Artist Revenue Streams

Musicians Are Not Dentists: What Steven Johnson Still Doesn't Get

On Monday, writer Steven Johnson responded to our criticism of his August 23 New York Times Magazine cover story with a follow-up story in the Times and a more data-centric reply in the comments of our blog. read more

Submitted by kevin on August 28, 2015 - 9:24am

The Data Journalism That Wasn't

Earlier this month, the New York Times Magazine reached out to Future of Music Coalition with regard to a forthcoming feature. We like to help out with this sort of thing, because we know that music business structures and practices can be quite complicated, and think it’s important that journalists get the facts and context as correct as possible, whatever narrative they’re advancing. Last week, fact-checkers from the magazine followed up with FMC staff. There was a good deal of back and forth as we were provided short paragraphs, and later, individual sentences, from the article and asked to verify whether they were “true.” (Unfortunately, we weren’t provided with much context.)

Alas, what ended up running was rather disappointing. NYT Magazine chose to publish without substantive change most of the things that we told them were either: a) not accurate or b) not verifiable because there is no industry consensus and the “facts” could really go either way.

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Submitted by kevin on August 21, 2015 - 3:06pm

The Business of Music

June 21, 2014 - 10:00am - June 22, 2014 - 4:30pm
Los Angeles, CA
Thank you to all of our panelists and participants for an amazing weekend. Sign up for the FMC newsletter to get first word on upcoming events and workshops. Future of Music Coalition (FMC) and the Center for Cultural Innovation (CCI) present a new workshop focused on the unique needs and challenges of working musicians.

Chamber Music of America Hosts Artist Revenue Streams Seminar/Webcast

How can you earn more money from your music?  Are there revenue streams you don’t know about that you ought to be collecting?   Join FMC’s Jean Cook, Project Director for the Artist Revenue Stream project for a presentation on the many ways musicians can make maximize their earning potential at a Chamber Music of America event this Tuesday afternoon in NYC.  

The event is part of CMA’s series of First Tuesday Workshops, a monthly seminar event featuring leaders in the music industry. An array of topics have been featured in the past including digital music making, video production, music business, audio streaming and more. 

Jean will be drawing from lessons learned through FMC’s Artist Revenue Streams research project, a groundbreaking multi-year study assessing how musicians’ revenues are changing in the contemporary marketplace. 

The event is on Tuesday, March 4th, 3-5 pm at New York City’s Saint Peters Church. You can RSVP hereFor those who can’t make it in person, the event will be streamed live at, and will be archived in CMA’s online video library.

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Submitted by Mary on February 27, 2014 - 3:30pm

Does Organizational Membership Matter?

To the casual observer, musicians probably seem like a disorganized bunch. Unlike doctors or lawyers, there are no qualifying exams or prerequisites that certify a musician’s level of “professionalism.” On a group level, there is no central organization that represents their collective interests.

But that’s not the case. In addition to record labels, booking agents, managers and other teammates, musicians and songwriters can align with a vast array of music-related organizations that serve a number of purposes, everything from performance rights organizations like ASCAP, BMI, SESAC and SoundExchange, to unions like AFM and SAG-AFTRA, to genre- or role-based organizations like Folk Alliance, Chamber Music America, or the Songwriters Guild.

As musicians and advocates, we at FMC know that these organizations serve an important purpose, and we have a sense that membership makes a difference. But in what ways? Do musicians that belong to certain organizations participate in more revenue streams? Do they make more money because of these allegiances? Or is the inverse true; do particular types of work make it possible and/or necessary for musicians to join certain organizations?

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