Debut Single Abandoned House by Jasmin Pearl
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Testimony of Jonathan Bender
Public Version Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Washington, D.C. In the Matter of: Determination of Royalty Rates and Terms Docket No. 16-CRB-0001 SR/PSSR for Transmission of Sound Recordings by (2018-2022) Satellite Radio and “Preexisting” Subscription Services (SDARS III) WRITTEN DIRECT TESTIMONY OF Jonathan Bender Chief Operating Officer SoundExchange, Inc. October, 2016 Public Version BACKGROUND AND QUALIFICATIONS I am the Chief Operating Officer of SoundExchange, Inc.("SoundExchange"), a position I have held since September 2011. In this role, I oversee the collection, processing and distribution of royalties for all types of seiwices eligible for statutory licensing, including the satellite digital audio radio services("SDARS") and preexisting subscription services ("PSS") at issue in this proceeding. The groups within SoundExchange that handle repertoire management, rights inanageinent, licensee management, data management, account services, and distribution services all report to me. Additionally, I oversee SoundExchange's technical involvement with licensees and assist with coordination of its systems requirements, development, testing and operations. In all, I have over 25 years of music industry business and management expertise, including senior operational roles at Concord Music Group, Universal Music Group, and EMI Music. I was senior vice president, operations, IT and digital development at Concord Music Group. Before joining Concord, I spent seven years with Universal Music Group, most recently as vice president, digital asset management and logistics. I also spent nine years with EMI Music, most recently as Director of New Technology. I hold a bachelor's degree from the University of North Carolina at Chapel Hill and an MBA from Harvard Business School. -
Bandpage & Rhapsody Discover Major
BANDPAGE & RHAPSODY DISCOVER MAJOR BREAKTHROUGH IN THE WAY MUSICIANS MONETIZE STREAMING Using Streaming Behavioral Data Is 10 Times More Effective Than Facebook at Driving Music Customers to Musician’s Stores San Francisco August 19, 2015 BandPage, the central profile that over 500,000 musicians use to engage and sell to hundreds of millions of fans, and Rhapsody, the music streaming pioneer, have announced the numbers from their recently launched partnership and the results are staggering. This partnership is focused around BandPage’s behavioral data algorithms which enable musicians to reach and connect with their biggest customers on streaming services. Over the first few months of the partnership, push notifications have been sent to thousands of consumers and the level of engagement on these notifications far exceeds typical clickthrough rates for other powerful platforms often used by musicians. On average, this clickthrough rate is twice as high as Google Search1, 10 times higher than average Facebook ads2 and over 50 times more effective than web display advertising.3 Clickthrough rate is a metric used by marketers to evaluate the relevance and appeal of a marketing message to a potential customer, in this case a music fan. Rhapsody leverages BandPage’s data analytics engine to identify superfans, the artist’s most engaged and passionate fans. Based on realtime analysis at the time a Rhapsody user plays a track, a highly relevant push notification is sent to the fan with a message from the artist. These messages notify fans of special experiences available in that artist’s BandPage Store or let the user know if the artist is coming to their town to play a gig. -
Sean Mcculloch – Lead Vocals Daniel Gailey – Guitar, Backing Vocals Bryce Kelly – Bass, Backing Vocals Lee Humarian – Drums
Sean McCulloch – Lead Vocals Daniel Gailey – Guitar, Backing Vocals Bryce Kelly – Bass, Backing Vocals Lee Humarian – Drums Utter and complete reinvention isn’t the only way to destroy boundaries. Oftentimes, the most invigorating renewal in any particular community comes not from a generation’s desperate search for some sort of unrealized frontier, but from a reverence for the strength of its foundation. The steadfast metal fury of PHINEHAS is focused, deliberate, and unashamed. Across three albums and two EPs, the Southern California quartet has proven to be both herald of the genre’s future and keeper of its glorious past. The New Wave Of American Metal defined by the likes of As I Lay Dying, Shadows Fall, Unearth, All That Remains, Bleeding Through, and likeminded bands on the Ozzfest stage and on the covers of heavy metal publications has found a new heir in PHINEHAS. Even as the NWOAM owed a sizeable debt to Europe’s At The Gates and In Flames and North America’s Integrity and Coalesce, PHINEHAS grab the torch from the generation just before them. The four men of mayhem find themselves increasingly celebrated by fans, critics, and contemporaries, due to their pulse-pounding brutality. Make no mistake: PHINEHAS is not a simple throwback. PHINEHAS is a distillation of everything that has made the genre great since bands first discovered the brilliant results of combining heavy metal’s technical skill with hardcore punk’s impassioned fury. SEAN MCCULLOCH has poured his heart out through his throat with decisive power, honest reflections on faith and doubt, and down-to-earth charm since 2007. -
