DOCSLIB.ORG

Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control Table of Contents TECHNISCHE UNIVERSITÄT MÜNCHEN Dr. Theo Schöller-Stiftungslehrstuhl für Technologie- und Innovationsmanagement Openness in the music business– How record labels and artists may profit from reducing control Johannes L. Wechsler Vollständiger Abdruck der von der Fakultät für Wirtschaftswissenschaften der Technischen Universität München zur Erlangung des akademischen Grades eines Doktors der Wirtschaftswissenschaften (Dr. rer. pol.) genehmigten Dissertation. Vorsitzender: Univ.-Prof. Dr. I. Welpe Prüfer der Dissertation: 1. Univ.-Prof. Dr. J. Henkel 2. Univ.-Prof. Dr. F. v. Wangenheim Die Dissertation wurde am 09.12.2010 bei der Technischen Universität München eingereicht und durch die Fakultät für Wirtschaftswissenschaften am 11.05.2011 angenommen. i Table of Contents Table of Contents DETAILED TABLE OF CONTENTS .................................................................................................... II LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ....................................................................................................................... 1 2 FOUNDATIONS OF PROFITING FROM INNOVATION.................................................... 9 3 FOUNDATIONS OF PROFITING FROM MUSIC............................................................... 44 4 THE MUSIC BUSINESS AS EMPIRICAL SETTING.......................................................... 78 5 EXPLORING THE USE OF DIGITAL RIGHTS MANAGEMENT ................................... 95 6 EXPLORING THE USE OF CREATIVE COMMONS LICENSES ................................. 119 7 EXPLAINING ARTISTS’ ADOPTION OF CREATIVE COMMONS LICENSES......... 167 8 QUANTIFYING THE ADOPTION OF CREATIVE COMMONS LICENSES FOR MUSIC...................................................................................................................................... 214 9 DETERMINING CONSUMERS' VALUATION OF CREATIVE-COMMONS- LICENSED MUSIC................................................................................................................. 228 10 SUMMARY AND CONCLUSION......................................................................................... 241 APPENDIX............................................................................................................................................. 248 BIBLIOGRAPHY .................................................................................................................................. 279 I Detailed Table of Contents Detailed Table of Contents LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ....................................................................................................................... 1 1.1 MOTIVATION AND RESEARCH GOAL ........................................................................................... 1 1.2 RESEARCH DESIGN ..................................................................................................................... 5 1.3 STRUCTURE OF THE DISSERTATION ............................................................................................ 7 2 FOUNDATIONS OF PROFITING FROM INNOVATION.................................................... 9 2.1 APPROPRIATING VALUE FROM INNOVATIONS ............................................................................. 9 2.1.1 Use in own products............................................................................................................. 9 2.1.2 Licensing ............................................................................................................................ 10 2.2 PROTECTING INNOVATIONS...................................................................................................... 11 2.2.1 Intellectual property rights................................................................................................. 12 2.2.2 Secrecy ............................................................................................................................... 13 2.2.3 Complementary assets........................................................................................................ 13 2.2.4 Lead time............................................................................................................................ 14 2.2.5 Effectiveness and interactions............................................................................................ 14 2.3 FREE REVEALING AS A RENT -SEEKING STRATEGY .................................................................... 16 2.3.1 Cases .................................................................................................................................. 17 2.3.2 Reasons .............................................................................................................................. 20 2.3.3 Risks ................................................................................................................................... 25 2.3.4 Business models.................................................................................................................. 26 2.3.5 Transition to free revealing................................................................................................ 28 2.4 INDIVIDUAL INNOVATORS ........................................................................................................ 28 2.4.1 Characteristics and contributions ...................................................................................... 30 2.4.2 Theory of motivation .......................................................................................................... 33 2.4.3 Motivations of individual innovators.................................................................................. 34 2.4.4 Free revealing by individuals............................................................................................. 40 2.5 INTERMEDIATE CONCLUSION ................................................................................................... 41 3 FOUNDATIONS OF PROFITING FROM MUSIC............................................................... 44 3.1 INFORMATION GOODS .............................................................................................................. 44 3.1.1 Characteristics ................................................................................................................... 44 3.1.2 Protection mechanisms and value appropriation............................................................... 46 3.2 COPYRIGHT .............................................................................................................................. 47 3.2.1 Characteristics ................................................................................................................... 47 3.2.2 Historic development.......................................................................................................... 50 3.2.3 Importance for value appropriation................................................................................... 51 3.3 DIGITAL RIGHTS MANAGEMENT .............................................................................................. 53 3.3.1 Technological foundations ................................................................................................. 53 3.3.2 Benefits............................................................................................................................... 54 3.3.3 Drawbacks.......................................................................................................................... 57 3.4 DETERMINING THE OPTIMAL LEVEL OF PROTECTION ................................................................ 61 3.4.1 The impact of piracy........................................................................................................... 61 3.4.2 Using DRM to fight piracy ................................................................................................. 64 3.5 CREATIVE COMMONS ............................................................................................................... 66 3.5.1 Goals and origins............................................................................................................... 66 3.5.2 Licenses and Adoption........................................................................................................ 68 3.5.3 Benefits..............................................................................................................................
