National non-profit Future of Music Coalition (FMC), which focuses on education, research and advocacy for musicians, will soon launch the next phase of its ambitious Artist Revenue Streams project with a detailed online survey for musicians and composers. The survey is one part of a multi-method research effort to assess how musicians and composers are currently generating income from their music, performances and brand, and whether this has changed over the past ten years.
The Future of Music Coalition is undertaking a project that will answer two basic questions: what percentage of musicians’ income comes from each possible revenue source and how has that changed over the last ten years? From September 6 to October 28, FMC will collect online responses to the survey which aims to assess and quantify all the ways an artist can make money - from concerts to publishing to related day jobs.
In addition to typical revenue sources such as recorded music sales, live shows and songwriting royalties, the Artist Revenue Stream project will touch upon other streams that play an important role in many artists’ lives, such as commissioned works, litigation settlements, AFM/AFTRA payments, government grants and tour sponsorships. read more
In a July 12 Notice of Proposed Rulemaking, the FCC opened the door for possible inclusion of low-power FM (LPFM) station applications alongside applications for FM translators (low-power stations that relay full-power FM signals). The FCC has committed to LPFM as a tool for bringing more community voices to the airwaves, but this move may pit existing stations against new applicants in competition for the same limited frequencies.
“It looks like the FCC is taking the right step forward in terms of trying to ensure that those opportunities for LPFM exist at all,” said Casey Rae-Hunter, deputy director of the Future of Music Coalition. Without such a compromise, the opportunity for new LPFMs could “just completely go away,” he said. read more
New York has made the cover of plenty of albums, from The Freewheelin’ Bob Dylan (161 W. Fourth St.) to Led Zeppelin’s Physical Graffiti (96 St. Mark’s Place) to the first New York Dolls album (131 Second Ave.). The corner of Rivington and Ludlow is home to another: Paul’s Boutique, the landmark 1989 album by the Beastie Boys.
Spotify has been talking about breaking into the U.S. market for two years. The American market can be very tricky — even the smartest companies regularly blow it — so Spotify’s prudence may have been warranted.
“It’s great that Spotify has finally launched in the U.S.,” Casey Rae-Hunter, communications director and policy strategist at the Future of Music Coalition, told the E-Commerce Times. “It’s been a long tome coming. We had their CEO and founder Daniel Ek at our Future of Music Policy Summit two years ago, and he said then that launch was imminent. Better late than never, I suppose.”
And there was a feeling the deal struck the right balance between rights holders’ needs and the rights of Internet customers. “While it is too early to tell whether a graduated response policy will have any measurable effect on the unauthorized distribution of music files, the framework does seem to strike an appropriate balance between access to a crucial communications platform and the need to protect the rights of artists,” said Future of Music Coalition Deputy Director Casey Rae-Hunter.
“Creative License” is recommended not just for music geeks or music business geeks, but for anyone interested in law, the arts or both. Well written and treated with care, McLeod and DiCola’s work should be read on college campuses around the country.
The interests of EMI’s publishing arm may not necessarily be those of the songwriters it represents. As it is now, ASCAP takes a fee from payments it collects, then distributes the rest of the money equally between songwriter and publisher. Casey Rae-Hunter, of the nonprofit advocacy group Future of Music Coalition, says the big music publishers don’t have the same obligations to songwriters that ASCAP does to those same people, its members.
“What is EMI’s responsibility to the songwriters who are part of their publishing empire, and can we trust that this company is going to honor the 50-50 split that songwriters have worked out and honored over the years?” Hunter asks.