Hamokara: a System for Practice of Backing Vocals for Karaoke
HAMOKARA: A SYSTEM FOR PRACTICE OF BACKING VOCALS FOR KARAOKE Mina Shiraishi, Kozue Ogasawara, and Tetsuro Kitahara College of Humanities and Sciences, Nihon University shiraishi,ogasawara,kitahara @kthrlab.jp { } ABSTRACT the two singers do not have sufficient singing skill, the pitch of the backing vocals may be influenced by the lead Creating harmony in karaoke by a lead vocalist and a back- vocals. To avoid this, the backing vocalist needs to learn to ing vocalist is enjoyable, but backing vocals are not easy sing accurately in pitch by practicing the backing vocals in for non-advanced karaoke users. First, it is difficult to find advance. musically appropriate submelodies (melodies for backing In this paper, we propose a system called HamoKara, vocals). Second, the backing vocalist has to practice back- which enables a user to practice backing vocals. This ing vocals in advance in order to play backing vocals accu- system has two functions. The first function is automatic rately, because singing submelodies is often influenced by submelody generation. For popular music songs, the sys- the singing of the main melody. In this paper, we propose tem generates submelodies and indicates them with both a backing vocals practice system called HamoKara. This a piano-roll display and a guide tone. The second func- system automatically generates a submelody with a rule- tion is support of backing vocals practice. While the user based or HMM-based method, and provides users with is singing the indicated submelody, the system shows the an environment for practicing backing vocals. Users can pitch (fundamental frequency, F0) of the singing voice on check whether their pitch is correct through audio and vi- the piano-roll display. -
Year of Publication: 2006 Citation: Lawrence, T
University of East London Institutional Repository: http://roar.uel.ac.uk This paper is made available online in accordance with publisher policies. Please scroll down to view the document itself. Please refer to the repository record for this item and our policy information available from the repository home page for further information. To see the final version of this paper please visit the publisher’s website. Access to the published version may require a subscription. Author(s): Lawrence, Tim Article title: “I Want to See All My Friends At Once’’: Arthur Russell and the Queering of Gay Disco Year of publication: 2006 Citation: Lawrence, T. (2006) ‘“I Want to See All My Friends At Once’’: Arthur Russell and the Queering of Gay Disco’ Journal of Popular Music Studies, 18 (2) 144-166 Link to published version: http://dx.doi.org/10.1111/j.1533-1598.2006.00086.x DOI: 10.1111/j.1533-1598.2006.00086.x “I Want to See All My Friends At Once’’: Arthur Russell and the Queering of Gay Disco Tim Lawrence University of East London Disco, it is commonly understood, drummed its drums and twirled its twirls across an explicit gay-straight divide. In the beginning, the story goes, disco was gay: Gay dancers went to gay clubs, celebrated their newly liberated status by dancing with other men, and discovered a vicarious voice in the form of disco’s soul and gospel-oriented divas. Received wisdom has it that straights, having played no part in this embryonic moment, co-opted the culture after they cottoned onto its chic status and potential profitability. -
CGEN Program Guidelines
Program guidelines Be part of Queensland’s largest annual youth performing arts show at the Brisbane Convention and Exhibition Centre Show week: Tuesday 13 July to Saturday 17 July 2021 Principal partner Major partner Broadcast Event Program Program partner partner partner partner 200002 Contents Contact information............................................................................................. 1 What is Creative Generation – State Schools Onstage? .........................................2 Behaviour ...........................................................................................................2 COVID-19 information ..........................................................................................2 Nomination process ............................................................................................3 1. VOCAL ...........................................................................................................6 Featured and backing vocalist ........................................................................................7 Choir .............................................................................................................................8 2. DANCE and DRAMA .........................................................................................11 Featured and solo dance ............................................................................................... 11 Massed dance and regional massed dance ................................................................. -