Load more

Recommended publications
  • The Dynamics of Legal and Illegal Digital Music Distribution Christian Syvertsen
    Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 1 Preface This paper was written as a Master thesis in Informatics for Christian Syvertsen at the University of Oslo. The Master studies were started spring 2005, and the thesis is to be delivered November 2007. This Master thesis has been realized at the department of Information Systems at the Institute of Informatics at the University of Oslo, with great assistance and advice by supervisors Jennifer Blechar and Ole Hanseth. November 2007 University of Oslo, Department of Informatics Page 2 of 86 Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 2 Abstract In this thesis I give an overview and background of the current digital music landscape, analyse it through Actor Network Theory and see the complexity of the network as making it difficult to break down into less holistic parts. Every part of the network influences the other. As illegal downloads of illegally copyrighted music only increases, it seems apparent that the record industry have taken a wrong strategy. Copyright laws have been tightened, DRM systems have been applied and lawsuits have been made, but it seems that it has no decreasing effect on the illegal downloads. I believe what the record companies must to is to put more efforts into making a better legal music download service, that actually can offer a better product than the P2P networks, because then increasing numbers of users will prefer that legal alternative. But for something like this to be achieved, there is a long way to go.
    [Show full text]
  • Summit Guide Guide Du Sommet Guía De La Cumbre Contents/Sommaire/Sumario
    New Frontiers for Creators in the Marketplace 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA www.copyrightsummit.com Summit Guide Guide du Sommet Guía de la Cumbre Contents/Sommaire/Sumario Page Welcome 1 Conference Programme 3 What’s happening around the Summit? 11 Additional Summit Information 12 Page Bienvenue 14 Programme des conférences 15 Autres événements autour du sommet ? 24 Informations supplémentaires du sommet 25 Página Bienvenidos 27 Programa de las Conferencias 28 ¿Lo que pasa alrededor del conferencia? 38 Información sobre el conferencia 39 Page Sponsor & Advisory Committee Profiles 41 Partner Organization Profiles 44 Media Partner Profiles 49 Speaker Biographies 53 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Welcome Welcome to the World Copyright Summit! Two years on from our hugely successful inaugural event in Brussels it gives me great pleasure to welcome you all to the 2009 World Copyright Summit in Washington, DC. This year’s slogan for the Summit – “New Frontiers for Creators in the Marketplace” – illustrates perfectly what we aim to achieve here: remind to the world that creators’ contributions are fundamental for cultural, economic and social development but also that creators – and those who represent them – face several daunting challenges in this new digital economy. It is imperative that we bring to the forefront of political debate the creative industries’ future and where we, creators, fit into this new landscape. For this reason we have gathered, under the CISAC umbrella, all the stakeholders involved one way or another in the creation, production and dissemination of creative works.
