You’re coming to the 2011 Future of Music Policy Summit, right? We sure hope so — it’s shaping up to be our best conference yet. Registration is still at the Early Bird super-low rate of $199, so get in while you can. The always-incredible Policy Summit will return to Georgetown University in Washington, D.C. on October 3 and 4, 2011. As with our previous ten Summits (yes, it’s been that many!), Summit ‘11 will once again bring together musicians, policymakers, managers, academics, technologists, industry heads and the media to talk about the ins-and-outs of today’s music ecosystem. 

There’s no doubt that the music industry sometimes seems to be stuck on pause. But musicians aren’t waiting around for the future to come to them; they’re actively constructing it. To make the most of opportunities and avoid obstacles, musicians require the right tools and the right partners. The 2011 Future of Music Policy Summit will examine the issues that matter most to today’s musicians, songwriters and composers — from the hyper-local to the truly global.

Check your assumptions at the door, and join us in fast-forwarding to the future of music.
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There have been radical transformations in how music is created and distributed over the past decade. While it’s true that musicians’ access to the marketplace has greatly improved, how have these changes impacted their ability to generate revenue based on their creative work? FMC is launching the next phase of its ambitious Artist Revenue Streams (ARS) project with a detailed online survey for musicians and composers on September 6. 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. ARS represents the first time a U.S.-based organization has conducted a research project that examines musicians’ revenue streams across all genres and roles. The project engages with a wide range of musicians, including jazz artists, Nashville songwriters, session musicians, touring rock artists, classical composers, hip hop emcees and artists experimenting with direct-to-fan strategies through three research strategies: in-person interviews; financial case studies; and a wide-ranging online survey.

The online survey, which will be available from September 6 through October 28, 2011, will collect detailed information from thousands of U.S.-based musicians and composers about the ways that they are currently generating income from their recordings, compositions or performances, and whether/how this has changed over the past ten years. To sign up for an email alert to be notified when the survey is available to take and more information about the Artist Revenue Streams project, visit http://futureofmusic.org/ars.

The wonkier neighborhoods of the internet have been buzzing about a new bill introduced by Senator Amy Klobuchar (D-MN) that would make illegal streaming of copyrighted works a felony. Most of the bill’s critics worry that the amendments would allow the government to throw YouTube users, online video game tournament streamers and other seemingly minor infringers in jail. We at FMC feel that even though the bill would likely have less impact on musicians than it would on fans and internet users in general, it’s important to describe what’s actually, you know, in it. Because not all of what you might hear is accurate, our amazing Google Policy Fellow Liz Allen pulled together an in-depth analysis of what the bill actually says, what it changes in terms of penalties for the (already) illegal practice of illegally streaming copyrighted works and what safeguards are included for fair users and minor infringers. Of course, we couldn’t ignore all the criticisms out there, so we explored those too. If you don’t want to get bogged down by the technical nuances of the bill, at least take our advice and don’t let the hysteria surrounding its amendments make you stop using YouTube. We need more funny kitty videos, not less!

Here at FMC, we’re intrigued by the potential of “cloud music”— from mobile apps to remote storage lockers to sites and services that facilitate discovery and collaboration. When you look at recent developments, it seems that the future for digital music may be headed off of hard drives and into the cloud. Over on the FMC blog, we tell the story of Andre Vrignaud, a Comcast customer recently blacklisted from the ISP for one year after he exceeded his monthly data cap. What we’re concerned about with this story is that Vrignaud’s use of his broadband connection represents a legitimate use of the technology. For more on this story, check out our blog post about data caps, excessive use policies and FMC’s joint letter withPublic Knowledge and New America Foundation’s Open Technology Initiative to Chairman Julius Genachowski of the FCC on July 14, 2011. The letter is a request for the Commission to investigate the data cap policies of all ISPs, as recent anecdotal evidence suggests inconsistencies in their practices. Without some scrutiny over these practices, a legitimate digital music marketplace may not have an opportunity to flourish. Read the full letter here.