Builders of Dreams
THE MAGAZINE OF THE HAAS SCHOOL OF BUSINESS AT THE UNIVERSITY OF CALIFORNIA, BERKELEY University of California, Berkeley Nonprofit Organization Haas School of Business U.S. Postage 545 Student Services #1900 Paid Berkeley, CA 94720-1900 University of California, Berkeley BerkeleyHaasFall 2016 6 SUPERCHARGED 10 LESSONS FROM MT. EVEREST 16 A HEALTHY SUCCESS Quantifying the economic power of reliable Mountaineering illustrates the dangers of Albert Lee, MBA 04, helped make MyFitnessPal energy in developing nations groupthink for workplace teams the world’s leading fitness app · 2 · 1997 002 · 2 992 007 1 · 7 · 20 98 12 1 · · 2 2 0 8 1 9 6 1 · · E 7 M 7 9 April 28-30 B 1 A · 2 2 0 7 1 9 5 1 REUNIONREUNION WEEKENDWEEKEND Business Leaders of the Year 2017 BUILDERS Relive the best of your Berkeley-Haas experience! Catch up with classmates, listen to engaging lectures, make new connections, and bring your OF DREAMS family back to campus. Susan Chamberlin, MBA 87, and her husband, Steve, spent years planning new Everything you loved about business school—without the exams. structures and cityscapes. Now they’re redesigning the world of public education. haas.berkeley.edu/reunion #haasreunion #haasalumni Question the Status Quo Fall 2016 EXECUTIVE EDITOR FEATURES AND DEPARTMENTS The Beyond Yourself Issue Confidence Without Attitude Ute Frey UP FRONT MANAGING EDITOR Students Always Amy Marcott DESIGN Beyond Yourself Cuttriss & Hambleton, Berkeley STAFF WRITERS Berkeley-Haas alumni enjoy 15% off Laura Counts, Kim Girard, open-enrollment programs. -
An Investigation of the Factors That Can Hinder the Growth of Low Cost Digital Marketing of Independent Music
EAST-WEST Journal of ECONOMICS AND BUSINESS Journal of Economics and Business Vol. XX – 2017, No 2 AN INVESTIGATION OF THE FACTORS THAT CAN HINDER THE GROWTH OF LOW COST DIGITAL MARKETING OF INDEPENDENT MUSIC Georgios.P. Heliades TECHNOLOGICAL INSTITUTE OF IONIAN ISLANDS Fabricio Lazakis TECHNOLOGICAL INSTITUTE OF IONIAN ISLANDS Abstract As the Internet forms itself towards music distribution, it offers a huge range of services for musicians, most of which fall in the low cost section. This paper investigates the adoption of the Internet as a mean of music distribution by musicians of independent style. It builds up on our previous effort to map the independent music scene across the country, discovering a poor volume of musicians that actually spend significant time to market their music over the time they spend to create it. In this research, employing 300 independent musicians and groups in Athens, we confirm a high expectation out of Internet services by musicians but a relatively low engagement rate. A number of reasons can be blamed for that, relating to the use of technology. However, the most interesting finding was a lack of the right communication instinct, leading to an opportunistic treatment of the social media and related facilities. It is obvious that certain steps will have to be taken if this sort of music is to be grown over the new distribution channels. These steps may include certain technical improvements on services. However, the main issue is the maturity of attitude towards the public, translated into the right marketing steps. 85 EAST-WEST Journal of ECONOMICS AND BUSINESS Keywords: Independent music, music marketing, music distribution, Internet services, social media, communication. -
'Titanium' | David Guetta (Feat. Sia)
‘Titanium’ David Guetta (feat. Sia) ‘Titanium’ | David Guetta (feat. Sia) ‘Titanium’ was a number one hit for French DJ and music producer David Guetta, featuring vocals from Australian singer Sia. Initially released digitally as one of four promotional singles for the album Nothing but the Beat in August 2011, the hit was o!cially released as the fourth single from the album in December of that same year. ‘Titanium’ was well received in many of the top music markets worldwide, achieving number 1s in four countries and top 10s in an incredible twenty "ve countries across the globe. #e single was met with positive reviews, with many claiming it to be the show stopper of the album thanks to Sia’s collaboration on lyrics and phenomenal vocal performance. Described as “epic and energising”, ‘Titanium’ was musically likened to the works of Coldplay and Sia’s vocal was compared to that of Fergie. Many reviewers raved about Sia’s delivery of the song’s hook, stating that ‘Titanium’ was by far the “most intriguing hook-up” of Guetta’s "$h studio album. #e single was certi"ed 3 x Platinum in the UK with sales just short of two million copies, and 2 x Platinum in the US with four million records sold. Guetta’s album Nothing But !e Beat topped the album charts in the DJ’s home nation of France, as well as Australia, Belgium, Germany, Spain and Switzerland. While some reviewers felt it was lacking somewhat in comparison to his earlier works, the album was well-received by many with tracks ‘Night of Your Life’ and ‘Titanium’ being highlighted as the strongest on the release. -
