About once a month, we get an email from a researcher, journalist, policymaker, or student asking us a simple question: how many musicians are there in the United States? Given FMC’s work with musicians, it makes sense that they ask us, but our answer is the same for everyone:
there is no reliable way to measure the real size of the US musician population.
In a post last week on the Artist Revenue Streams site, we outlined the particular challanges associated with estimating the size of the musician population in the United States. read more
During an interview with musician Rebecca Gates. Among the other topics we meandered to were those of modern media, the various challenges presented by putting out records in 2012. She mentioned the Future of Music Coalition, and the 42 streams of revenue it had identified for musicians.
I joked that was 41 more than had been identified for newspapers. […]
Whether on vinyl, cassette, CD or via digital download, income from the sale, license or performance of sound recordings has been a core part of many musicians’ income streams for decades. But there’s no doubt that income from sound recordings — perhaps more than any other — has experienced significant challenges and undergone serious changes in the past 10 to 15 years. read more
[…] Thomson says she hopes the study will help music fans to better understand the financial realities that musicians are dealing with.
“Sometimes there’s assumptions about musicians that, ‘Oh, they’re all rich,’ or the opposite, ‘Oh, this is just a hobby for them, they should get real jobs,’” she says. “There’s huge assumptions made about musicians, based on people thinking about all musicians being rock stars or crazy artists. We hope that this work, on the biggest level, can humanize or demystify the musical community … to give a sense of the more nuanced take on the way musicians knit a career together.”
Interview by Sara Kendall, Melinda Braathen, and Noah Reibel.
Kristin Thomson, from the Future of Music Coalition, joins us to discuss the report “Does Radio Airplay Matter?” The report is based on the findings of Artist Revenue Streams, a cross-genre examination of how US-based musicians’ revenue streams are changing, and why. Kristin discusses the future of radio, and asks: for musicians and managers, does radio matter? Kristin Thomson is also the co-owner of Simple Machines, an independent record label.
Every time you warble Don’t Stop Believin’ at karaoke or buy a poster of Justin Bieber represents a small handful of change in the music industry’s tipjar. In fact, the Future of Music Coalition has identified no less than 42 distinct revenue streams ranging from karaoke licensing to merchandise sales.
Christopher Bavitz talks with Future of Music Coalition’s Kristin Thomson about how/whether artists are making a living today.
For decades, commercial radio airplay was considered the silver bullet for success: a form of promotion with sufficient power and reach to generate significant record sales, while also accruing royalties (for songwriters and publishers) and massively raising an artist’s profile. read more
Like The Ramones, many musicians would say, “It’s not my place (in the 9 to 5 world).” So then, how do they pay the bills? It’s become more complicated than ever in light of changes in the music industry, so the Future of Music Coalition launched the Artist Revenue Streams project, which examines how revenue streams are changing and why. Project co-director Kristin Thomson talks to Jim and Greg about their most recent data: five financial case studies profiling how different kinds of musicians make a living. There’s the Jazz Bandleader-Composer, the Indie Rock Composer-Performer, the Jazz Sideman-Bandleader, the Professional Orchestra Player and the Contemporary Chamber Ensemble.
The Future of Music Coalition, a Washington, DC-based advocacy group for musicians, has recently been releasing results of an extensive study of revenue sources for today’s musicians. The project, called Artist Revenue Streams, included an online survey of over 5000 musicians, as well as extensive case studies of nine working musicians. Five case studies have been released so far.[…]
It’s the age of the one-man band, but the picture looks different from days past. Along with the drum on a strap, and a harmonica on a metal brace, the performer now carries a laptop – and with that and an Internet connection, she or he records and distributes music, designs Web sites, and schedules tour dates.
To understand better the issues affecting how American musicians earn a living today, the Future of Music Coalition launched in 2010 Artist Revenue Streams, a multi-stage research project to document musicians’ revenue streams. Kristin Thomson, co-director of “Artists Revenue Streams,” shares the recently-released results with CCC’s Chris Kenneally as part of the Beyond the Book Podcast series. […]