The Future of
Music Coalition is a Washington, DC-based not-for-profit collaboration
between members of the music, technology, public policy and intellectual
property law communities. The FMC seeks to educate the media, policymakers,
and the public about music / technology issues, while also bringing together
diverse voices in an effort to come up with creative solutions to some
of the challenges in this space. The FMC also aims to identify and promote
innovative business models that will help musicians and citizens to benefit
from new technologies.
The FMC is submitting testimony to the Senate Judiciary Committee regarding
webcasting for three reasons. First, we believe that, as media channels
continue to consolidate and program to meet bottom line expectations,
webcasting is emerging as a vital new source for entertainment, music
and news that can provide greater diversity and more choices for the public.
Second, we believe that webcasting and other Internet technologies can
increase the number of revenue streams for musicians by creating more
opportunities for artists to promote and distribute their music. Finally,
we contend that the existing music and radio industry structures underserve
the majority of musicians and citizens, and these flawed structures cannot
be allowed to replicate in a digital world. Therefore we urge members
to consider the unique characteristics of webcasting and design policies
and regulations that will allow this promising new medium to flourish.
In public comments recently submitted to the Copyright Office, the FMC
has indicated its general support for the accomplishments of both the
Copyright Office and the CARP. At a very basic level, it is critical to
establish a respect for artistic creation and build models that fairly
compensate musicians for the use of their works in commercial and non-commercial
settings. We believe the royalty rate was appropriately determined and
there is a strong opportunity to find common ground on reporting requirements.
However, the FMC has urged the Copyright Office to consider the following
five exceptions:
Establishment of alternative
license structures for non-commercial, hobbyist
and small commercial webcasters
Reasonable reporting requirements
Automation of reporting
Elimination of ephemeral
copy logs
Elimination of the threat
of perjury through reporting
The Value of Radio
The importance of webcasting is best viewed in the context of radio. Radio
is a public resource that has been managed on the public’s behalf
by the Federal Communications Commission since 1934. According to the
FCC there are currently over 13,000 radio stations in the United States;
11,000 commercial and 2000 non-commercial or public stations. In a country
as large and culturally diverse as America, radio remains an important
localized medium for the transmission of news and entertainment, and reaches
over 95 percent of adults on a weekly basis.[1]
Radio is also important to the music industry. In the traditional music
business model, radio is seen as the best – and possibly only –
way to “break” a record. Except in some rare cases, breaking
a record on commercial radio is prerequisite to the sale of the millions
of copies that are needed for labels to recoup costs.
For musicians and songwriters themselves, radio is not only a vehicle
for promotion, but serves as a viable revenue stream in and of itself.
Songwriters and composers are eligible to receive performance royalties
based on airplay, which are collected and distributed on their behalf
by the performing rights organizations – ASCAP, BMI and SESAC. For
the handful of songwriters that garner chart-topping airplay, these royalty
payments can skyrocket to the hundreds of thousands of dollars.
In addition, commercial radio airplay imprints a sense of cultural and
financial legitimacy on a band or artist. While this may be an imperfect
measure of “success” or “good music”, it does mean
that musicians who are played on the radio will not only have a better
chance of selling more records, they will also have access to larger concert
venues, bigger tours, and lucrative advertising and movie deals, all of
which mean more revenue for the select group of artists, songwriters,
labels and publishers that have access to commercial radio.
The Impact of Market Consolidation
Despite its importance to broadcasters, advertisers, musicians, labels
and the listening public, there is mounting evidence to support the theory
that the traditional commercial radio model is broken.
The consolidation of radio station ownership that has occurred since the
1996 Telecommunications Act has had a dramatic effect on the state of
radio for musicians and the American public. While the definitive results
are still under consideration, the anecdotal effects are:
less community-based programming,
more advertising per broadcast hour,
continued reliance on payola-like practices of questionable legality,
and
oligopolistic levels of control over the most popular programming
formats.
