At the always wonderful SF Music Tech conference yesterday, I went to what should have been a fascinating panel discussion about “artist revenue streams.” It had Kristin Thomson from the Future of Music Coalition, talking about their wonderful artist revenue streams project, as well as Steve Rennie, who manages the band Incubus, among others.[…]
“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
Peter DiCola of Northwestern University School of Law and partner in the “Artists Revenue Streams”-project of the “Future of Music Coalition” has recently published a working paper entitled “Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives”, which also will be published in the Arizona Law Review. Based on data of the “Artists Revenue Streams”-project, DiCola analyzes different income streams of musicians in the U.S. […]
[…]”In the ’90s, it was only the branded superstars who got the opportunity,” says Kristin Thomson, co-directo of the Future of Music Coalition’s Artist Revenue Streams project. “But now there’s more willingness to have something fresh that’s more obscure. More bands participate in these revenue streams now. UNless you’re an orchestra player or a session musician who is paid directly for knowledge and skill, musciians today depend on a bigger viariety of things.”[…]
[…] Artists still need to build a team to be successful. The 2010 Future of Music Coalition Artist Revenue Streams project concluded that high earning musicians ($100,000+ per year) were two times as likely to have certain paid or contracted team members.4 The results of the study suggest that while the Internet has enabled access to the market by anyone, revenue is still significantly affected by the presence of a team. read more
With a backdrop of the radio royalty wars raging in Washington, The Future Of Music Coalition is digging deeper into the data derived from it’s Artist Revenue Streams project in an effort to debunk the often held popular myth of the rich and easy life of the professional musicians.
According to their survey of 5,013 working musicians, their average personal gross income for the past twelve months was $55,561. This includes income from all sources: jobs (music related or not), pension payments, investments, etc. Then by multiplying personal gross income by the percent of income, the FMC calculated average gross estimated music income (EMI) to be $34,455. That’s $5000 lower than the Bureau of Labor Statistics’ per capita personal income estimate of $39,945 in 2010. […]
[…]But all of Pandora’s lobbying in support for the bill has antagonized musicians, and lawmakers. If it’s not careful, industry insiders said, Pandora could end up jeopardizing their business. read more
DC area music organizations Listen Local First and Metro Music Source co-hosted the Future of Music Summit kickoff party on November 12 at the Dunes following a pho (and fun) filled dinner at Pho 14 in Columbia Heights.
The party at The Dunes featured performances from local musicians including singer-songwriter Dan Fisk, jazz/bluegrass duo Bumper Jacksons, Michael Shereikis of afropunk band Chopteeth and Grammy-nominated hip hop artist Chrystylez Bacon.
Attendees mingled and sipped cocktails in the open space at The Dunes and discussed the plans for the highly anticipated Future of Music Summit.