Hope you really trust your broadband company. And don’t mind the Internet getting more expensive. If a report by The Wall Street Journal is true, a new rule proposal would allow the likes of Comcast, Verizon, and Time Warner Cable to charge content providers extra for faster access to consumers. Potentially, that would mean streaming services such as Spotify, Beats Music, and Pandora could have to bill their customers more or else slow down: read more.
When Barack Obama was running for president in 2007, he earned a great deal of credibility with tech-savvy voters by expressing support for net neutrality that was rooted in an understanding that this issue raises essential questions about the future of open, free and democratic communications in America. Obama “got” that net neutrality represented an Internet-age equivalent of the First Amendment—a guarantee of equal treatment for all content, as opposed to special rights to speed and quality of service for the powerful business and political elites that can buy an advantage. Read more.
At the moment, your Internet generally works like this: You pay a company — AT&T, or Comcast, or Verizon, or Time Warner — for monthly online access. Once you’re connected, you can go to whatever legally permissible website your heart desires and, whether it’s the New York Times or Netflix, it takes you the same amount of time no matter where you’re trying to go. Read more.
In 1941, “Chattanooga Choo-Choo” was the biggest hit in the land, thanks to — what else? — the radio. Radio’s popularity owes much to songs like this — and the songwriters and publishers who enabled us to hear them. Back then, the balance of power in the music industry was tilted towards the performing rights groups ASCAP and BMI, organizations that acted as gatekeepers to the world’s most valuable musical repertoires — so much so that the US Department of Justice took action that same year to balance the scales: read more.
From YouTube, to Pandora, to Spotify, streaming music is piloting our listening habits in fascinating new ways. Eric Harvey explores how these developments are affecting ideas of taste, access, and ownership in the 21st century.
On-demand streaming music has been part of the collective imagination for more than a century. It can be traced back to the 1888 publication of Edward Bellamy’s million-selling science fiction novel Looking Backward, in which a man falls asleep in 1887 and wakes up in 2000. Amidst the mind-blowing technological developments he encounters on his journey is a “music room,” in which 24-hour playlists are piped in to subscribers via phone lines. With no shortage of astonishment, the man proclaims that “an arrangement for providing everybody with music in their homes, perfect in quality, unlimited in quantity, suited to every mood, and beginning and ceasing at will” is perhaps the pinnacle of human achievement. Read more.
Casey Rae, interim executive director of the Washington, D.C., based Future of Music Coalition, will give the keynote speech for the event Friday. The group has been lobbying on behalf of musicians since 2000.
Rae joins The Daily Circuit ahead of his speech to discuss how musicians are navigating the music industry to earn a living through their art.
The Future of Music Coalition, a non-profit advocacy organization for musicians, conducted a survey in August which revealed that 42 percent of professional musicians lacked any form of health insurance – a number that is nearly twice the national average. Thankfully, a movement is afoot to change that: read more.
Kristin Thomson chats with Kyle Williams from Seeds of Music about FMC’s Artist Revenue Streams project and the ways that musicians can make money from their compositions, sound recordings, performances, brand and knowledge of their craft.
Recently, Classicalite published some words from Gary Giddins about struggling jazz musicians in New York City. In dealing with similar plights for musicians around the nation, now Washington, D.C. appears to be making amends.
The Content Creators Coalition sponsored an event in New York City calling on terrestrial radio to pay artists performance rights royalties.
“Out of respect for the artist, we ask that you not make video recordings of the performances you are about to witness.” These are difficult instructions to follow when David Byrne is on stage in overalls singing Biz Markie’s “Just a Friend.” And apparently some may not have heeded the request (see video below).