[…] Artists still need to build a team to be successful. The 2010 Future of Music Coalition Artist Revenue Streams project concluded that high earning musicians ($100,000+ per year) were two times as likely to have certain paid or contracted team members.4 The results of the study suggest that while the Internet has enabled access to the market by anyone, revenue is still significantly affected by the presence of a team. read more
With a backdrop of the radio royalty wars raging in Washington, The Future Of Music Coalition is digging deeper into the data derived from it’s Artist Revenue Streams project in an effort to debunk the often held popular myth of the rich and easy life of the professional musicians.
According to their survey of 5,013 working musicians, their average personal gross income for the past twelve months was $55,561. This includes income from all sources: jobs (music related or not), pension payments, investments, etc. Then by multiplying personal gross income by the percent of income, the FMC calculated average gross estimated music income (EMI) to be $34,455. That’s $5000 lower than the Bureau of Labor Statistics’ per capita personal income estimate of $39,945 in 2010. […]
[…]But all of Pandora’s lobbying in support for the bill has antagonized musicians, and lawmakers. If it’s not careful, industry insiders said, Pandora could end up jeopardizing their business. read more
DC area music organizations Listen Local First and Metro Music Source co-hosted the Future of Music Summit kickoff party on November 12 at the Dunes following a pho (and fun) filled dinner at Pho 14 in Columbia Heights.
The party at The Dunes featured performances from local musicians including singer-songwriter Dan Fisk, jazz/bluegrass duo Bumper Jacksons, Michael Shereikis of afropunk band Chopteeth and Grammy-nominated hip hop artist Chrystylez Bacon.
Attendees mingled and sipped cocktails in the open space at The Dunes and discussed the plans for the highly anticipated Future of Music Summit.
[…]”Demand for music hasn’t gone down one iota. It’s actually increased. But it’s been effectively devalued,” Navarro said from his California home as he prepares for a swing through the Midwest this week. “To make it viable (has meant) a return to an old system, the oldest part of which is to do it yourself.” read more
[…]A few weeks ago, Lowery gleefully confronted supporters of the bill with this argument at the Future of Music Coalition Conference, which led bill sponsor, Senator Ron Wyden, to hit back and claim that, as one of the strongest defenders of the First Amendment, he’d never support a bill that took away free speech rights. He promised Lowery that he’d review the specific language of the bill, and if there were any interpretations that impacted free speech rights, he’d fix them. […]
[…]The roots of the tree are things like setting up your brand, your image, the foundation of who you are as a musician or band. The trunk is the gathering of fans and music contacts which is what supports all the branches. This is where networking and nurturing your fans is very important. The obvious money making branches are CD and download sales, merch sales and gigs. If you aren’t already doing those things - start there first. From there you can have as many branches as your tree can hold, and believe me the sky’s the limit. The Future of Music Coalition even did a research study on this topic and found 42 different streams (or branches) to boost your income in music .
[…]New features include updated salary and job information and more detailed salary ranges for many positions, such as TV and film score composer, music supervisor, and songwriter/lyricist. Job titles like video game composer, film score conductor, and concert hall manager that were not included in the previous edition have been added. A flowchart on negotiating a job offer and a resources section that includes professional music organizations and associations are also new, along with artist revenue trends with information from the Future of Music Coalition’s recent survey.[…]
[…]Casey Rae, deputy director of the artists’ advocacy group Future of Music Coalition, said that while he would like to see Pandora survive, the bill getting batted around in Washington at the moment isn’t the solution.
“It doesn’t take into account enough factors,” he said. “There’s no economic backbone to it. There haven’t been any impact studies. We need more data. We need to take the broader market to decide this is good.”
Levine agreed. “People in the music industry always disagree on how to make money,” he said. “This is one of the few things in which there’s almost no disagreement. It’s a pretty big deal.”[…]
A lack of economic data hampers the debate over fair royalty rates, said Casey Rae, deputy director of the artist-centered Future of Music Coalition. “There’s a need for more fact-based study of the economic impact of royalty rates” for different broadcast technologies, he said. “The rates should be reasonably platform neutral.” Different technologies will likely require different royalty rates, and a “one-size fits all’ solution isn’t ideal, he said. Rae and Kalo said changes should include a performance royalty for terrestrial radio, though Rae also said royalties assessed to over-the-air broadcasters might need to be structured differently.