Today’s music landscape is filled with both excitement and foreboding. With so many new technologies and ways to promote and distribute music, how do performers, composers, songwriters and independent labels know how to participate, who to trust, and what is most effective?
FMC worked with the Old Town School of Folk Music and other musician organizations to program our fifth “What’s the Future for Musicians?” educational event, this one in Chicago on One Web Day — September 22, 2008. read more
The music industry continues to search for a sustainable long-term model for the digital age. Recently, industry leaders, musicians, and policy makers gathered to search for innovative solutions at the Future of Music Coalition Policy Summit in Washington, D.C.
“It’s chaos, the music industry right now,” said Greg Kot, music critic for the Chicago Tribune, during a panel discussion. “But chaos is not necessarily a bad thing.” read more
January 9, 2010 - 3:00pm - January 10, 2010 - 1:00pm
New York, NY
For the fifth year in a row, FMC will be curating a number of conversations at the annual Association of Performing Arts Presenters conference in New York City, January 8-12, 2010. Join us for sessions on the issues at the intersection of arts, technology and law; media, copyright and technology; and health insurance for creators.
To attend these sessions you need to be registered for the Arts Presenters conference. Click here for registration details. If you are an artist and would like to attend these sessions only and will not go to the APAP conference, email us at nicole [at] futureofmusic [dot] org. read more
Is it because you know who I am (hi mom!)? Is it because you assume I have something interesting to say? Are you looking for something to guide you? Inspire you? Entertain you?
These are questions that have plagued me since I first started thinking about the role of the journalist, particularly when it comes to my field of music criticism. I write things, put them out for consumption, but what prompts you, the audience, to consume them?
At this year?s Future of Music Policy Summit, I was determined to find out. And the panel on The Future of Music Journalism was just the place.
The panel was diverse and star-studded: Maura Johnston of Idolator, David Malitz of the Washington Post, Mike Riggs of Washington City Paper, Howard Mandel the president of the Jazz Journalists Association, Raymond Leon Roker of URB Magazine, Molly Sheridan of New Music Box, Eliot Van Buskirk of Wired.com, Scott Plagenhoef of Pitchfork, Greg Kot, host of Sound Opinions, and Tom Moon, music critic for NPR. If these folks didn?t know what the future holds, then nobody does.
Well, nobody knows?at least not for sure. read more
The Future of Music Coalition (FMC) held its annual music policy summit earlier this month, right in our backyard at Georgetown University. The FMC is a national nonprofit organization working ?to ensure a diverse musical culture where artists flourish, are compensated fairly for their work, and where fans can find the music they want.
The three-day event hosted some excellent speakers from various positions in the music industry. Bertis Downs, ?fifth? member of R.E.M., as well as Mike Mills gave very interesting interviews and panel discussions. Peter Jenner, who has represented the likes of Pink Floyd, T. Rex, the Clash and Billy Bragg, gave excellent commentary on copyright issues, as did Hank Shocklee of Public Enemy, and media prankster Kembrew McLeod. Ian MacKaye, and Daniel Elk from Spotify also spoke.
We did it! Another amazing Future of Music Policy Summit is behind us, but we’ll always have the memories. This year’s conference â€” our eighth â€” was probably our best yet; if you were with us at Georgetown University in DC from Oct. 4-6, you definitely know what we’re talking about. Maybe you were one of the thousands of people who watched the live webcast? Either way, we thank you so much for participating in the event. Read on for some of the highlights, as well as a few other things we’ve been working on in our “spare time.”
1. Future of Music Policy Summit 2009: awesomeness roundup!
2. FMC, PBS’ Independent Lens & Community Cinema present COPYRIGHTCRIMINALS
3. Music 2.0 and the “29 Streams”
4. Big wins for Low Power FM
5. Performance Rights Act passes in Senate Committee
6. FMC’s Michael Bracy on NPR’s “Sound Opinions”
7. Still fighting for net neutrality
8. FMC, musicians and speech
9. Travel and appearances
10. SanFran MusicTech is back!
11. How are we doing?
In the almost ten years that Future of Music Coalition has existed, we've seen tremendous changes in the way musicians go about reaching and cultivating fans. Perhaps the biggest development in our decade on the scene is in how artists are using the internet.
It's safe to say that nearly all of the exciting things that have gone down online are the result of net neutrality — the principle that protects the open internet. read more
We're thrilled to report that the Local Community Radio Act passed out of the House Committee on Energy and Commerce in a unanimous vote on Thursday, Oct. 15. This means the bill will now move to the full House.
Having worked on this issue for nearly a decade, we couldn't be more excited.
The Local Community Radio Act would allow for the creation of hundreds of new Low Power FM (LPFM) radio stations in communities across the country. But what is Low Power FM, anyway? read more
he music industry is trying to survive and possibly reinvent itself. Artists want to get paid. And consumers want music quickly, with no strings attached. Are all three goals achievable, and if not, who will lose out? Can unfettered access to the Internet co-exist with artists’ desires to get paid for their music? Can the music industry hack its way through a maze of legal obligations and create a new business model that entices fans before they disappear into the digital underground, where music runs wild and free?
These questions dominated the Future of Music Policy Summit in the nation’s capital, an annual gathering of some of the industry’s leading thinkers and innovators, alongside representatives of the music, technology, business and government communities.
A very inspiring organization, the Future of Music Coalition, have released a series of videos that explore new music industry models. The significance of these models is that they take into account how artists need to be compensated, but recognize the need to be relevant in culture. Of all of them, the subscription-based models stick out the most to me. Music consumers are no longer in the mindset of paying for music on a ?per unit? basis. Instead, we have come to expect to get our music for free, immediately, and involve little effort. A subscription service could possibly function within a culture like ours because it mostly matches this criteria. Subscription services, like Rhapsody, ?feel free? because it is an all you can eat buffet ? a once per month, small fee. In turn, a subscription offers the same flexibility and feel of free downloading.