Yesterday, Arbitron and Edison Research released their 19th edition of the Infinite Dial, an annual survey that examines the state of consumers’ access to radio, internet and other media.
These reports are always a fascinating glimpse at how consumer behavior is changing, especially with the introduction of new technologies such as internet radio, smartphones and more ubiquitous wifi. read more
This article is by FMC advisory board member Whitney Broussard, Esq. It originally appeared in the University of Georgia School of Law Intellectual Property Journal entitled Symposium: The Changing Face of Copyright Law: Resolving the Disconnect Between 20th Century Laws and 21st Century Attitudes (Vol 17, Number 1, Fall 2009). read more
Ten years ago, no one would have predicted that we’d mostly all be listening to music via MP3 files, CDs would be all but dead, and vinyl record sales would be up. The music industry today is morphing so fast that it’s difficult for anyone—record label owner, musician, fan—to keep up. Casey Rae-Hunter, who speaks on a panel at the Creative Alliance at the Patterson this week, works at the Future of Music Coalition. Mission: “[ensuring] a diverse musical culture where artists flourish, are compensated fairly for their work, and where fans can find the music they want.” He kindly took time out of a vacation to California last week to talk to us about payola, the looming music cloud, and Amanda Palmer.
[This post was co-authored by FMC Policy Intern Eric Perrott]
There’s no doubt that the 10th Anniversary Future of Music Policy Summit (Oct. 3-5, 2010) sparked plenty of conversations and even some controversy. Topping the list of the latter was the onstage chat between award-winning musician/producer T. Bone Burnett and music scribe Greg Kot of Chicago Tribune. Any press is good press, but we’re wondering if maybe some of the articles missed T Bone’s overall point. read more
[…] “It’s been 10 years since Napster, and now we have some perspective,” says Thomson, of the Future of Music Coalition. She says the industry’s efforts to preserve old rules of the business - by limiting digital copies and pursuing people who downloaded music illegally - have failed.
“They had some success, but they can’t get back to the point where there’s forced scarcity. Before 1999, where could you buy records? You could buy them at the store, and you could hear them on the radio. The Internet changed all that.” […]
Recently, All Things Digital’s MediaMemo reported on some anonymous-insider murmurings (are there any other kind?) about Sony and other major labels prepping to launch a classical music-oriented digital store. (According to the rumors, jazz is a possibility as well.)
But why a genre-specific download store? Isn’t classical music available at other sites and services?
Yesterday (April 12), a judge for the United States District Court in Manhattan ruled that popular peer-to-peer file trading service Limewire was liable for copyright infringement. The decision was similar to the 2005 ruling against Grokster — both cases found the services in question guilty of “inducing” copyright infringement.
Judge Kimba Brown’s summary judgement against Limewire certainly made the major labels happy, but what, exactly is the basis for the decision? read more
Today's post is by FMC Communications Intern Peter Haugen.
For the past seven years, Rhapsody was partnered with RealNetworks and MTV, but, as of Tuesday morning, the music subscription service is flying solo. In other words, Rhapsody, which has been around for the better part of a decade, is now officially labeled a “start-up.” Again.
So why, exactly, did the company decide to go its own way? Did Rhapsody, like many people who chose to end a relationship, simply need its space? read more
FMC’s Casey Rae-Hunter thinks popular Web-streaming services like Pandora, Rhapsody, LastFM, Mog and Spotify could become more viable due to economies of scale. More users equal more revenue, and possibly lower prices for the service to consumers.
“It seems that consumers have been trained by the Internet to believe that they can get anything they want whenever they want,” he said. “The key is to make sure that the creator is getting paid somewhere.”