Classements GSL 100 France
Classements GSL 100 France - 2016 Logiciels Services Internet Jeux Vidéo Nous sommes très heureux de vous présenter notre analyse des entreprises du numérique français. Cette étude, initiée par PwC en 2008 en partenariat avec TECH IN France (AFDEL) porte, à l’instar des années passées, sur les éditeurs de logiciels, les éditeurs de jeux vidéo ainsi que les fournisseurs de services Internet. Au-delà des classements, qu’il convient de relativiser comme à l’accoutumée, tant le digital envahit l’ensemble de l’économie et plus seulement les entreprises technologiques et les éditeurs de logiciels, cette publication se présente comme un kaléidoscope et un ensemble de témoignages sur les grandes évolutions représentatives de la transformation digitale de la société. Et cette transformation digitale est orchestrée par les entreprises du numérique. Par ailleurs, ce qui apparaît clairement, c’est l’extraordinaire richesse d’initiatives et d’innovations qui émergent en France actuellement. Le monde des start-up est en effervescence, et les incubateurs ou autres programmes d'accélération s’inscrivent dans ce mouvement, comme, par exemple, Le blender de TECH IN France ou le PwC's Accelerator. Pour rendre compte de ces dynamiques, nous avons structuré ce document autour des principaux thèmes qui illustrent les ruptures en cours : le big data, l’impression 3D, l’inexorable évolution vers toujours plus de SaaS, etc., avec, cette année, un focus particulier sur le potentiel de rupture que représente l’émergence des technologies blockchain, ainsi que sur l’importance de la prise en considération de l’expérience utilisateur comme une composante essentielle des modèles économiques. -
PUZZLUS ENIGMA #2: Dark Side of the Moon [email protected] the Pink Floyd Experience 260.67.FLOYD
PUZZLUS ENIGMA #2: Dark Side of the Moon www.floydianslip.com [email protected] The Pink Floyd Experience 260.67.FLOYD 1 2 3 4 5 6 7 8 9 10 11 12 1 3 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 Puzzlus Enigma #2: Dark Side of the Moon by Craig Bailey is licensed under a Creative Commons License (www.creativecommons.org/licenses/by-nc-nd/3.0/) ACROSS DOWN 3 Twice as good as stereo 1 Created 2003 SACD version 7 Live album includes disc devoted to "Dark Side" 2 "Any Colour You Like" working title 8 Chris called in to help with mixdown 4 Reggae version "___ Side of the Moon" 11 ________ Head used the title before Floyd did 5 One album before 14 On the cover 6 This hat-wearing Roger only "hit him once" 18 Working title of "The Great Gig in the Sky" 7 Beatle whose thoughts were recorded but unused 19 "_______ he cried, from the rear" 9 Early synthesizer 20 Album's working title 10 Album cover art by George 21 Year of release 12 Wrote 2005 book about the album 24 Type of glass pictured on 30th anniversary edition 13 Syncs nicely 27 "________ on the biggest wave" 15 A-side to "Any Colour You Like" 29 Actress's father with a wicked laugh 16 Group behind 2009 re-working 30 "Money" was re-recorded for inclusion on this compilation 17 Record label of "great _____ songs" 22 Heard at beginning of "Time" 31 Type of jet 23 Color missing from the rainbow 34 "As a matter of fact, it's ___ ____" 25 Locale of infrared poster 35 What the lunatic is on 26 Issued 1988 "gold" disc -
Rewind: 2012 in Review
the REPORT Issue 308 | 19 December 2012 Contents: PAGE 2: Artists versus digital services » PAGE 3: Fans as the fulcrum » PAGE 4: Labels in 2012 » PAGE 5: Tech giants » PAGE 6: New services » PAGES 7 – 9: Rewind: 2012 In Review Startups » PAGE 10: Digital marketing » PAGE 11: Social music » PAGE 12: Measurements » PAGE 13: Piracy battles » PAGES 14 & 15: Country profiles » REWIND: 2012 IN REVIEW the REPORT | 19 December 2012 | Page 2 Artists versus digital services It’s become a cliché in recent be portrayed as a greedy Goliath itself by digital ecosystem. prominent songwriters. High-profile albums years to suggest that the were withheld from There were many negative aspects to these streaming services, connection between artists debates in 2012, with name-calling, willful often to the barely- and fans is the fulcrum of misunderstanding and a concerning lack concealed frustration of transparency making for an unhealthy the music industry, with of their labels. mixture. everyone else a middleman Yet artists were Yet a more positive take on 2012 would be to pushing the who needs to justify their mark the importance of having artists and boundaries too, position in the value chain. songwriters take a more prominent role in the seeking new models. debates around new digital music business Usually it’s labels fielding the most criticism Whether it’s Cazzette models. under that line of argument, but in 2012 the launching their career spotlight turned to the current generation of As FAC co-CEO Crispin Hunt noted in Music on Spotify, DJ Shadow streaming music services, with Spotify and Ally’s end-of-year debate: “As the digital releasing a BitTorrent Pandora taking the brunt of the attacks.