We also have some thoughts on AT&T’s recent announcement that it will begin throttling data speeds for 3G mobile network subscribers, even for users with unlimited data plans. AT&T is not the first telecom to take such measures  — Verizon and Virgin Mobile have already started reducing speeds for their heaviest data users. If you’ve ever used a mobile music app like Pandora, Rhapsody or Spotify, you know how quickly you can go over these arbitrary limits.Data caps and speed throttling could make things more difficult. In order to make sure we can keep rocking wirelessly, we need smart policies that encourage efficient use of spectrum and promote competition in the broadband marketplace. More on why we’re not convinced that AT&T shares this conviction over on the FMC blog.

Data has become huge for the music industry. From fan engagement to routing tours to selling product, the use of information collected online can make the difference between playing the Enormodome or sleeping in your parent’s basement (although the two aren’t necessarily mutually exclusive). Yet the explosion of mobile devices, apps and social networks raises some concerns about what data is collected from users, who the data is shared with and what standards should exist for transparency. To examine the issue, FMC’s legal intern dream team of Adam Holofcener and Liz Allen compiled an article exploring the current state of privacy policies in digital services that musicians are inclined to use. This is a complicated issue but one that musicians and and fans would do well to learn more about. Check out the piece here.

As we mentioned before, FMC has entered a partnership with Tito’s Handmade Vodka, the Austin-based maker of award-winning craft-distilled vodka. Tito’s has selected FMC as the beneficiary of a new fund drive to support the cause of working musicians and a vibrant music culture. Between July 1 and October 31, 2011, Tito’s will donate one dollar every time a Tito’s quick response (QR) code is scanned and clicked to tell the vodka makers to support the future for musicians. Tito’s QR codes will be found on promotional materials in stores and magazine ads; donations can also be made by visiting the site and clicking on the “Ask Tito to Donate” button. We’re psyched to partner with Tito’s, as they represent the same independent, entrepreneurial spirit we see in the musicians we work with and support. So scan those QR codes or head over to the Tito’s site to help FMC help artists of all genres and backgrounds reach audiences and make a living. More info here.

Who doesn’t need a snazzy new t-shirt? Show your friends how much you support FMC with our super-comfortable 100% cotton conversation-starter! Get your own here.

Several weeks back, FMC’s Deputy Director Casey Rae-Hunter joined TuneCore’s Founder/CEO Jeff Price for a live webcast on “The Sky’s the Limit? Musicians and the Cloud.” The conversation covered the recently announced cloud services of Amazon, Google and Apple; what these services mean for the independent musician with promises of easily-accessed storage space; and how songwriters receive public performance royalties from could-based service plays. Catch the full video on YouTube.

TuneCore’s got some exciting other things in the works, including an upcoming “How to Get Your Money” seminar on August 16 in New York City. Jeff will be joined by TuneCore’s President of Publishing Administration Jamie Purpora to talk about how musicians can get the monies owed to you by global performing rights organizations and other copyright collection agencies. The seminar is free; more info over at the Tunecore site.

Information about the Artist Revenue Streams project has been presented at several recent music events, including SF MusicTech, Rethink Music and the Societies’ Council for the Collective Management of Performers’ Rights. Project coordinators Jean Cook and Kristin Thomson will be leading a teach-in at the East Bay Community Foundation on August 19^. The project will also be discussed at other events throughout summer and fall, including the Future of Music Coalition Policy Summit.

FMC’s founding board member Brian Zisk’s latest SF MusicTech Summit will take place on September 12 at San Francisco’s Hotel Kabuki. Join San Fran’s music/tech leaders at thiscan’t miss event.

You can always contact us at suggestions [at] futureofmusic [dot] org if you have any questions.

Thanks,

Lissa Rosenthal
Jean Cook
Michael Bracy
Walter McDonough
Brian Zisk
Kristin Thomson
Casey Rae-Hunter
Chhaya Kapadia
Hannah Byam
Alex Maiolo

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