While some of these may be good for the radio business, the FMC questions
whether any of these developments benefit musicians and the public.[2]
Commercial broadcasters would probably counter our criticisms by pointing
to the industry’s impressive revenue gains over the past ten years,
which topped $19.8 billion in 2000.[3] They might
also highlight the positive benefits that the 1996 Telecommunications
Act reaped for their industry, including the ability for radio groups
to streamline their back-office operations, combine sales departments,
and capture national ad accounts. They might even point to the financial
benefits of voice-tracking systems, which create customized programming
that is beamed to regional stations from a centralized location, thus
eliminating the cost of paying the salaries of hundreds of local on-air
DJs and production staff. These structural changes are smart business
moves that create more profitable bottom lines for those radio station
groups that are in the position to consolidate, but there are two other
stakeholders that have a vested interest in the state of radio –
musicians and the listening public. It is on behalf of these two groups
that we stake our claim that alternatives to the current radio structure
need to be embraced.
Despite its perceived success over the past six years, the radio industry
itself may be pondering its own long-term survival. First, statistics
indicate that the audience for commercial radio is shrinking. Total radio
listening has dropped by 9 percent from 1993 to 1999. The greatest reduction
has occurred in listeners aged 12-24 where the drop in listenership is
greater than 12 percent.[4] It’s interesting
to note that this is the same age group that turns to the Internet in
the greatest numbers as a primary source of news, information and entertainment.
According to a June 2000 study, nearly half of all teens and 39 percent
of 18-24 year olds have listened to Internet radio. Rather than be satisfied
with traditional radio, young Americans are turning to the Internet for
different sources of music and news.[5]
There are other puzzling disconnects in radio when marketing decisions
overrule public opinion. Take, for example, the incredible success of
the Grammy-winning O Brother Where Art Thou soundtrack. Even after
topping the sales charts with sales of 4.4 million copies, the tracks
remain virtually unheard on country radio. In a New York Times article,
Paul Allen of the Country Radio Broadcasters Association noted, “The
recording academy recognizes the work of its artists and their music,
from the standpoint of art, which is considerably different from what
country radio is about. Country radio is purely about mass appeal music,
and it has some very defined limits because there are some very defined
demographics that the owners are tying to find through that music. Where
the Grammys are about art, country radio is about the Benjamins.”[6]
The Future of
Music Coalition recognizes radio as a vital public resource for news and
entertainment, but one that has been hijacked in recent years by corporate
interests. We have supported efforts to create alternative radio structures
such as Low Power FM stations, but the coalition of grassroots organizations
that have supported LPFM have been only partially successful in their
quest.
We are now standing at a crossroads regarding the future of webcasting.
If rules and reporting requirements take the unique assets of webcasting
into consideration, diversity and consumer choice can be strengthened.
If the proposed policies place undue financial and staffing burdens on
webcasters, we will surely lose this opportunity to support viable new
sources for citizens to access a diversity of music and information, and
for artists to benefit from new revenue streams.
The Value of
Webcasting
In this increasingly consolidated and concentrated radio marketplace,
webcasting represents an opportunity to break the bottleneck. While it’s
natural to think about Internet radio as merely a newer delivery mode
of terrestrial radio, there are some distinctions between the two mediums
that must be recognized as policymakers design rate and reporting requirements
for webcasting. Webcasting has three unique assets that must be acknowledged
and protected:
1. the opportunity for programming
diversity;
2. the low barriers to entry and legitimate competition; and
3. the global reach of the Internet.
Limited Terrestrial Bandwidth Means Limited Programming Choices
Terrestrial radio is fundamentally constrained by limits on available
spectrum. That means that there’s a finite limit to the number of
radio stations that can exist in a marketplace. Because of this scarcity,
the radio spectrum has become increasingly valuable in the marketplace.
Furthermore, since the passage of the 1996 Telecommunications Act, we’ve
seen existing, locally owned stations purchased by corporate radio groups,
with the average transaction value of $14 million for an FM station in
2000.[7] The forced scarcity of bandwidth combined
with the proven value of radio to music labels and advertisers have created
a situation where only those with vast capital resources can enter this
market. Even more compelling is the fact that limited spectrum and high
barriers to entry have decreased legitimate market competition, where
multiple owners are able to compete fairly in the marketplace. Contrary
to the stated goals of the Telecom Act, there is considerable evidence
that deregulation allowed a small number of companies with deep pockets
to purchase multiple stations in various markets, effectively squeezing
out competition while creating more leverage for themselves over advertisers,
music labels and smaller competitors.
