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Economic Impact of the Recorded Music Industry in India September 2019
Economic impact of the recorded music industry in India September 2019 Economic impact of the recorded music industry in India Contents Foreword by IMI 04 Foreword by Deloitte India 05 Glossary 06 Executive summary 08 Indian recorded music industry: Size and growth 11 Indian music’s place in the world: Punching below its weight 13 An introduction to economic impact: The amplification effect 14 Indian recorded music industry: First order impact 17 “Formal” partner industries: Powered by music 18 TV broadcasting 18 FM radio 20 Live events 21 Films 22 Audio streaming OTT 24 Summary of impact at formal partner industries 25 Informal usage of music: The invisible hand 26 A peek into brass bands 27 Typical brass band structure 28 Revenue model 28 A glimpse into the lives of band members 30 Challenges faced by brass bands 31 Deep connection with music 31 Impact beyond the numbers: Counts, but cannot be counted 32 Challenges faced by the industry: Hurdles to growth 35 Way forward: Laying the foundation for growth 40 Conclusive remarks: Unlocking the amplification effect of music 45 Acknowledgements 48 03 Economic impact of the recorded music industry in India Foreword by IMI CIRCA 2019: the story of the recorded Nusrat Fateh Ali-Khan, Noor Jehan, Abida “I know you may not music industry would be that of David Parveen, Runa Laila, and, of course, the powering Goliath. The supercharged INR iconic Radio Ceylon. Shifts in technology neglect me, but it may 1,068 crore recorded music industry in and outdated legislation have meant be too late by the time India provides high-octane: that the recorded music industries in a. -
Copyright by Peter James Kvetko 2005
Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute. -
IFPI Digital Music Report 2013 Engine of a Digital World
IFPI Digital Music Report 2013 Engine of a digital world 9 IN 10 MOST LIKED PEOPLE ON FACEBOOK ARE ARTISTS 9 IN 10 OF THE MOST WATCHED VIDEOS ON YOUTUBE ARE MUSIC 7 IN 10 MOST FOLLOWED TWITTER USERS ARE ARTISTS Deezer4artists-HD_acl.pdf 1 26/02/13 17:37 2 Contents Introduction 4-5 Music is an engine of the digital world 22-23 g Plácido Domingo, chairman, IFPI g Fuelling digital engagement g Frances Moore, chief executive, IFPI g Fuelling hardware adoption g Driving the live entertainment industry An industry on the road to recovery: g Attracting customers, driving profits Facts and figures 6-10 Going global: the promise of emerging markets 24-27 Global best sellers 11-13 g Brazil: A market set to surge g Top selling albums g Russia: Hurdles to growth can be overcome g Top selling singles g India: Nearing an all-time high g Strong local repertoire sales g Strong market potential in The Netherlands Digital music fuels innovation 14-17 Engaging with online intermediaries 28-30 g Download stores receive a boost from the cloud g Advertising: tackling a major source of funding for music piracy g Subscription services come of age g Search engines – a vital role to play g Subscription transforming the industry’s business model g Further ISP cooperation needed g Growth for music video g Payment providers step up action on illegal sites g The next generation radio experience g Europe: Licensing helps digital consumers Disrupting illegal online businesses 31 The art of digital marketing 18-21 g Disrupting unlicensed cyberlockers g Reducing pre-release leaks g One Direction mobilise an online army g Dance label harnesses social media Digital music services worldwide 32-34 g A personal video for every fan: Linkin Park g Taking classical digital Cover photo credits: Michel Teló. -
INDIAN OTT PLATFORMS REPORT 2019 New Regional Flavours, More Entertaining Content
