTube continues to break new artists, but backing certainly still helps. The media often plays into the narrative of “the old industry” vs. “the new model,” but the future may be many new models. Our panel of experts will tackle everything from the calculus of streaming to the promise and perils of crowdfunding, with an eye to what these developments mean for musicians and songwriters.

Michael Drexler Executive Director, Business Development, New Media & Strategic Development, BMI
Crista Kende Performing Arts Specialist, Indiegogo
David Macias President, Thirty Tigers
Jill Sobule Musician & Entrepreneur
Kristin Thomson Co-director, Artist Revenue Streams Project, Future of Music Coalition (moderator)
Emily White Co-founder, Whitesmith Entertainment, Readymade Records & Dreamfuel.Me

Join fellow Summit attendees for drinks, snacks and networking at Epicurian Restaurant on Georgetown’s campus, generously provided by MailChimp.

For complete info of the inaugural Future of Music Honors event, please visit the Honors website. Registration for this event is separate from the Future of Music Summit - fill out this short form to receive specific Honors information.

Anna Celenza Thomas E. Caestecker Professor of Music, Georgetown University
Casey Rae Interim Executive Director , Future of Music Coalition

Co-hosted by Metro Music Source, Listen Local First and Fair Trade Music

Bruce Fife International Vice President, American Federation of Musicians
Edgardo Malaga President, Metropolitan Washington DC Federation of Musicians
Dave Mallen Owner/Producer, Innovation Station Music; Founder, Metro Music Source
Chris Naoum Co-founder, Listen Local First
Graham Smith-White Musician/Activist, The Sunrise Review; Co-founder, Fair Trade Music

In the networking space

The crossfader is the horizontal fader on a DJ mixer that allows you to move between the music on one input and the music on another— it allows you to mix without erasing, combine without destroying, to juggle and sustain difference. This talk explores the crossfader as a tool for re-thinking music as a form of social action.

Josh Kun Professor, Annenberg School of Communication, University of Southern California & Director, The Popular Music Project

We all know music has the ability to inspire, educate and transform lives. Musicians have a long and proud history of looking beyond music as a commodity or source of entertainment; they also recognize how music can play a critical role in reaching individuals in need of hope, community and shared experience. From Kabul to Denver to Sing Sing, our panelists will share their personal stories and strategies about how their music, and music in general, is changing the world one person at a time.

Stephen Brackett Emcee, Flobots
Ariana Delawari Multi-media Artist, Musician, Director, Actress & Photographer
Jeb Gutelius Executive Director, The Ally Coalition
Benjamin Harbert Assistant Professor of Music, Department of Performing Arts, Georgetown University (moderator)
Wayne Kramer Musician, MC5 & Co-founder, Jail Guitar Doors USA

The Independent music world routinely operates under traditional for-profit business models, despite owing at least part of its heritage to opposition to the commercial music industry. Increasingly, however, indie music is being supported and advanced by nonprofit and other mission-driven individuals and organizations.  From supporting indie music touring to championing social causes and community enrichment, mission driven indies combine a passion for music with a drive to advance the public good. Panelists in this session will describe their individual programs and discuss how and why they do what they do.

Rebecca Gates Musician, Producer, Curator & Activist
Dani Grant Founder, SpokesBUZZ & Owner, Mishawaka Amphitheatre
Storm Gloor Professor, Music & Entertainment Studies, University of Colorado-Denver
Bryce Merill Senior Associate Director, Western States Art Federation (WESTAF)/IMTour (moderator)
DJ Cavem Moetavation DJ, Community Activist & Percussionist

Anton J. Gunn Director, External Affairs, U.S. Department of Health and Human Services

Here’s a unique opportunity to connect with advocates and experts in the policy space about some of the exciting and important developments that impact musicians and other creators.This informal lunch session includes updates on artists and health insurance, public broadcasting, internet accessibility and the Low Power FM licensing window.

Candace Clement Advocacy & Organizing Manager, Free Press
Kevin Erickson Communications Associate, Future of Music Coalition
Sanjay Jolly Policy Director, Prometheus Radio Project

In the Networking Space

Join Jail Guitar Doors USA founder Wayne Kramer and Georgetown University professor Ben Harbert for information about the mission and work of this unique and important organization.

