The New Streaming Music Industry
Learn how you are earning royalties but not getting them from YouTube, Pandora, Spotify, Rhapsody and more.
Casey Rae-Hunter is a musician, policy pundit and the Deputy Director of Future of Music Coalition. He gives frequent talks at conferences and campuses on issues at the intersection of creativity, technology, policy and law, and is a go-to source for major media outlets from NPR to the New York Times. Casey works alongside leaders in the music, arts and performance sectors to bolster understanding of and engagement in key policy and technology issues, and has written dozens of articles on the impact of technology on the creative community. Casey is an adjunct professor at Georgetown University and serves on the Board of Directors of the Media & Democracy Coalition and the National Alliance for Media Arts and Culture. He is the owner/operator of Lux Eterna Records and records and publishes under The Contrarian moniker.
In his role, Jon Maples oversees the design, creation and improvement of the Rhapsody product and service. Jon's career spans over 20 years, and includes developing digital audiences, building great user experiences and content programming. Under Maples' direction, Rhapsody's products have driven significant business growth and increased customer engagement.
Jon brings a deep journalism background to Rhapsody, where he also oversees the company's editorial practice. Previously, Jon managed online properties for the San Francisco Bay Guardian, Netscape and Real Networks. He was a senior writer and managing editor at Red Herring covering digital media with an emphasis on music, at the time the magazine was the tech industry zeitgeist. Jon is a native of Chicago and resides in San Francisco and Seattle.
Bryan Calhoun is the VP of New Media and External Affairs at SoundExchange (www.SoundExchange.com), the non-profit performance rights organization that collects statutory royalties from satellite radio, internet radio, cable TV music channels and similar platforms for streaming sound recordings. The U.S. Copyright Office has entrusted SoundExchange as the sole entity in the United States to collect and distribute these digital performance royalties on behalf of recording artists and master rights owners. Bryan is instrumental in reaching out to artists and rights holders, enhancing and strengthening the role SoundExchange plays in and educating the music business community.
Bryan Calhoun's holds a B.B.A. in Finance from the University of Georgia (recently the cover story in the university’s alumni magazine, Terry). As a disk jockey for the university's radio station and a member of the school's student event programming team, he was already active in the music business upon graduation. Bryan went on to found a concert production company (producing Hip Hop shows in the early 90s with Cypress Hill, Tupac, Digable Planets, and many others) before moving into street promotions and retail marketing. During an active career, Bryan has worked at record distribution companies and done A&R, marketing and business development for major and indie labels.
In 2003, Mr. Calhoun opened Label Management Systems, LLC, whose clients have included MSN Entertainment, G.O.O.D. Music, Disturbing tha Peace, Monster Cable and others. Additionally, he created business tools for indie labels and artists with the Music Business Toolbox (www.MusicBusinessToolbox.com) and Label Management Systems Financial Management Software. In recent years he has focused on new media issues consulting the likes of Kanye West, Ludacris and others including working closely with powerhouse management company Hip Hop Since 1978 (Kanye West, Lil’ Wayne, Drake and Young Jeezy).
Bryan has been influential in advocating for the Performance Rights Act which would entitle artists to be paid when AM and FM broadcasters us their work. He is actively involved in looking at future business models in the music industry contributing significantly to the open financial modeling tool (www.APriceForMusic.com) which looks at the potential and feasibility for an access to music charge. In addition to his service on the Boards of the Future of Music Coalition and University of Georgia Music Business School, he is a frequent speaker and panelist at music industry events.