The Internet is Unlimited
Contrast this with the limitless “spectrum” of the web. The
Internet, by design, allows for multiple streams to be broadcast simultaneously
and globally. Unlimited streams means that there’s also unlimited
opportunities for webcasters to offer just about any possible mix of music
and information that can be heard simultaneously virtually anywhere in
the world. Webcasters can not only specialize in underrepresented genres
such as classical, New Orleans jazz, punk rock, or bluegrass, but for
the first time they can legitimately make a business out of aggregating
small numbers of fans of these niche genres all across the world. This
possibility is strengthened by the relatively low barriers to entry for
webcasting, where individuals can create and launch a webcasting station
with just a handful of affordable resources; access to bandwidth, some
computers, software, and a little bit of know-how. They don’t need
signal towers, or satellite dishes, or even an office to start webcasting.
In fact, many small webcasters are running their operations out of a home
office, basement or garage. The limitless spectrum and low barriers to
entry not only allow for programming diversity, it also means that there’s
a better chance for legitimate market competition – a marketplace
with a great number of competitors – to flourish on the web.
Webcasting creates a wealth of new choices for music lovers and information
seekers that, until now, have had their choices restricted to what’s
being broadcast in their local area. It is abundantly clear that webcasting
can give those with access to the internet a rich and diverse set of listening
opportunities that are basically nonexistent in the terrestrial world.
The Value of Webcasting for Musicians
While it’s clear that webcasting can benefit citizens by offering
more listening choices, it’s also true that webcasting will benefit
musicians and artists. The Internet has already created new ways for artists
to promote and distribute their music, to connect directly with music
fans, and build communities outside of the constraints of commercial business
models. The FMC believes that webcasting can play a vital and growing
role in this area, both as a new mode of promotion that encourages music
sales and builds fan bases, and as a new source for public performance
royalties.
Building Better Models
1. Developing
Alternative Licensing Structures
As stated above, FMC believes that the outcome of the CARP is fundamentally
sound. It does not, however, reflect the reality that many webcasters
are not large corporations or broadcasters with the financial and staffing
resources to handle the proposed rates or reporting requirements. It is
important to recognize the distinctions between various webcasters and
divide the community into four general classes:
The FMC hesitates
to specifically define these classes in this document, but we generally
recognize the differences. Corporations and small business webcasters
have revenue streams that are generally commercial in nature. What distinguishes
them from one another are qualities such as gross annual revenue, corporate
backing, staff size, and audience size. Non-commercial webcasters could
include federally-registered nonprofits like the majority of college and
community stations, which are often run by a handful of volunteers and
rely on public donations, grants, and outside funding as revenue sources.
Hobbyists can be described as webcasters who stream for various non-commercial
reasons, and may often be financing their operations out of their own
pockets. Once again, we are not here to determine the class distinctions,
but only to note that there are at least four general categories that
are operating under unique circumstances. As a result, we believe the
licensing and reporting requirements should be scaled accordingly to ensure
that the greatest number of webcasters have the ability to operate.
The Incubator License
for Small Commercial Webcasters
In particular, the FMC recommends at least two new grades of licenses.
First, we would support the creation of a transitional or “incubator”
license, under which small commercial webcasters would pay reasonable
licensing fees and royalty rates and meet realistic reporting requirements
for a specified period of time. This incubator license would recognize
the start-up nature of many small commercial webcasters and would give
them the time and financial latitude to build a revenue-generating business
model. Note that this incubator license should be carefully crafted
and only made available to independent webcasters that have no connections
to larger corporate structures, thus avoiding the chance that larger
webcasters will use the incubator license as an opportunity to circumvent
their obligations. If the station is successful in building revenue
and audience size in the time allotted, it will transition to the standard
rates and reporting structures established by the Copyright Office and
the CARP.
A Noncommercial/Nonprofit/Hobbyist License
One of the potential unintended consequences of the CARP decision and
Copyright Office proceeding regarding rates and reporting requirements
is the economic burden that it places on non-commercial webcasters.
If these rules are adopted without modification, there’s a strong
chance that many community broadcasters would simply stop webcasting.