INDIAN OTT PLATFORMS REPORT 2019 New Regional Flavours, more Entertaining Content INDIAN TRENDS 2018-19 Relevant Statistics & Insights from an Indian Perspective. Prologue Digital technology has steered the third industrial revolution and influenced human civilization as a whole. A number of industries such as Media, Telecom, Retail and Technology have witnessed unprecedented disruptions and continue to evolve their existing infrastructure to meet the challenge. The telecom explosion in India has percolated to every corner of the country resulting in easy access to data, with Over-The-Top (OTT) media services changing how people watch television. The Digital Media revolution has globalized the world with 50% of the world’s population going online and around two-thirds possessing a mobile phone. Social media has penetrated into our day-to-day life with nearly three billion people accessing it in some form. India has the world’s second highest number of internet users after China and is fully digitally connected with the world. There is a constant engagement and formation of like-minded digital communities. Limited and focused content is the key for engaging with the audience, thereby tapping into the opportunities present, leading to volumes of content creation and bigger budgets. MICA, The School of Ideas, is a premier Management Institute that integrates Marketing, Branding, Design, Digital, Innovation and Creative Communication. MICA offers specializations in Digital Communication Management as well as Media & Entertainment Management as a part of its Two Year Post Graduate Diploma in Management. In addition to this, MICA offers an online Post-Graduate Certificate Programme in Digital Marketing and Communication. -
Singhal Appointed to the Corporate Advisory Board of Cause
CAUSE ENTERTAINMENT “We Can…” MANAGAMENT TEAM & ADVISORY BOARD Private & Confidential MANAGEMENT TEAM Uday Singh plays an integral role in advising and defining the organization’s vision. Additionally he plays a key role in the green-lighting process of the projects that both DMCA and Cause Entertainment associate with. Under his leadership the SPE India emerged as the most successful Hollywood studio in India. It was the #1 Studio for 6 years in a row starting 2002 and 9 years overall. He has the unique distinction of crossing the Rupees 1 Billion mark in ticket sales 4 times (US$25mn) in a short span of 6 years. Under his leadership SPE bagged the distribution of Disney and Miramax and SPE distributed all the Disney films since 1998 till 2008. He built a grassroots distribution model and has distributed over 400 films and has dubbed them into 6 different Indian languages and built a new business opportunity. He grew Uday Singh the Hollywood share of the pie from 0.5% to 5% of the Indian Market. Ex-CEO PVR Uday piloted Sony into the Hindi Film Industry by getting Government approvals to Pictures, Ex-CEO distribute and produce local films in 1998. In 2005, once again under his stewardship, Sony Pictures SPE Films India created history, when it launched the production of “Saawariya”, a Principal Director, unique collaboration with one of India's most well known and acclaimed directors, Cause Sanjay Leela Bhansali, to co- produce Sony's (and Hollywood’s) first Indian film. In 2005 Entertainment he helped establish the Home Entertainment division for SPE and that business brought in another $ 4mn per year. -
Gaikai - Wikipedia Case 3:19-Cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play. -
India Music Market Study
INDIA MUSIC MARKET STUDY Written by Sound Diplomacy CONTENTS 1. Introduction 4 1.1 India at a Glance 4 General Info 4 Transport Network 5 1.2 India Geography 7 2. The Indian Recorded Music Market 9 2.1 History and Current State 9 2.2 Recorded Music Market 9 Chart Analysis 10 Piracy 11 2.3 Labels and Production Companies 11 2.4 Streaming in India 13 2.5 Record Labels, Retail and Distribution 15 Record Labels 15 Record Stores 18 Distribution 19 Booking Agencies 20 Management Companies 22 3. Live Performance Industry in India 23 3.1 Music Festivals 24 Festivals 25 3.2 Touring India 28 Venues 29 Costs of Touring 32 Tips About Touring 33 Visas 35 4. Music Publishing in India 35 4.1 Trends and Development 35 4.2 Sync and its Impact 35 4.3 Performing Rights Organisations (PRO) 36 4.4 Select Music Publishers 36 5. Music Promotion and Media 37 5.1 Radio 37 5.2 Television 38 5.3 PR (Print & Digital) 38 Select Newspapers 38 Select Music/Art Magazines 39 Select Publicists and Agencies 40 6. Business and Showcase Events 41 6.1 Select Showcases and Conferences 41 Trade shows / conferences 41 The convention was hosted and attended by some of the most influential entrepreneurs that belong to the nightlife industry. 42 7. Additional Tools and Resources 42 8. References 43 1. Introduction 1.1 India at a Glance General Info India is a federation made up of 29 states and 7 union territories. It is the second most populous country in the world, with a population of nearly 1.3 billion, and is also the seventh largest in terms of landmass. -
