The musicians that I represent aren’t being offered multi-million dollar record deals that land them on the cover of Rolling Stone or in a mansion atop the Hollywood hills. Quite frankly, I’m not sure those deals exist other than in an idealized memory of what the record industry looked like in its days of excessive hedonism. So where does that leave work-a-day musicians – the ones that actually make music for a living? read more
Big news for anyone who’s been following the termination of transfer issue: a California judge has ruled in favor of Victor Willis, original singer of the Village People, in his battle with the publishing companies that administer rights for the Village People’s catalog. Last year, Willis had filed to terminate rights to his share of “YMCA” and thirty-two other songs that he co-wrote, and publishers responded by claiming he lacked legal standing to do so without having his co-authors on board. Judge Barry Ted Moskovitz disagreed, writing: read more
Every time you warble Don’t Stop Believin’ at karaoke or buy a poster of Justin Bieber represents a small handful of change in the music industry’s tipjar. In fact, the Future of Music Coalition has identified no less than 42 distinct revenue streams ranging from karaoke licensing to merchandise sales.
Christopher Bavitz talks with Future of Music Coalition’s Kristin Thomson about how/whether artists are making a living today.
For decades, commercial radio airplay was considered the silver bullet for success: a form of promotion with sufficient power and reach to generate significant record sales, while also accruing royalties (for songwriters and publishers) and massively raising an artist’s profile. read more
Like The Ramones, many musicians would say, “It’s not my place (in the 9 to 5 world).” So then, how do they pay the bills? It’s become more complicated than ever in light of changes in the music industry, so the Future of Music Coalition launched the Artist Revenue Streams project, which examines how revenue streams are changing and why. Project co-director Kristin Thomson talks to Jim and Greg about their most recent data: five financial case studies profiling how different kinds of musicians make a living. There’s the Jazz Bandleader-Composer, the Indie Rock Composer-Performer, the Jazz Sideman-Bandleader, the Professional Orchestra Player and the Contemporary Chamber Ensemble.
The Future of Music Coalition, a Washington, DC-based advocacy group for musicians, has recently been releasing results of an extensive study of revenue sources for today’s musicians. The project, called Artist Revenue Streams, included an online survey of over 5000 musicians, as well as extensive case studies of nine working musicians. Five case studies have been released so far.[…]
It’s the age of the one-man band, but the picture looks different from days past. Along with the drum on a strap, and a harmonica on a metal brace, the performer now carries a laptop – and with that and an Internet connection, she or he records and distributes music, designs Web sites, and schedules tour dates.
To understand better the issues affecting how American musicians earn a living today, the Future of Music Coalition launched in 2010 Artist Revenue Streams, a multi-stage research project to document musicians’ revenue streams. Kristin Thomson, co-director of “Artists Revenue Streams,” shares the recently-released results with CCC’s Chris Kenneally as part of the Beyond the Book Podcast series. […]
Are you a musician, visual artist, dancer, actor, filmmaker or other artist living in the DC area?
Are you interested in making $50?
If you answered YES to both questions, we invite you to participate in an artist-centric focus group on Wednesday, May 2. The meeting will be 90 minutes long and held at a Metro-accessible location in the DC metro area.
Email artistfocusgroup [at] reingold [dot] com or call 202-333-0400 and ask for Jillian to find out how you can get involved!
Please repost and share widely with your artist friends. We want to hear from a diverse range of DC-metro artists.
Living for a good decade in Washington, DC, I was very familiar with the “do it yourself” music culture. In fact, I was an avid participant in a community that was constantly putting on shows, releasing records, silk-screening t-shirts, making our own packaging, and supporting each other. I loved it. read more
Freelance musicians once provided the backbone of New York’s classical music scene. Work was abundant for the top players and the lifestyle never routine. But faced with changing tastes and new technology, many of the regional orchestras, Broadway pits and jingle houses that employ freelancers have cut back or shuttered. This is forcing musicians to get a bit more creative and entrepreneurial.
To explain this state of affairs, host Naomi Lewin is joined by three guests: Miriam Souccar, a senior reporter at Crain’s New York Business; Jean Cook, director of programs at the Future of Music Coalition and Mary Rowell, a freelance violinist and host on Q2 Music. read more