In Conference Center Rooms 5+6

The digital revolution hasn’t just impacted musicians; it’s also shaken up the world of music journalism.  Consolidation and dwindling print revenues have led many publications to focus on clickbait and pageview counts, often at the expense of longform criticism.  Meanwhile, many music journalists rely on second and third sources of income to make a living: as publicists, as PR reps, or even as musicians and songwriters themselves. How are ethical questions navigated?  How have the lines blurred?  Are there new models which might promise a more sustainable future? We’ll explore the changing landscape of music journalism in the new music business models.

Maura Johnson Journalist & Editor, Maura Magazine
Aaron Leitko Musician, Protect-U & Writer
Marcus Moore Music Journalist, The Washington Post, Washington City Paper, MTV Hive & HipHopDX
Michelle Gilzenrat Davis Former Music Editor, Tadpole Magazine; Legal Intern, Future of Music Coalition (moderator)
Michael West Freelance Contributor, Washington City Paper, JazzTimes, Down Beat & The Washington Post

In Conference Center Salons B+C

Artists have to be their own best advocate, and look out for their own interests. And in today’s music business, that means they must be educated as to the business side of their profession.  In a rapidly changing music industry where technology has transformed how music is distributed, marketed, and monetized, specific skill sets are necessary. Understanding and achieving success in the business of music has always been, and will continue to be a challenge.  But now more than ever, music business education has matured into a formal academic discipline, and worked its way into the music curriculum of many colleges and universities. What value does this sort of education provide versus educating oneself through experience as a musician?   How vital is a formal education in music and/or the music business to one’s success? What are the best resources for information about these programs.

Serona Elton Chair & Associate Professor, Music Media & Industry Department, University of Miami; President, MEIEA
Storm Gloor Professor, Music & Entertainment Studies, University of Colorado-Denver (moderator)
John L. Simson Executive in Residence, Business & Entertainment Program Director, Kogod School of Business, American University

In Conference Center Rooms 5+6

A film screening and conversation with the director and producer, Gena Konstantinakos.

Michael Bracy Co-founder and Board Chair, Future of Music Coalition
Bernie Cook Associate Dean & Director, Film & Media Studies, Georgetown University
Gena Konstantinakos award-winning director & producer of TV & film

In Lohrfink Auditorium

All the music ever recorded, available everywhere at all times. The collapsing cost of near-infinite storage. The inherent promiscuity of global digital networks. The hidden price of “free.” The triple-headed Beast of Cultural Armageddon: pipe, platform and content, existing in a state of mutual antagonism and fundamental interdependence. But there’s a bright side? The recorded music artifact still has value, even in a micro-transactional, tip jar, fractional penny rate, ad-subsidized and inflated IPO universe. But this value is likely related to the type of artifact in question. Do the hobgoblins of digital distract us from the essential truth of analog? Does the spike in vinyl LP sales—the fastest growing segment of an ever-shrinking recorded music industry—represent a viable way forward for sustained revenue, albeit at a smaller scale? How does physical fit in with cultural preservation in an age of ubiquitous access?

Experience a state of quantuum entanglement with:

Sandy Pearlman Producer, Blue Oyster Cult, The Clash; Professor
Casey Rae Interim Executive Director, Future of Music Coalition

Jessica Rosenworcel Commissioner, Federal Communications Commission

Sometimes, after a long Future of Music Summit, you just gotta take a deep breath and reflect. And who better to do that with than our amazing panel of artists and the incomparable Bob Boilen? There’s nothing like inspired conversation and great company, and this panel has an abundance of both. We can’t predict where exactly where the gab will go, but we guarantee it will be both meaningful and highly entertaining. In other words, the perfect close to Summit.

Nicole Atkins
Bob Bollen Creator & Host, All Songs Considered, NPR Music (moderator)
Dessa The Doomtree Collective
Paul Janeway St. Paul & the Broken Bones
Alec Ounsworth Clap Your Hands Say Yeah
Matana Roberts Musician & Composer

To end the Summit on a musical note, join us at the Gibson Guitar Showroom in downtown DC for a Summit exclusive edition of NPR Music’s All Songs Considered Listening Party. Hosted by Bob Boilen and Robin Hilton, join special musical guests for a night of unreleased tunes, debate and drinks. RSVP required to summit [at] futureofmusic [dot] org.

With special guests:
Dessa
Alec Ounsworth Clap Your Hands Say Yeah
Stephen Thompson NPR Music

GIBSON GUITAR SHOWROOM
709 G St. NW, Washington, DC
Across from the Smithsonian American Art Museum/Portrait Gallery

Metro: Gallery Place/Chinatown (Lines: Green, Yellow, Red)