[…]”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.”[…]
[…]According to a rather dreary report on musician jobs released by the school this week, most musicians are struggling with moderate salaries (at best), are underemployed in their chosen craft, and are working multiple gigs to get by. And, session gigs, recording gigs, and salaried positions are all on the decline. Here’s a quick summary of Berklee’s report on the state of musical employment in 2012. The findings were based on a sample of 5,371 musicians and composers, conducted by the Future of Music Coalition (and released this year).[…]
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.
“Who the [heck] is this guy and why is he trying to sell me a warm sack of [poo]?”
This question lit up my mind last week, as I sat in the audience for the Future of Music Coalition Policy [sic] Summit in Washington, DC. The guy in question was, in fact, a US Senator — Sen. Ron Wyden (D-OR) — while said warm-sack-of-[poo] was the Internet Radio Fairness Act (IRFA), which Sen. Wyden is sponsoring in the Senate. read more
[…]This disconnect between old media companies and new is hilariously illustrated by comments that one of the bill’s sponsors, Senator Ron Wyden, a Democrat from Oregon, made recently at the Future of Music Coalition Summit. After some harsh words for the major labels, Wyden said the following, as quoted by Digital Music News: “Now, if it weren’t for the disruptive independent record labels — I’m talking about people like I.R.S. and Sub Pop and Tim/Kerr — we might never have known much about bands like R.E.M., and Nirvana and the Replacements … I sure want us to remember their enduring influence on not just rock music, but on their contributions to our culture and an entire generation.” read more
WASHINGTON, D.C.— There were moments Tuesday during the annual Future of Music Summit where the conversation about revenue in the digital music industry sounded like a scrum over crumbs, a desperate fight over an increasingly shrinking pie.
“There is so much competition for so much music, and it’s all so devalued,” said one exasperated music entrepreneur, Rodney Whittenberg. He was one of hundreds of musicians, executives, attorneys, policy makers and journalists who attended the conference, presented by the advocacy group the Future of Music Coalition. […]