Economic Impact of the Recorded Music Industry in India September 2019 Economic Impact of the Recorded Music Industry in India
Economic impact of the recorded music industry in India September 2019 Economic impact of the recorded music industry in India Contents Foreword by IMI 04 Foreword by Deloitte India 05 Glossary 06 Executive summary 08 Indian recorded music industry: Size and growth 11 Indian music’s place in the world: Punching below its weight 13 An introduction to economic impact: The amplification effect 14 Indian recorded music industry: First order impact 17 “Formal” partner industries: Powered by music 18 TV broadcasting 18 FM radio 20 Live events 21 Films 22 Audio streaming OTT 24 Summary of impact at formal partner industries 25 Informal usage of music: The invisible hand 26 A peek into brass bands 27 Typical brass band structure 28 Revenue model 28 A glimpse into the lives of band members 30 Challenges faced by brass bands 31 Deep connection with music 31 Impact beyond the numbers: Counts, but cannot be counted 32 Challenges faced by the industry: Hurdles to growth 35 Way forward: Laying the foundation for growth 40 Concluding remarks: Unlocking the amplification effect of music 45 Acknowledgements 48 03 Economic impact of the recorded music industry in India Economic impact of the recorded music industry in India Foreword by IMI Foreword by Deloitte India CIRCA 2019: the story of the recorded Nusrat Fateh Ali-Khan, Noor Jehan, Abida “I know you may not At the Indian Music Convention: Dialogue Not everything that counts can be music industry would be that of David Parveen, Runa Laila, and, of course, the in August 2018, IMI had announced counted. -
Underrated & Misunderstood
05–06 Tools Spotify Ad Studio 07–08 Campaigns TikTok, John Legend, Sleepy Tom, Billie Eilish 09–132 Behind The Campaign- Ghetts APRIL 17 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 226 UNDERRATED & MISUNDERSTOOD what people just don’t “get” about digital marketing Sandbox Summit 2019 NYC After the huge success of last year’s inaugural Sandbox Summit in the US, Music Ally returns to NYC again next month with the only dedicated marketing conference for the music industry on May 23. Sandbox Summit is an essential forum for cutting edge and creative thinking in music marketing: a day full of practical tips, refreshing discussions and interviews, insightful presentations, and of course, lots of networking. Brought to you in association with Linkfre, we are delighted to also announce our supporting sponsors, The Orchard and Vevo. Some of the program we have in store for you includes: • FlighthouseSandbox TikTok channel Summitfounder Jacob Pace is on marketing to Gen Z, and Sony Music’sa music Jose marketing Abreu discussing conference how to target Superfans. • Secretly Group’s Robby Morris and Laura Sykes explain the secrets behind the Khruangbin campaignseries which organised included a Spotify by playlist that tapped into Flight APIs • ‘Dry StreamsMusic Paradox’ Ally, panel the with global Pandora’s leader Heather in Ellis, Island Records’ Cindy James, Artist Manager Naveed Hassan (MDDN)digital and The Orchard’smarketing Amanda training Suriani for • Panel on how to bring together the various data silos around an artist hosted by Linkfre’s Jeppethe Faurfelt music industry • International marketingand the panel publisher focused on India, of the China and the African markets AT THE • Podcasting anddigital music panel marketing-focused chaired by Cherie Hu, featuring Atlantic Records’ podcast guru Tom MullenSandbox and KevinReports. -
When Music Video Plays Get Juiced
05-06 Tools Pandora AMP 07-08 Campaigns The Offspring, Lil Nas X, Maroon 5, Lewis Capaldi 09–14 Behind The Campaign- Oasis OCTOBER 02 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 237 VIewTUBE WHEN MUSIC VIDEO PLAYS GET JUICED COVERFEATURE light onto a previously little-discussed industry practice: that of paying to run music videos as pre- and mid-roll TrueView ads on YouTube, with this counting towards the videos’ view-counts. This, we should stress, was totally legal. According to YouTube, paid advertising counts as a ‘view’ when someone watches a complete advert that is 11-30 seconds long; when someone watches at least 30 seconds of an ad that is more than 30 seconds long; and when someone interacts with the ad. In this case the ‘ad’ was a clip of the song. It’s also a widespread practice, particularly in Asia and Latin