Post authored by Communications Intern Olivia Brown
To anyone who loves truly local radio as much as we do, the “Local Radio Freedom Act” — the latest in a series of Congressional rumblings related to copyright and royalty issues — may sound like a noble cause. But look past the doublespeak title, and you’ll find that one man’s “freedom” is another man’s free lunch. read more
Although some may question the importance of niche broadcast radio stations when an online radio station can be set up with little overhead, Michael Bracy, policy director for the Future of Music Coalition, said LPFM can reach people an online station may not, as well as allow people in those communities to make their voices heard.
“In terms of economic justice, and who actually gets to talk, a lot of people who are still listening to radio as a predominent communications form are the people who don’t necessarily have access to broadband,” Bracy said. “They’re also the ones that aren’t really targeted by commercial media, and frankly, when you look at the demographics they’re not particularly well-served by public radio.” read more
Today, Federal Communications Commission Chairman Julius Genachowski announced that he would be stepping down from his post, which he has held since the 2008 election of President Barack Obama. read more
WASHINGTON, DC—Today, Federal Communications Commission Chairman Julius Genachowski announced that he would be stepping down from his post, which he has held since the 2008 election of President Barack Obama.
The following statement is attributed to Casey Rae, Deputy Director of Future of Music Coalition (FMC), a national non-profit research, education and advocacy organization for musicians.
“News of Chairman Genachowski’s departure was not unexpected, and comes at a crucial time for the FCC in terms of its commitments to an accessible media and communications environment for America. read more
Music and government may not seem like they have much in common. But four panelists did their best to convince an audience at SXSW that they were, in fact, hopelessly intertwined.
“These issues are breathtakingly complicated,” said the panel’s moderator, Michael Bracy, policy director at the Future of Music Coalition. “How do you build a regulatory structure for a market that is changing so rapidly?” read more
For the past twelve years, Future of Music Coalition has worked to inform and engage musicians and the music community on issues that impact artists and creative culture as a whole. Some of our work is very straightforward, such as reinforcing the notion that musicians have a range of views on a host of issues and must be included in discussions about their livelihoods. Some of it is nuanced, such as examining how artists are paid in the emerging digital economy and complex questions around copyright and technology. read more
For at least fifty years of the 20th century, the relationship between music and radio airplay was fairly well understood. Record executives knew that if they wanted a hit record, they needed that song to get played on the radio, preferably as many times as possible. In fact, until 2000, radio airplay was essentially a prerequisite to selling significant amounts of recorded music.read more
Are you a musician? Do you live in a town with an awesome music scene? Are you or any of your peers enjoying recognition in your community or beyond? Do you get airplay on your local commercial radio station?
If you live in Los Angeles and your band is Red Hot Chili Peppers, you can skip the last question. If you are among the rest of musical humanity, we’re guessing the answer is “not so much.”
A more important question to ask is why even the most celebrated local and regional bands can’t crack commercial playlists in their own backyards. This has much less to do with talent or popularity and everything to do with media ownership.
“Once the dust settled, these radio station group owners realized they had overpaid for the stations and immediately started making cuts and consolidating programming to save money,” said Jean Cook, director of programs for the Future of Music Coalition, an education, research and advocacy group for musicians. “Program directors and news departments were cut across the industry and the commercial dial became more homogenous.” read more
[this post by Communications Associate Kevin Erickson and Communications Intern Oliva Brown]
There were several surprises in store at the November 27, 2012 House Judiciary Subcommittee on Intellectual Property, Competition and the Internet hearing “Music Licensing Part One: Legislation in the 112th Congress.” The first surprise was that the main bill under question — the Internet Radio Fairness Act, introduced by Jason Chaffetz (R-UT) — had been renamed. IRFA, which argues that royalty rates for webcasters should be calculated using the same standard that is currently applied to satellite radio, was now rechristened “Internet Radio Freedom Act.” While slapping the word “freedom” on anything and everything is a longstanding Washington tradition, it also had the unfortunate side-effect of underscoring a key criticism of IRFA: that the bill would almost certainly result in a steep cut to artist payouts from services such as Pandora, something many artists see as anything but fair.
But the biggest surprise was that the topic du jour turned out to be another longstanding point of contention in the broadcasting realm: the lack of a terrestrial radio performance right in the United States. Meaning, good-old fashioned radio still does not compensate performers and sound copyright owners even though digital broadcasters do. (So does the rest of the industrialized world; for more information, check out our Public Performance Right fact sheet.)