It’s easy to feel like radio is a format on life support. On the FM dial, Clear Channel (ahem, excuse me, iHeartRadio) controls huge swaths of our broadcast landscape. Indie stations do exist—and are a Godsend on road trips—but they’re few and far between. Of course, there are tons of digital options, including tailored channels and online streamers where algorithms do the heavy lifting. But will the audience continue to grow or eventually fade out? read more
Casey Rae is the CEO of the Future of Music Coalition, a Washington, D.C.-based advocacy nonprofit. (He’s also the former music editor of this paper.) One of the coalition’s most successful projects is the 2006 report “False Premises, False Promises,” which traces the effects of the 1996 Telecommunications Act on the radio industry. read more
Music lovers everywhere: it’s time to tune in, turn the volume up, and celebrate because Thursday, August 20 is National Radio Day. This holiday has been celebrated since the early 1990s on Aug. 20, honoring the day the first news radio station, 8MK radio in Detroit was licensed by the FCC and went on the air in 1920. But this year’s event is going to be the biggest yet, as dozens of noncommercial stations across the country will be participating. And you can participate too by visiting www.nationalradioday.com. read more
With the many headlines that have been seen over the past couple years regarding streaming services and artist revenue-related topics, even the casual music fan and average U.S. citizen may have begun to wonder what is going on behind-the-scenes of the music business as it relates to these topics. […]
Kristin Thomson, the Co-Director of the US-based non-profit Future of Music Coalition’s Artist Revenue Streams research project, has shared her perspective as representative of FMC which has covered the measure in depth: read more
Over the last year, we’ve watched with excitement as the Federal Communications Commission (FCC) has granted new construction permits for over 1500 new low-power FM (LPFM) radio stations across the country. These new stations are claiming space on the public airwaves to better represent the full diversity of American voices, and include stations run by community groups, activists, churches, labor unions, and college students. These stations may only have a range of a few miles, but their impact on their local communities, including musicians, can be immense.
Now, some community radio advocates have asked the FCC to allow these stations to expand their reach. A petition currently under consideration at the Commission would create provisions for LPFM stations that meet certain criteria to broadcast at 250 watts rather than just 100, thus expanding their geographic reach and allowing more listeners the chance to tune in.
Current copyright royalty formulas rest on a legal framework that dates back to the early part of last century, and “the time is ripe to question the existing paradigm,” U.S. Register of Copyrights Maria Pallante said in a 245-page February report on “Copyright and the Music Marketplace.”
The copyright board’s proceeding covers the bulk of payments to recording artists and labels made by Pandora and other digital music providers. By December, the board will decide Internet radio royalty rates through 2020.
Traditional AM and FM radio stations — such as KXMZ — are exempt from these royalties. read more
As Congress prepares for a week-long break at the end of May, it’s a good time to review some recent developments. Last month, Rep. Anna G. Eshoo (D-CA) and Rep. Marsha Blackburn (R-TN) reintroduced their Protecting the Rights of Musicians Act (PRMA), which was originally introduced in May 2014. The bill’s main focus is ensuring that performers and record labels receive compensation for over-the-air play on AM/FM radio, something FMC has supported for over a decade. Currently a loophole in U.S. copyright law allows AM/FM radio broadcasters to circumvent the payment of royalties, while digital radio is still bound to pay everyone from performers and record labels to songwriters and publishers.
If you’ve ever negotiated with bandmates about where to eat after a gig, you know that musicians can have strong—and sometimes divergent—opinions about a lot of different things. Expand that to the broader music community—which includes independent and major record labels, managers, advocacy groups, artist unions and fans—and it gets even more complex. (Are we still talking about grub? Kinda getting hungry ourselves.)read more
On May 12, 2015, Future of Music Coalition filed the following reply comments to the Federal Communiations Commission (FCC) in the agency’s review of commercial broadcasters’ petition to eliminate on-air disclosure of paid programming.
Before the Federal Communications Commission Washington D.C. 20554
Followers of our work over the past 15 years know that we’ve always taken a stand against against payola—the practice of well-heeled music companies giving cash or other enticements to big broadcasters in exchange for radio airplay. Technically, this practice is only illegal if it is not disclosed over the airwaves when the paid-for music is played. But over the years, the broadcasting conglomerates have found workarounds. Most recently, they established a system of so-called “independent promoters” who would funnel cash or other goodies to broadcasters without the major labels ever dirtying their hands. (Our Payola Education Guide offers a great overview of this pernicious practice.) read more