The future of radio might just reside, at least in part, in these LPFM stations. Marika Partridge has been in radio for most of her career and spoke with Geeks and Beats before joining a panel on the topic at the Future of Music Coalition’s Music Policy Summit in Washington, D.C. recently. After several years in Alaska, she moved to Washington to serve as an engineer and, later, producer of NPR’s All Things Considered. She’s been a driving force behind the creation of Takoma Radio, an LPFM station scheduled to go live early next year in the DC suburbs.
Apple and Google have both launched paid platforms for music streaming, which allows unlimited, on-demand selection of songs online.
“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists”, said Casey Rae, chief executive of the Future of Music Coalition, an artists’ advocacy group. The 30-second format helps ensure that users don’t get bored with the songs, but it also has a nifty legal function: It sharply reduces royalty fees Facebook has to pay.
Direct deals by consolidated music publishers are de facto anticompetitive, lacking in transparency and potentially harmful for songwriters. At the recent round of music licensing hearings before Congress, BMI addressed the issue of “interim licensing.” Both ASCAP and BMI have the ability to negotiate interim fees.
Tucked away in the basement of a nondescript Columbia Heights house, some of the most exciting music in years has been recorded at Swim-Two-Birds, the home studio of spouses Hugh McElroy and Kevin Erickson. From Priests to the Cornel West Theory to Hemlines, Swim-Two-Birds has become synonymous with a certain sound among D.C.’s musical contingent. That’s mostly due to the studio’s all-analog setup—rare in today’s digitally obsessed culture—but also because of who Hugh and Kevin are: deeply passionate music nerds. Hugh—a D.C. native—has been a part of the local punk scene for years, playing in experimental post-hardcore band Black Eyes in early aughts, while Kevin works full-time advocating for artist’s rights with the Future of Music Coalition. read more
“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists,” said Casey Rae, chief executive of the Future of Music Coalition, an artists’ advocacy group. “In reality, not all artists are able to make those same choices.”
With her last album, “21,” released in early 2011, Adele scored the kind of blockbuster success that the industry had all but written off as extinct. It sold about 30 million copies around the world, making it one of the most popular releases in decades; in the United States, a majority of its 11 million sales were on CD. read more
Through their success, these three women have also accumulated a rare level of power in the industry, allowing them to take risks over how their music is released and consumed, and the rest of the business has taken notice.
“If Adele decides to not have her music on streaming for a certain period of time, that is going to send a strong signal to other artists,” said Casey Rae, chief executive of the Future of Music Coalition, an artists-advocacy group. “In reality, not all artists are able to make those same choices.”
In response to this article, the Future of Music Coalition (FMC)—a D.C.-based nonprofit group championing musicians and their rights to fair compensation—posted an extensive critique, faulting Johnson’s article on several points. In particular, FMC objects that, by using the U.S. Bureau of Labor Statistics’ Occupational Employment Statistics (OES) to support his conclusion about the rise of musicians in the U.S., Johnson overlooked key limitations and definitional issues associated with the dataset. Similarly, FMC maintains that his findings about musicians’ incomes do not reveal how those incomes are distributed, and how the distribution pattern has changed over time. read more
October was a busy month for Berklee Online! Academic Advisors, faculty, and staff attended conferences from D.C. to L.A., meeting our online students and making face-to-face connections. Read on for photos and stories from the road…
On Monday and Tuesday, musicians and policymakers gathered at Georgetown again for the summit’s 15th iteration, this time in Lohrfink Auditorium in the Rafik B. Hariri Building. Many of the pressing issues discussed, including music streaming, data, artist compensation and artist advocacy, stemmed from the same discussions at the 2000 summit.
“It’s not like we’ve come out of summit for 15 years with a five-point plan of how we’ll fix the music industry,” Rae said. “But we do promote a more diverse industry that isn’t just one model — respect for artists who aren’t and don’t want to compete at a Taylor Swift, Beyoncé level.”
In order for ASCAP and BMI to effectively compete with SESAC and to most efficiently service their members, their licensees and the general public, the Consent Decrees need modification. First, ASCAP and BMI must be permitted to allow the partial withdrawal of rights by its members, particularly its publisher members. The Consent Decrees have to date been construed to allow publisher members to either use ASCAP or BMI for ALL of their performance rights or for NONE. See Broadcast Music, Inc. V. Pandora Media, Inc. 13 CIV. 4037 (LLS), 2013 WL 6697788 (S.D.N.Y. Dec 19, 2013); see also ASCAP-BMI Consent DecreesFuture of Music Coalition (October 3, 2014).