America, where TrueView ads are significantly cheaper than in other parts of the world. “The whole fucking industry does paid views,” Times Music COO Mandar Thakur told the All About Music conference in Mumbai in August. An investigation by Rolling Stone suggested the same was WHEN MUSIC VIDEO true in Latin America, where labels might pay up to $100k for up to 12m additional VIewTUBE PLAYS GET JUICED YouTube views. When Indian star Badshah claimed to have broken the opening-day record for views of a new music video on YouTube, people started asking questions. Some suggested that, by boosting plays with TrueView ads, it wasn’t a record he had broken – it was the platform itself. -
Guru Randhawa
FOR THE MAN IN FULL | www.mansworldindia.com NOVEMBER 2020 | K 150 GURU RANDHAWA • GUCCI • BEST SEDANS / ISSUE 249 / NOVEMBER 2020 ISSN 2277 - 1840 MW MAHENG/2008/26535 NO. RNI THE SELF-MADE SUCCESS STORY OF GURU RANDHAWA FULL PG BLEED 230 X298.indd 1 06/11/20 9:53 PM MW November 2020 Cover Final.indd All Pages 02/11/20 10:35 PM NOVEMBER 2020 Publisher & Editor N RADHAKRISHNAN Executive Publisher MINAL SURVE Executive Editor ARNESH GHOSE Associate Editor RAJU BIST Assistant Editors SAMREEN TUNGEKAR, MAYUKH MAJUMDAR Fashion Editor NEELANGANA VASUDEVA Art Director TANVI SHAH Associate Art Director HEMALI LIMBACHIYA Assistant Art Director NANDKISHOR SAWANT Graphic Designers GAUTAMI DAVE, SANJANA SUVARNA Senior Digital Manager JAYESH V. SALVI Production Manager MANGESH SALVI mansworldindia.com Web Editor ARNESH GHOSE High Street Phoenix, Senapati Bapat Marg, Lower Parel, Tel. 91 22 4242 1818 - Hyderabad: Taj Krishna Hotel, Taj 91 22 4242 1818 - Hyderabad: Tel. Parel, Lower Senapati Bapat Marg, High Street Phoenix, Staff WritersSANIKA ACHREKAR, RAJEEV MATHEW Banjara Hills, Tel. 91 7098123123 - Kolkata: Quest Mall, shop No-30 33 Syed Amir Ali Avenue, Tel. 91 9517123123 Tel. Avenue, Ali Amir shop No-30 33 Syed Quest Mall, 91 7098123123 - Kolkata: Tel. Banjara Hills, New Delhi: 122 DLF Emporio, Nelson Mandela Marg, Vasant Kunj, Tel. 91 11 4666 2700 - Mumbai: G-16 Palladium, 91 11 4666 2700 - Mumbai: Tel. Kunj, Vasant Nelson Mandela Marg, 122 DLF Emporio, New Delhi: Consulting Editor PABLO CHATERJI Contributing Editors MAITHILI RAO, SOLEIL NATHWANI, MAGANDEEP SINGH Tod’s Boutiques • Tod’s General Manager, Sales & Marketing MANOJ SHARMA ([email protected]), NEW DELHI General Manager, Sales & Marketing TULSI BAVISHI ([email protected]), MUMBAI Deputy General Manager-Sales & Marketing NOHA QADRI ([email protected]), MUMBAI Assistant Manager - Sales & Marketing SAGRIKA SANJAY ([email protected]), NEW DELHI Sr. -
The Lesson in Kolaveri Di's Success
The lesson in Kolaveri Di's success Executive Summary: Within three weeks of its release on YouTube, the Kolaveri Di video garnered 19 million views and was shared by 6.5 million Facebook users. It was drawing more than 10,000 tweets daily by the end of its first online week. Having garnered over 45 million views so far, it has proved with its success that viral marketing works in India too. This case study explores what made Kolaveri the sensation it became and lists the elements that make up an ideal viral marketing campaign in India. It was agony and ecstasy in quick succession for leading Tamil movie star Dhanush last November. He recorded a song for the film 3 - a home production, in which he also plays the lead role - only to discover soon after that a disgruntled employee in his office had leaked it on YouTube. It put him and his wife Aishwarya, director of the film - she is also the daughter of the superstar Rajinikanth - in an embarrassing position, since Dhanush had just sold the film's music rights to Sony Music India. An early, unauthorised release of one of the songs could ruin the commercial prospects of the deal. "The song was the rough cut of Kolaveri Di. I was terrified," says Dhanush. There was nothing he could do to get the song off the site. "I realised to my chagrin that something leaked on the social media cannot be controlled," he adds. "I wanted to counter it, but how? I was at my wits' end." Dhanush Potent Mix What Kolaveri Di teaches about creating successful viral marketing campaigns: Product should evoke strong emotions Should include humour Should use all means to He considered releasing a CD of the song as a single, but connect with audiences Sony Music informed him that this would take at least two Should have potential for weeks.