    [Show full text]
  • 7Digital Group Plc (“7Digital”, “The Group” Or “The Company”)
    26 September 2017 7digital Group plc (“7digital”, “the Group” or “the Company”) Interim results for the half year ended 30 June 2017 7digital Group plc (AIM: 7DIG), the global leader in end-to-end digital music solutions, today announces its interim results for the half year ended 30 June 2017 (“H1”). Highlights Strong sales momentum into the second half of the year - Total revenues up 17% on a pre currency movement basis and 9% on adjusted basis to £5.9m (H1 2016: £5.4m) - Licensing revenues up 33% to £4.0m (H1 2016: £3.0m) - MRR up 38% to £3.2m (H1 2016: £2.3m) - LBITDA reduced by 36% to £1.7m (H1 2016: £2.6m) Benefits from the acquisition of 24-7 Entertainment (“24-7”), effective from 1 June 2017, starting to come through with additional revenue of £530k in June as a result of the acquisition MediaMarktSaturn (“MMS”), Europe’s biggest electronics and entertainment retailer, becomes the Company’s largest shareholder following the acquisition of 24-7 Entertainment Contracts signed with MMS as part of the transaction with a value of £18.0m over three years Total combined value of other one/two year contracts signed in the period of £4.0m. These included contracts with all three major record labels, the re-launch of TriPlay's eMusic service in the US and a renewed contract with musical.ly across additional territories, with revenue to be recognised over the next year More than 65% of H2 licensing revenues (£7.5m out of £11.3m) already contracted or committed £2.9m raised through a placing and open offer in March 2017 which allowed
    [Show full text]
  • Stadtbote KW 12
    Amtsblatt der Stadt NEUENBÜRG mit den Stadtteilen ARNBACH · DENNACH WALDRENNACH ROTENBACH Herausgeber Stadt Neuenbürg Verantwortlich für den amtlichen Teil: Bürgermeister Horst Martin Anzeigen, Druck und Verlag: BIESINGER DRUCK GmbH & Co.KG Bahnhofstraße 5, 75305 Neuenbürg Telefon 0 70 82 / 94 45-0 Telefax 0 70 82 / 94 45-99 Mail [email protected] Stadt- und Ausgabe Nr. 11 / KW 12 25. Jahrgang 2016 Kultur-Info Donnerstag, 24. März Einzelgebühr: 0,65 € Die in Kooperation mit der Brüder-Grimm-Gesellschaft e.V. Kassel entstandene Schau „Scheherazade erzählt. Märchen aus 1001 Nacht“ zeigt jetzt im Schloss Neuenbürg rund 130 Exponate, darunter historische Landkarten, Märchenillustrationen des 19. und 20. Jahrhunderts sowie aufwändig ausgestattete Buchausgaben, die Einblicke in die orientalische Märchentradition geben. Gleich zu Beginn der Ausstellung begrüßen exotische Düfte einer Gewürzstation die Besucher und entführen in die Welt eines orienta- lischen Bazars. Das Foto zeigt Museumsleiterin Saskia Dams (links); Marketingleiterin Jacqueline Maltzahn-Redling sowie Prakti- kantin Julia Dvoratzek an der Gewürzstation. (Foto: Anita Molnar) Bürgermeister Horst Martin, die Mitglieder des Gemeinderates und die Mitarbeiter der Stadtverwaltung wünschen besinnliche und frohe Ostertage! KIRCHENGEMEINDEN IM STADTGEBIET NEUENBÜRG: EINLADUNGEN ZU DEN PASSIONSANDACHTEN; KARFREITAGS- UND OSTERGOTTESDIENSTEN EVANGELISCHES BEZIRKSKANTORAT NEUENBÜRG: AM KARFREITAG UM 18.00 UHR PASSIONSMUSIK IN DER STADTKIRCHE Neue Technologie im GelenkzentrumSchwarzwald Tagesstätte für psychisch erkrankte Menschen Caritasverband Pforz- Sonntagsdienste* heim e.V. Kath. Gemeindezentr. Sprollhaus Wildbaderstr. 22, 75305 Neu- enbürg, Frau Schäfer Tel.: 0163 612 8011, Donnerstag 10 – 16 Uhr. Allgemeiner Ärztlicher Bereitschaftsdienst unter 116 117 zu erreichen. Sozialdienste Pforzheim/Enzkreis* DIAKONISCHES WERK PFORZHEIM-STADT – Fachstelle Beratung und Unter- Zahnärzte stützung bei Häuslicher Gewalt u.
