WASHINGTON — After years of hanging their heads or sitting on the sidelines as disruptive digital forces chipped away at the music industry’s bottom line, working-class musicians and songwriters are starting to embrace the power of banding together and agitating for change, whether it’s engaging lawmakers to influence policy or joining coalitions that will fight for their interests. At the Future of Music Coaltion’s 15th annual Music Policy Summit here, the unofficial theme that emerged was a need to organize and rally to bring about real changes in the way musicians and songwriters are compensated in an evolving industry. read more
Is the idea that musicians should be allowed to participate fully in our country’s economy unrealistic? I hope not; though—barring the introduction of a completely new economy that treats musicians as valuable members of society—I believe it will require a sea change. We will need to demystify the music industry and the nitty gritty of what it means to be a professional musician. We need: read more
The idea of so-called compulsory licensing has been getting attention lately, because songwriters feel they’re being underpaid for their work. But having compulsory licensing makes the music business more efficient and serves a social good, according to Casey Rae of the Future of Music Coalition. “After all, what would the world be like if Patsy Cline had never recorded ‘Crazy’ by Willie Nelson,” he writes in a blog post.
There are a number of reasons for the inaccessibility of this information, one of which is the frequent sale of individual works and entire catalogs and the infrequent recordation of these sales. Further, in recent years there has been a proliferation, particularly in pop music, of songs with many writers, each of whom generally owns a share of the work, making it difficult for potential licensees without great knowledge of music licensing to determine whose permission they need for a certain use. The Future of Music Coalition illustrated this point using a hit song by Flo Rida that had 13 writers who were represented by a total of 17 publishers.
As expected, Apple announced its forthcoming music streaming service on Monday at its annual WorldWide Developers Conference. The service is scheduled to launch at the end of June, and naturally, our primary focus is on how the new offerings will impact musicians. The presentation was short on details, but here are some of the questions we’ve been wrestling with (and some partial answers)
Assuming the contract’s authenticity, there’s not a lot in there that’s particularly revelatory for those of us who’ve been closely following the ongoing debates over on-demand streaming services. However, it does offer confirmation of certain controversial practices, and a snapshot of some of the dynamics associated with service design. Here are some key points to keep in mind.
Have you ever used ASCAP’s ACE Title Search? We did, just the other day. A friend was trying to contact the publishers of an almost-but-not-quite public domain ditty to obtain permission to use the work in an original stage play. Unsurprisingly, he had no idea where to go to find this information. We cruised over to the ASCAP site and entered in the song title. It didn’t take long to find a match, and more importantly, the work had publisher contact information. Victory!
If only it were that easy across the board. read more
Initially by accident, and perhaps later by design, YouTube became the number one destination site on the planet for music listening, discovery and sharing. It now has more music listeners than every other streaming music service combined.
With this accomplishment under its belt, it is now making a concerted effort to become an even bigger deal in digital music with the launch of its new YouTube Music Key service.
With this launch come several notable changes to YouTube: