The Right to Control Our Work – the ability to decide when and on what terms our creative works are performed, reproduced, or distributed, and the ability to assign these rights to partners of our choosing.
The Right to Economic and Artistic Freedom – including the right to fair market value compensation for creative work on all platforms at all times and a music ecosystem that incentivizes creativity, breadth and variety, diversity among creators and styles, and that nurtures and supports the next generation of artists.
The Right to Attribution and Acknowledgment – including ready access for all audiences on all platforms to credit information and liner note materials.
The Right to a Music Community – including fully funded public arts education and support for non-commercial performances and works so that creative opportunities, expression, and connection are open to all and society is broadly enriched by as many forms of art and as much artistic participation as possible.
The Right to Competitive Platforms – including channels of distribution, communication, and social media that are competitive, transparent, accurate, secure, open to all on non-discriminatory terms, protective of user privacy, and free of industrial scale piracy and any other commercialized theft of our work.
The Right to Information and Platform Transparency – including effective audit and transparency rights with respect to all platforms, services, and companies that use, distribute, or monetize our work.
The Right to Political Participation – including the ability to advocate for the recognition and protection of all these rights without retribution, blacklisting, or retaliation from distribution channels, platforms, or partners; and the elimination of restrictions on organizing and collective action in support of such advocacy.
Maggie is the label manager of Bikini Kill Records, bass player of the band Hurry Up, DJ Magic Beans, and part of the all-women DJ troupe Strange Babes, who have a radio show on XRAY.fm. She was one of the organizers of the first Ladyfest in 2000. Maggie has also been in dozens of bands over the past 30 years, most notably Bangs from 1997-2003. Maggie is serving her second year as a governor with the Pacific Northwest Chapter of the Recording Academy (GRAMMYs®).
Last summer, John Prine honored ARA by joining our fledgling Music Council. His participation honored all of us.
With his passing, we no longer have John’s name on the Council rolls, a painful additional loss piled onto the enormous toll of heartbreak being felt around the world.
Throughout his career, John sought to help us better understand our shared humanity. That goal will guide our work.
And we will always strive to hold ourselves and this organization to the standards of decency, compassion, and artistry that he set.
Rest in Peace, John Prine.