    [Show full text]
  • THE FUTURE of IDEAS This Work Is Licensed Under a Creative Commons Attribution-Noncommercial License (US/V3.0)
    less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page i THE FUTURE OF IDEAS This work is licensed under a Creative Commons Attribution-Noncommercial License (US/v3.0). Noncommercial uses are thus permitted without any further permission from the copyright owner. Permissions beyond the scope of this license are administered by Random House. Information on how to request permission may be found at: http://www.randomhouse.com/about/ permissions.html The book maybe downloaded in electronic form (freely) at: http://the-future-of-ideas.com For more permission about Creative Commons licenses, go to: http://creativecommons.org less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page iii the future of ideas THE FATE OF THE COMMONS IN A CONNECTED WORLD /// Lawrence Lessig f RANDOM HOUSE New York less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page iv Copyright © 2001 Lawrence Lessig All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Random House and colophon are registered trademarks of Random House, Inc. library of congress cataloging-in-publication data Lessig, Lawrence. The future of ideas : the fate of the commons in a connected world / Lawrence Lessig. p. cm. Includes index. ISBN 0-375-50578-4 1. Intellectual property. 2. Copyright and electronic data processing. 3. Internet—Law and legislation. 4. Information society. I. Title. K1401 .L47 2001 346.04'8'0285—dc21 2001031968 Random House website address: www.atrandom.com Printed in the United States of America on acid-free paper 24689753 First Edition Book design by Jo Anne Metsch less_0375505784_4p_fm_r1.qxd 9/21/01 13:49 Page v To Bettina, my teacher of the most important lesson.
    [Show full text]
  • Report by CEO Dr. Harald Heker
    GENERAL ASSEMBLY GEMA 10 JUNE 2021 REPORT OF THE CEO AND CHAIRMAN OF THE MANAGING COMMITTEE DR. HARALD HE- KER Dear members, Our last General Assembly took place early October 2020. Back then, silence ruled Germany’s stages. Today, it is still quiet. A silence which affects us all. And a stark contrast to GEMA’s bustling activities. Even though the licensing operations for the live sector disappeared in general, we have been busy working on other measures. Measures - To cushion the effects of the pandemic for our members and customers at least a little, - To lobby politicians for specific subsidies for creators, performers and publishers affected by the pandemic, - To push for digitisation processes to be accelerated. - And we were, of course, intensively involved when it came to the implementation of the EU Copy- right Directive into German law. Let me focus on this topic first as it has created a lot of upheaval in the last few weeks. On 20 May, the German Bundestag adopted the EU Copyright Directive into national law. It was the biggest reform of copyright in a long time. This process had, however, started more than 10 years ago. Back then, we already took a strong stand in Brussels for a new copyright. That was because the lack of a governing law made it possible for host providers such as YouTube to refuse to adequately pay creators and to simply walk away from the negotiating table. A political solution was therefore urgently needed. And GEMA contributed significantly that this solution was finally reached. In 2019, the EU Directive was finally adopted.
    [Show full text]
  • Artists Without an Income?
    Artists without an income? Critical analysis of the value gap and its impact on emerging artists and the music industry Jenny-Maria Lohiniva Supervisor: Fredrik Schoug MSc in Media and Communication Lund University 2019 Abstract This thesis seeks to discover what are the consequences of the value gap, for the emerging artists and the music industry by critically evaluating the concept of value gap and what it means for the music industry. This will also lead the way to discovering how emerging artists are “making it” in the era of music streaming, and which aspects are playing a significant role in this. In addition, the consequences of the value gap in terms of creating value are discussed, both for the emerging artists and for the music industry. Lastly it is discovered that how is the music industry adapting to the changes that the value gap and the streaming services have created. The aim is to critically evaluate the notion of the value gap, and to discover whether is it a claim coming from the music industry, or are artists of today not receiving enough revenue for their music. The information is gathered by qualitatively interviewing emerging artists and music industry professionals in Finland. This thesis argues that value gap, is not as simple as the industry makes it look like. There is a common claim, that due to streaming services artists are not receiving financial value in the same way as if they would sell records. Therefore, it is discussed that the latest technological developments in the music industry have made artists careers challenging, but this research argues that the situation is not quite as simple.