Considering the value of noncommercial voices in our culture, we think
this would be a terrible consequence. In an increasingly homogenized
marketplace of broadcast radio, this sector of webcasters has guarded
and nurtured America’s musical heritage and offered a platform
for new and emerging recording artists. Radio stations like WWOZ in
New Orleans have provided unique programming that shares our nation’s
rich culture with listeners throughout the world. It would truly be
tragic if such stations were no longer able to share their mission due
to the implementation of the proposed rates.
To avoid this outcome, the FMC has encouraged the Copyright Office to
establish non-commercial licenses and reasonable reporting requirements
for webcasters who are not aiming to run a commercial venture through
their service. The FMC proposed that the modified rate offered solely
to noncommercial/ nonprofit/ college/hobbyist webcasters should be based
on existing precedents that have served non-commercial radio well for
decades.
We do believe it is important that beneficiaries of this non-commercial
license should be required to adhere to reasonable reporting requirements
so that performance royalties can be disbursed properly. However, this
license would recognize the financial and staffing realities of these
nonprofit stations and be scaled accordingly. Again, we encourage members
and the Copyright Office to look to existing nonprofit/community broadcasters
for guidance on the creation of this license.
2. Reasonable Reporting Requirements
The FMC also urged the Copyright Office to revise the reporting requirements
to eliminate the collection of information that is redundant, unnecessary
or has not been provided webcasters for reporting.
It is important that webcasters thoroughly report what music they have
played so that songwriters, performers and labels can be accurately compensated
for the non-interactive digital performance of their copywritten works.
As advocates for musicians, we do not question this priority. The FMC
is concerned, however, that the quantity of fields and the sheer volume
of data that webcasters will each be required to report will unfairly
burden small webcasters.
Furthermore, we are concerned that in some cases the stated reporting
requirements demand that webcasters track and report copyright related
information that they have not been given.
For example, it is standard music industry practice for labels to send
webcasters advance copies of CDs before the final album artwork is completed.
Often these CDs are minimally labeled with little more than a band name
and a song title. In these cases webcasters would clearly be unable to
report any information beyond the artist and title track. It is also standard
practice for labels to hole-punch the barcodes on completed promo CD artwork
to make them impossible to scan. In these cases webcasters would be unable
to accurately report bar code information.
Considering the fact that the proposed reporting requirements would require
that webcasters file their report records under the threat of perjury
we believe it is critical that these requirements are reasonable. Therefore,
we urged the Copyright Office to revise the reporting requirements to
ensure that this process does not overly burden small webcasters.
In consideration of being granted this favorable rate, the non-commercial
broadcasters would report all of the recordings that they play each calendar
year. Therefore all payments distributed to recording artists and labels
would be based on actual playlists rather than sampled data. This would
ensure Sound Exchange payments would not run the risk of the obvious data
distortions that have occurred in the AHRA royalty pool, where the use
of SoundScan data has skewed the distribution monies towards a handful
of prominent recording artists and major record labels at the expense
of independent artists. This proposal would result in more equitable distribution
and eliminate the distortions that occur when weighted systems using extrapolated
data from limited sources are the sole criteria that determine which artists
are paid.
3. Working Toward Automated Reporting Structures
Existing copyright data should be used to create an automated reporting
database technology that will be made available to licensed webcasters
to help them fulfill their reporting requirements. There are numerous
public benefits to the creation and maintenance of a publicly held authentication
database, including more accurate reporting, less staff burden on webcasters,
and full documentation of those works that have fallen into the public
domain. Everyone will benefit from open and collaborative observation.
While some argue that the marketplace will take care of this need, it
is the FMC’s contention that, in the long run, the most efficient
means to build and manage such a database is through a combined effort
of artist groups, webcasters and labels under the oversight of the Copyright
Office.
In the short term, the most accurate database of information regarding
the ownership of copyrights and musical performances is the database that
SoundExchange has been using to distribute digital royalties for the past
year. Many of the numerous fields which webcasters would each be required
to enter according to the proposed reporting requirements are already
recorded into this database. We therefore suggest that the information
from this database be made available in some form that would allow webcasters
and technology developers to create an authorized automated reporting
system. By creating and standardizing this reporting process, time-consuming
data entry work can be minimized and information collection can achieve
an increased level of sophistication, efficiency and immediacy.
