(#FMC10, #musicindustry) The musical middle class sounds lovely, that is, if it actually existed. But is this just a mirage, another comfy-sounding theory that has little chance of being realized? read more
WASHINGTON — The top White House copyright cop said on Tuesday that the administration is working aggressively to implement a wide-ranging strategy to crack down on digital piracy and the flow of counterfeit goods, saying that protecting U.S. intellectual property interests is a central pillar of the government’s efforts to nurse the economy back to health. “Protection of our innovation and protection of our creativity is an essential part of our plan for economic recovery,” U.S. Intellectual Property Enforcement Coordinator Victoria Espinel said in a keynote address here at a policy conference hosted by the Future of Music Coalition. “Protection of intellectual property will increase exports, it will create jobs,” Espinel said.
T Bone Burnett shook up the Future of Music Coalition Policy Summit yesterday by boldly declaring at the beginning of his segment: “The future of music is…” wait for it, here it comes…”analog”.
While much of the conference focused on digitization as slayer or savior, and the Internet as love child of the universe and musical cash register, T Bone turned the conversation towards the quality of recorded music. Portions of the audience seemed stunned by some of T Bone’s thoughts, here are a few highlights:
WASHINGTON, D.C.— T Bone Burnett fully understands what the Internet can do in terms of putting artists in touch with their fans. But he’s not buying into a distribution tool that “degrades” music.
In a keynote Monday at the 10th annual Future of Music Coalition Policy Summit, Burnett came off as an affable curmudgeon who sees current music-industry troubles as just a phase rather than a long-term decline (in the interests of full disclosure, the keynote was billed as Burnett “in conversation” with me, but I was there primarily to ask questions while Burnett did the majority of the opinion-spouting).
It comes as no surprise to musicians any more that they need to manage their own careers in a different way than they used to. Instead of making great music, then trying to obtain a manager, a publicist, an agent, a record deal, etc., events like FMC’s Policy Summit help educate musicians about how they are going to manage their own careers. To paraphrase Amaechi Uzoigwe of Definitive Jux Records on Sunday, “being a musician today is like running a small business.” At OurStage, we want to encourage musicians to use our platform and various tools to advance their musical career so that they can grab hold of another rung and move up the ladder of success. read more
MMT is officially declaring October as the Future of Music Month. There was a full house at the 10th Anniversary Future of Music Policy Summit on Sunday, with much more to come over the next two days. If you can’t make it to Georgetown University, there will be live webcasts of all mainstage programming on Monday and Tuesday at http://web.illish.us. read more
Our good friends at the Future of Music Coalition (FMC) are hosting their annual Policy Summit next week in Washington, D.C. Several of us from Fractured Atlas will be attending and/or appearing on panels. This will be the third summit I’ve attended and I highly recommend it for anyone who likes to geek-out on topics at the intersection of culture, technology, and policy. read more
New Orleans’ Bonerama has confirmed a special evening of music for October 4. The group will perform at Washington, DC’s Black Cat as part of the Dear New Orleans Benefit concert. A variety of guess will sit in with the band throughout the night, including: Damian Kulash (OKgo), Jenny Toomy (Tsunami), Franklin Bruno, Hank Shocklee (The Bomb Squad), Jonny 5 (Flobots), Wonderlick, Rebecca Gates (The Spinanes) and others. The show will also coincide with the Future of Music Coalition Policy Summit.
The world had begun to buzz with questions about where music was headed (What are we going to do about piracy? Will record labels still exist?), but the discussions rarely seemed to include the people actually creating the music, and the FMC wanted to see that gap bridged.
“We were simply trying a new thing at the time,” says Casey Rae-Hunter, the FMC’s Communications Director. “Bring policymakers and other influencers into a space with creators who are impacted by those decisions and see what happens!” read more