    [Show full text]
  • The Song Remains … the Same? Three Case Studies of Issues of Digital Preservation in Second Life Performance Practices
    The Song Remains … The Same? Three Case Studies of Issues of Digital Preservation in Second Life Performance Practices Dennis Moser I. Conceptual Differences Across Disciplines: Needs & Approaches The practice of documentation of performances such as music, theater, and dance and performance art is an integral part of the cultural record. As such, it is subject to change and evolution over time, as well as the vagaries of natural catastrophe, social disorder, or any of the myriad disrupters of human history. The application of the practice of documentation varies according to the discipline utilizing it; indeed, even its efficacy varies from culture to culture and from discipline to discipline. Couple this with our movement deeper and deeper into the use of digital technology for the manifestation of culture and we must grapple with new solutions for capturing and conveying the essentials of these acts of expression. The emergence of performance and installation art in the 20th century gave rise to a field of critical theory somewhat at odds with other approaches of documentation, couched as it was in the visual arts. While aspects of theater and dance have influenced this critical theory, the performance practice considerations of music have not played as much a role in defining it. Indeed, considerable discussion has been generated, over understanding just what comprises “documentation”, whether photography is ‘documentary’ or ‘theatrical’, or if it is a ‘conceptual medium for documentation’ (Taylor, 2009). This reflects a concern for the “visual” aspect of “performance” art as opposed to the temporal aspects so inherent in both music and dance.
    [Show full text]
  • Hierarchical Categorisation of Web Tags for Delicious
    HIERARCHICAL CATEGORISATION OF WEB TAGS FOR DELICIOUS J. Parra-Arnau, A. Perego, E. Ferrari, J. Forné and D. Rebollo-Monedero1 INTRODUCTION In the scenario of social bookmarking, a user browsing the Web bookmarks web pages and assigns free-text labels (i.e., tags) to them according to their personal preferences. The benefits of social tagging are clear – tags enhance Web content browsing and search. However, since these tags may be publicly available to any Internet user, a privacy attacker may collect this information and extract an accurate snapshot of users’ interests or user profiles, containing sensitive information, such as health-related information, political preferences, salary or religion. In order to hinder attackers in their efforts to profile users, this report focuses on the practical aspects of capturing user interests from their tagging activity. More accurately, we study how to categorise a collection of tags posted by users in one of the most popular bookmarking services, Delicious (http://delicious.com). METHODOLOGY As frequently done in collaborative tagging sites, the profile of a user is modelled as a tag cloud, that is, a visual representation where tags are weighted according to their frequency of use. Note that tag clouds are in essence equivalent to normalized histograms of tags. Nevertheless, the representation of a user profile as a cloud, or equivalently as a normalized histogram, of all the tags submitted by users is clearly an inappropriate approach; not only because of the intractability of the profile, but also because it makes it difficult to have a quick overview of the user interests. For example, for users posting the tags “welfare”, “Dubya” and “Katrina” it would be preferable to have a higher level of abstraction that enables us to conclude, directly from the inspection of the user profile, that these users are interested in politics.