4. Elimination of Ephemeral Copy Logs and Restrictions
The FMC believes that the requirement to periodically destroy ephemeral
copies should be eliminated. Music licensed to be streamed in a non-interactive
manner is only valuable if it is broadcast and heard. The ephemeral copies
that are stored on webcasters’ hard drives are merely an intermediate
– but necessary – step in the webcasting process. According
to the current law, all webcasters are required to destroy their ephemeral
copies every six months. Not only is this counterproductive, but also
technically unfeasible in many cases.
The FMC does not understand the rationale for this requirement, which
would force small webcasters to incur unnecessary additional expenses
in the never-ending destruction and re-creation of the ephemeral copies.
Plus, in many webcasting architectures it is impossible to track ephemeral
copy creation and destruction; many are being created and destroyed all
the time. Ephemeral copies are created to facilitate legitimate webcasting,
therefore all requirements regarding the creation, destruction, and tracking
of ephemeral copies to be used in the process of legally webcasting should
be eliminated.
5. Elimination of Reporting under Penalty of Perjury
It is in the best interests of all parties to ensure that the essential
framework under which webcasters operate is clearly understood and reasonable.
Given the concerns stated above about the potential impracticality of
certain reporting requirements, and given the reality that any new process
like this will take time to become standardized, it seems unduly harsh
to require webcasters to sign their log sheets under the penalty of perjury.
For some, this alone may be a disincentive for them to continue webcasting.
The FMC believes that there may be more appropriate precedents in place
at the FCC regarding broadcasters’ obligations to be truthful in
their filings.
Conclusion
The Future of Music Coalition would like to thank the Senate Judiciary
Committee for organizing today’s hearing. Webcasters, copyright owners,
musicians, and the public are all passionate about their interests, and
share a common goal that webcasting should be viable in the future. We
urge the members to consider the following modifications to the proposed
rate and reporting requirements that have been suggested by the CARP tribunal:
1. Establishment of alternative license structures
2. Reasonable reporting requirements
3. Automation of reporting
4. Elimination of ephemeral copy logs
5. Elimination of the threat of perjury through reporting
The FMC recognizes that building better models for webcasting could be
a long and involved reformation process. In order for licensing rates
and reporting requirements to be scaled to meet the realities of different
classes of webcasters, there will need to be further discussions between
various parties to first distinguish the four classes of webcasters and
then come up with rates and requirements that are in line with their unique
characteristics. The FMC is more than willing to take part in these discussions
if they ensure that webcasting can continue to offer diverse and creative
programming to the public, and serve as an new revenue stream for musicians.
Respectfully
submitted,
Jenny Toomey. Executive Director
Michael Bracy, Director of Government Relations
Walter McDonough, Esq., General Counsel
Kristin Thomson, Research Director
Brian Zisk, Technologies Director
2. The FMC is currently conducting a multi-faceted research project
on the effects of consolidation on these two stakeholders that will be
completed in the next few months.
3. Radio Advertising Bureau.
4. “Will your Audience be Right Back After These Messages?”,
Edison Media Research/Arbitron, June 1999.
5. Corporation for Public Broadcasting. CPB Scan, December 28, 2000, page
30. “Radio’s Future – Today’s 12-24 Year Olds”,
study conducted by Edison Media Research/Arbitron, June 2000.
6. Neil Strauss, “The Country Music Country Radio Ignores”,
New York Times, March 24, 2002.
7. “State of the Radio Industry: Radio Transactions 2001: Where
Did All the Deals Go?” BIA Financial Networks 2002, page 11.
Musicians Get the Hint About Health Insurance
Two Raleigh concerts in memory of musician Drew Glackin; proceeds go to Glackin’s family and Future of Music Coalition’s Health Insurance Navigation Tool
April 10, 2008 Press release FMC's HINT program
New York State Music Education Events Examine Crucial Issues Facing Artists Forums in Rochester (April 28), Syracuse (April 29) and Albany (April 30) to focus on music, media, technology and policy issues for songwriters, composers and performers from all genres.
March 25, 2008 Event details | RSVP
Pop Rockers OK Go "Tour" Congress in Support of Net Neutrality
Damian Kulash and Andy Ross discuss the importance of open Internet structures to musicians; Kulash testifies before House Judiciary Committee.
