Who gets paid when “Respect” is played on terrestrial radio? You might think it’s Aretha Franklin, the artist whose soulfully commanding vocal made it one of the most indelible tunes of any era. Nope. Since the late Otis Redding wrote the song, his estate gets the spoils (as does his publisher). While no one would deny Otis his due, Aretha’s performance is a huge part of that recording’s success. Her contribution is recognized by satellite radio and webcasters, who pay a royalty to Aretha and her label when the tune is broadcast. Terrestrial radio, however, fails to compensate her. read more

Hip-hop has always been about getting the word out, by any means necessary. In the past this meant dealing with all kinds of intermediaries — those gatekeepers at major labels, radio stations, video outlets and magazines who decide which talent rises from the streets to the mainstream. With the Internet, today’s hip-hop artists are taking the hustle into their own hands, finding new ways to connect their words and rhymes with potential audiences without interference or censorship.

This way of digital life might not last forever. Powerful companies that provide your Internet hookup (Internet Service Providers, or ISPs) are looking to alter the fundamental way the web works, by deciding the wheres, whos and hows of information exchange.That’s why public interest groups, technology experts, innovators and creative types are fighting to preserve net neutrality — the principle that protects the open internet.

In this article, hip-hop journalist Eric Arnold reports on net neutrality’s effect on the hip-hop community. read more

In the fall of 2007, the Federal Communications Commission presented a rare opportunity to revitalize local radio in communities across the country. For one week in October, nonprofit groups could apply to the Commission for full-power FM radio stations. FMC identified the more than 200 organizations that could benefit from having a full-power radio station. Along with Radio for People coalition, FMC worked to ease a process that would otherwise be daunting, connecting applicants with lawyers and engineers and guiding them through each step of the process. “In particular, we zeroed in on groups that would bring new and diverse music programming to the air,” says Cook.

Through conversations with various applicants — from the Milwaukee Symphony Orchestra to a transmission arts collective in upstate New York — this article explains the opportunity that this full-power window represents and how FMC helped creative communities organize and engage in the process. read more