[…]This disconnect between old media companies and new is hilariously illustrated by comments that one of the bill’s sponsors, Senator Ron Wyden, a Democrat from Oregon, made recently at the Future of Music Coalition Summit. After some harsh words for the major labels, Wyden said the following, as quoted by Digital Music News: “Now, if it weren’t for the disruptive independent record labels — I’m talking about people like I.R.S. and Sub Pop and Tim/Kerr — we might never have known much about bands like R.E.M., and Nirvana and the Replacements … I sure want us to remember their enduring influence on not just rock music, but on their contributions to our culture and an entire generation.” read more
On Tuesday, November 13, 2012, FMC will host its 11th Future of Music Summit in Washington, DC. Our ELEVENTH! As always, the event will tackle the emerging issues at the intersection of music, technology, law and policy. Our goal is to bring together stakeholders with different – even opposing – views, so we can dissect and discuss complicated topics, giving musicians a clearer sense of the issues, the players, and how decisions made by policymakers in Washington, DC might affect their livelihood. read more
Last month, singer-songwriter James Taylor joined the long line of legacy acts that have sued their former record labels for withholding royalty payments, among other financial oversights. According to a 2007 audit, Warner Bros. Records underpaid Taylor by nearly $1,700,000 between the years of 2004 and 2007.
This kind of financial dispute is hardly new. The Temptations and Sister Sledge filed similar complaints (against Warner and Universal Music Group, respectively) earlier this year. The debate about whether artists should receive compensation as a “sale” or “license” for digital downloads has also garnered attention as a result of Eminem’s audit of his former label, Aftermath Records, wherein he argued that he should have been paid his licensing royalty rate of 50 percent — instead of his sales royalty rate of 12 percent — for digital downloads in the early days of iTunes.
[This post co-authored by FMC Policy Fellow Daniel Lieberman]
August in DC is traditionally a slow month. Election seasons are even slower. This year seems a little different, at least concerning an issue that could directly impact musicians. Within a span of six weeks, members of the House of Representatives on both sides of the aisle have introduced new legislation that aims to establish a more level playing field for radio royalties. read more
...and how musicians, labels and songwriters are compensated
Sunday, August 19, 2012
How are musicians paid when their fans buy downloads on iTunes? How are songwriters paid when their music is played on Pandora? Since our founding, Future of Music Coalition has provided musicians, managers and labels with the in-the-trenches details about how performers, songwriters and labels are each compensated when their music is either streamed or downloaded on an array of music services. read more
Yesterday afternoon, news broke that TuneCore president and CEOJeff Price would no longer be helming the company, which lets musicians — for a flat fee — stock their music in a range of digital retail environments. Also on the outs is TuneCore co-founder Peter Wells. read more
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. […]
Washington, D.C .— Future of Music Coalition (FMC) has for several months raised questions about a proposed merger between Universal Music Group and EMI Music, which would have a negative impact on artists as well as the growth of a legitimate digital music marketplace that rewards creators and fans alike.
News recently broke of an EMI proposal to European regulators that included divestitures and behavioral remedies meant to alleviate concerns over market concentration and resultant consumer harms. These supposed palliatives, however, do nothing to address concerns over the merger’s impact on the U.S. market, including the impact on innovation and leverage within the independent sector.
The following statement can be attributed to FMC Deputy Director Casey Rae: read more