March 13, 2008 Press release
Spoken testimony
Written testimony
Rock the Net
New York State Music Education Events Examine Crucial Issues Facing Artists Kick-off forum in Buffalo on April 2 to focus on music, media, technology and policy issues for songwriters, composers and performers from all genres. March 7, 2008 | Event details
Philly Bands Rocking for Net Neutrality February 23 Sugar Town show at Tritone in Philadelphia will showcase lady rockers and DJs, as well as musicians' support for net neutrality. February 15, 2008
OK Go and Bonerama Rocked DC for New Orleans Musicians Bands also champion FMC's "Rock the Net" campaign for net neutrality February 2 benefit show at DC's 9:30 Club raised over $8,000 for New Orleans musicians. Bands played cuts off their new benefit EP, You're Not Alone, available on iTunes on February 5. February 4, 2008
Upcoming Washington, DC show and benefit EP from OK Go & Bonerama
On February 2, OK Go and Bonerama will play a benefit at D.C.'s 9:30 Club in support of You're Not Alone - an EP to support Sweet Home New Orleans and Al "Carnival Time" Johnson. January 21, 2008
Successful New Orleans Concerts Aid Big Easy Musicians
Last week, two benefit concerts raised over $6,000 for Sweet Home New Orleans - a coalition of non-profit organizations that helps find affordable housing and provides rental assistance for the city's musicians - and Big Easy music legend Al "Carnival Time" Johnson.
January 15, 2008 Press release | Event details
Ann Chaitovitz Appointed
FMC's New Executive Director A proven leader in musician and public policy issues, Chaitovitz replaces founding Executive Director Jenny Toomey January 3, 2008
Concerts for New Orleans Musicians Bring Artists Together Two New Orleans shows and upcoming benefit CD from OK Go and Bonerama January 2, 2008
FMC's Jenny Toomey Appointed Program Officer for Ford Foundation
Kristin Thomson to Serve as FMC’s Interim Executive Director Michael Bracy to Chair FMC Board of Directors November 26, 2007
Seattle "Rocked the Net" Rep. Jay Inslee advocated network neutrality;
joined by rocker Matt Nathanson, Reclaim the Media, FMC and local music business representatives October 31, 2007
Rock the Net: Campaign for Net Neutrality Rocks Seattle
Teleconference with Rep Jay Inslee on Tuesday, Oct 30. Matt Nathanson performs at Seattle’s Crocodile Café on Tuesday, Oct. 30 October 26, 2007
Future of Music Policy Summit to Tackle Critical Issues at the Intersection of Music, Law, Technology and Policy Sen. Byron Dorgan and Sen. Ron Wyden to Deliver Keynote Addresses
Mac McCaughan, Bob Mould, Marybeth Peters of the U.S. Copyright Office and More Than 90 Other Panelists Confirmed. September 10, 2007 Summit home page Press Credentialing
AT&T's muting of bands points toward a pattern of silencing political speech Content monitor did not edit out 20 instances of curse words during Pearl Jam webcast, despite AT&T claim it hires monitors to block "excessive profanity". August 13, 2007
Top musicians, lawyers, technologists confirmed for FMC's 7th annual Policy Summit August 13, 2007 Press Release Summit home page Press Credentialing
FMC Statement on AT&T Silencing Pearl Jam's lyrics during Lollapalooza webcast August 9, 2007
FMC Statement on Federal Trade Commission Report on Net Neutrality June 29, 2007
FMC files testimony with House Small Business Committee on CRB Webcasting Rates June 27, 2007 Press Release | Testimony
Clear Channel strips local, independent artists of digital performance royalties
FMC has discovered that Clear Channel's online application for local and independent artists to submit their music for airplay on each of its stations requires the artist to approve a licensing agreement that does away with their digital performance right. June 22, 2007
Low Power Radio Gets New Push in Congress
Congress introduces bills to create hundreds of new low power FM radio stations to cities and suburbs across the country. June 22, 2007
FMC Announces Dates for 7th annual Policy Summit
September 17-18, 2007
GWU Betts Theatre, Washington, DC June 11, 2007
FMC Organizes "Musicians Bringing Musicians Home II"