    [Show full text]
  • Text of the German Application of Art of Coding
    This is the Text of the German application of Art of Coding (www.http://demoscene-the-art-of-coding.net) with the purpose of bringing the demoscene onto the ​ ​ list of UNESCO intangible cultural heritage of humanity. The application was submitted in Oct 2019 and has been written in an collaborative community effort led by Tobias Kopka supported by Andre Kudra, Stephan Maienhöfer, Gleb Albert, Christian Brandt, Andreas Lange and many more who gave their hands at Digitale Kultur und Tastatur und Maus e.V. The structure depends on the form, which is given by the German UNESCO. In spite the structure differs from forms used in other countries text modules can be used for application in other countries. The texts in square brackets are part of the German form. Also every kind of feedback is welcome, which could be taken into account for future use. Use ‘team (at) demoscene-the-art-of-coding.net’ 1. Type of Immaterial Cultural Heritage [Please tick the applicable sections and elaborate in keywords (multi-selection possible, but not mandatory)] Section A) verbally passed on traditions and expressions [keywords]: own technical vocabulary, own idiom with specialized terminology, English is lingua franca Section B) performing arts (music, theatre, dance) [keywords]: composition, performant, live, public presentation, animation Section C) social tradition, (seasonal) celebration and ritual [keywords]: demoparties, competitions, visitor voting, price ceremonies Section D) Knowledge and customs, related to nature or the universe [keywords]: digitalized living environment, cyberspace, virtual reality Section E) traditional craftsmanship [keywords]: coding, composition, animation, adoption, do-it-yourself Section F) other 2.
    [Show full text]
  • Fragen Zu Musik-Streamingdiensten Und Missbrauch Einer Marktbeherrschenden Stellung Im Musikmarkt
    Wissenschaftliche Dienste Ausarbeitung Fragen zu Musik-Streamingdiensten und Missbrauch einer marktbeherrschenden Stellung im Musikmarkt © 2014 Deutscher Bundestag WD 10 - 3000 - 049/14 Wissenschaftliche Dienste Ausarbeitung Seite 2 WD 10 - 3000 - 049/14 Fragen zu Musik-Streamingdiensten und Missbrauch einer marktbeherrschenden Stellung im Musikmarkt Verfasser: Aktenzeichen: WD 10 - 3000 - 049/14 Abschluss der Arbeit: 20. Juni 2014 Fachbereich: WD 10: Kultur, Medien und Sport Telefon: Ausarbeitungen und andere Informationsangebote der Wissenschaftlichen Dienste geben nicht die Auffassung des Deutschen Bundestages, eines seiner Organe oder der Bundestagsverwaltung wieder. Vielmehr liegen sie in der fachlichen Verantwortung der Verfasserinnen und Verfasser sowie der Fachbereichsleitung. Der Deutsche Bundestag behält sich die Rechte der Veröffentlichung und Verbreitung vor. Beides bedarf der Zustimmung der Leitung der Abteilung W, Platz der Republik 1, 11011 Berlin. Wissenschaftliche Dienste Ausarbeitung Seite 3 WD 10 - 3000 - 049/14 Inhaltsverzeichnis 1. Einleitung 4 2. Daten zur Struktur des Welt-Musikmarkts 6 3. Daten zur Struktur des Musikmarktes in Deutschland 10 3.1. Gesamtbetrachtung 10 3.2. Streamingdienste 13 4. Vorliegen einer marktbeherrschende Stellung 16 4.1. Deutsches Recht 16 4.2. Europäisches Recht 16 4.3. Marktstruktur 18 4.4. Unternehmenseigenschaften 19 4.5. Marktverhalten 20 5. Missbrauch einer marktbeherrschenden Stellung 21 5.1. Ausbeutungsmissbrauch 22 5.2. Behinderungsmissbrauch 22 5.3. Marktstrukturmissbrauch 22 6. Schlussbemerkung 23 7. Literatur 24 8. Tabellen- und Abbildungsverzeichnis 27 Wissenschaftliche Dienste Ausarbeitung Seite 4 WD 10 - 3000 - 049/14 1. Einleitung Musikstreaming stellt für die Musikindustrie einen weiteren zunehmend attraktiven digitalen Vertriebsweg dar. Der Trend zum Hören von ausgewählter Musik, ohne sie aus dem Internet herunterladen zu müssen, wird weltweit als weiter stark expandierend eingeschätzt.1 Die Zahl der Anbieter von Streamingdiensten wächst.2 Je größer die Reichweite bzw.
    [Show full text]
  • Marketing Plan
    ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A.
    [Show full text]