A Benefit Concert on May 27 at New Orleans' Tipitina's for Sweet Home New Orleans featuring: Indigo Girls, Damian Kulash of OK Go, Jim James of My Morning Jacket, Matt Nathanson, Pamela Z...and special guests
May 23, 2007 Press Release | Details
Congressman Mike Doyle to address conference on music, law and technology
May 2 event will bring together leading experts from worlds of music, law, technology and policy. April 25, 2007
A2IM Endorses Rock the Net Campaign
American Association of Independent Music urges its label members to join the campaign for network neutrality. April 17, 2007
Music Mashes with Policy at upcoming Technology and IP Policy Day
May 2 event will bring together leading experts from worlds of music, law, technology and policy. April 16, 2007
FMC Applauds FCC's Payola Settlement
Payola agreement by FCC and big broadcast chains represents a major - but tentative - step toward once again opening the nation's airwaves to local music and voices. April 13, 2007
Rep. Edward Markey, Ted Leo kick off "Rock the Net"
Nearly 150 artists and labels have already signed onto campaign for net neutrality
March 27, 2007 Press Release | Rock the Net
Major Artists To Join Launch of Rock the Net Campaign for Net Neutrality March 23, 2007
FMC Statement on FCC's "Rules of Engagement" On Payola March 5, 2007
FMC Files Reply Comments in FCC Media Ownership Proceeding January 16, 2007
FMC Statement on FCC Payola Settlement
FMC's statement on FCC's reported consent decree with the broadcast industry in regards to payola. January 16, 2007
Radio Station Ownership Consolidation Shown to Harm Musicians and the Public
FMC study shows that the rapid consolidation of the commercial radio industry that followed the Telecommunications Act of 1996 has led to a loss of localism, less competition, fewer viewpoints and less diversity in radio programming in media markets across the country.
December 13, 2006 Press release Report details
FMC Organizes Musicians Bringing Musicians Home Benefit concert at New Orleans' Tipitina's on November 6th featuring Steve Earle, Mike Mills, Allison Moorer, Tom Morello, Boots Riley, Corin Tucker and special guests.
October 23, 2006 Read press release Read press coverage
Job
Losses Associated with Radio Consolidation Undermine Localism and Diversity FMC, Newspaper Guild and Consumers Union urge FCC to take employment effects
of their policies into account during upcoming review of media ownership rules August 9, 2006
FMC Releases Research on Employment and Wage Effects of Radio Consolidaton August 9, 2006
FMC on Preserving the Dynamism of the Internet Opinion Piece on ABC News June 29, 2006
FMC Statement on Senate Commerce Committee Vote in Support of LPFM June 28, 2006
FMC Statement on FCC Media Ownership Proceeding June 21, 2006
Indie-rock revolution, fueled by net neutrality Op-ed by FMC's Jenny Toomey and Michael Bracy June 13, 2006
Pearl Jam Donation To Help Musicians Help Themselves Proceeds From Washington, DC Appearance to be Donated to FMC Artist Research
Council May 25, 2006 Press Release
FMC signs on letter to preserve net neutrality May 17, 2006
FMC Announces Dates for Sixth Annual Future of Music Policy Summit
October 5-7, 2006 Media Advisory May 15, 2006
FMC Statement on Release of Feingold's Radio and Concert Disclosure
and Competition Act of 2005 November 18, 2005
FMC Sends Letter to Senate Commerce Committee in Support of a
Public Performance Right for Sound Recordings October 19, 2005
Top Names in Music, Law, Technology and Policy Return to Debate Critical
Issues at Fifth Annual Future of Music Policy Summit
September 6, 2005 Media Advisory | Policy
Summit home page
FMC Announces Health Insurance Navigation Tool
August 9, 2005 HINT Home Page
FMC Press Release: Music Mashes with Policy at DC Policy Day April 8, 2005
FMC's Michael Bracy Testifies in front
of House Judiciary Committee on "Digital Music Interoperability" April 6, 2005
FMC files comments at US Copyright Office on "Orphan
Works"
Comments also ask Copyright
Office to consider status of out-of-print recordings March 25, 2005
FMC Sends Letter to Senate Stating Concerns about S 193, Broadcast Decency Enforcement
Act March
10, 2005
FMC and artist groups file joint reply comments at FCC on localism in broadcasting,
MB Docket 04-233
January
3, 2005 PDF of document
