Infinite Setlist: Analyzing Pioneer DJ's Catalogue Streaming Partnerships
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Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales. -
Department of Medicine 2020 Annual Report
DEPARTMENT OF MEDICINE Annual Report 2020 musc.edu/dom Acknowledgments: The Department of Medicine would like to thank the many individuals, especially our leadership, including our division directors and division administrators, for their collective efforts in helping to complete this year’s annual progress report. Additionally, we would like to thank those who are featured within these pages for their continued service to MUSC and contributions to this publication. Editor, Creative and Production Manager: Natalie Wilson Photographers: Elizabeth Anne Thompson, Sarah Pack, Natalie Wilson 2 DEPARTMENT OF MEDICINE TABLE OF CONTENTS 04 From the Interim Chair 05 By the Numbers 06 Awards & Distinctions 10 New Faculty 12 Response to COVID-19 18 Global Health 20 Clinical Highlights 22 Research Highlights 24 Research Funding Highlights 28 Medical Education 30 Internal Medicine Housestaff 32 Philanthropy News 36 Selected Publications 40 Departmental Leadership 41 Medicine Faculty COVER: Left Image: Harsha Karanchi, M.D., assistant professor, Division of Endocrinology. Middle Image: Chief Resident Laurel Branch, M.D., and medical student. Right Image: Betty Tsao, Ph.D., SmartState and Richard M. Silver Endowed Chair for Inflammation Research, Division of Rheumatology & Immunology. 20202017 ANNUALANNUAL REPORTREPORT 33 As I write this letter we are in the midst of unprecedented times, a global pandemic due to COVID-19. Since taking on the role of interim department chair in March 2020, I have been inspired daily by my team’s ingenuity, creativity, and commitment to excellence in the face of this pandemic, as they continue to find innovative solutions to care for our patients, conduct research, and educate our residents. -
SFX ENTERTAINMENT, INC., Et Al.,1 Debtor. Chapter 11 Case No. 16-10
Case 16-10238-MFW Doc 657 Filed 05/25/16 Page 1 of 8 UNITED STATES BANKRUPTCY COURT DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 (MFW) Debtor. Jointly Administered DECLARATION OF ADAM KEIL IN SUPPORT OF THE MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER: (I) AUTHORIZING THE SALE OF ALL OR SUBSTANTIALLY ALL OF THE ASSETS OF THE FAME HOUSE BUSINESS FREE AND CLEAR OF ALL LIENS, CLAIMS, ENCUMBRANCES AND INTERESTS; (II) APPROVING FINAL ASSET PURCHASE AGREEMENT; (III) AUTHORIZING THE ASSUMPTION AND ASSIGNMENT OR REJECTION OF CERTAIN EXECUTORY CONTRACTS AND UNEXPIRED LEASES; AND (IV) GRANTING RELATED RELIEF I, ADAM KEIL, hereby declare, under penalty of perjury, as follows: 1. I am a managing director of Moelis & Company, LLC (“Moelis”), where I have been employed for approximately 8 years. Prior to joining Moelis, I was a vice president in the Recapitalization and Restructuring Group at Jefferies & Company, Inc. I attended the Wharton School at the University of Pennsylvania, where I received a 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
Nielsen Music Year-End Report Canada 2016
NIELSEN MUSIC YEAR-END REPORT CANADA 2016 NIELSEN MUSIC YEAR-END REPORT CANADA 2016 Copyright © 2017 The Nielsen Company 1 Welcome to the annual Nielsen Music Year End Report for Canada, providing the definitive 2016 figures and charts for the music industry. And what a year it was! The year had barely begun when we were already saying goodbye to musical heroes gone far too soon. David Bowie, Leonard Cohen, Glenn Frey, Leon Russell, Maurice White, Prince, George Michael ... the list goes on. And yet, despite the sadness of these losses, there is much for the industry to celebrate. Music consumption is at an all-time high. Overall consumption of album sales, song sales and audio on-demand streaming volume is up 5% over 2015, fueled by an incredible 203% increase in on-demand audio streams, enough to offset declines in sales and return a positive year for the business. 2016 also marked the highest vinyl sales total to date. It was an incredible year for Canadian artists, at home and abroad. Eight different Canadian artists had #1 albums in 2016, led by Drake whose album Views was the biggest album of the year in Canada as well as the U.S. The Tragically Hip had two albums reach the top of the chart as well, their latest release and their 2005 best of album, and their emotional farewell concert in August was something we’ll remember for a long time. Justin Bieber, Billy Talent, Céline Dion, Shawn Mendes, Leonard Cohen and The Weeknd also spent time at #1. Break out artist Alessia Cara as well as accomplished superstar Michael Buble also enjoyed successes this year. -
Life in Challenge Mills,Yuba County, California,1875–1915, With
United States Department of Agriculture Life in Challenge Mills, Forest Service Yuba County, California, Pacific Southwest Research Station 1875–1915, With General Technical Report PSW-GTR-239 Emphasis on Its People, January 2013 Homes, and Businesses D E E P R A U R T Philip M. McDonald and Lona F. Lahore T L MENT OF AGRICU The Forest Service of the U.S. Department of Agriculture is dedicated to the principle of multiple use management of the Nation’s forest resources for sustained yields of wood, water, forage, wildlife, and recreation. Through forestry research, cooperation with the States and private forest owners, and management of the National Forests and National Grasslands, it strives—as directed by Congress—to provide increasingly greater service to a growing Nation. The U.S. Department of Agriculture (USDA) prohibits discrimination in all its programs and activities on the basis of race, color, national origin, sex, religion, age, disability, sexual orientation, marital status, family status, status as a parent (in education and training programs and activities), because all or part of an individual’s income is derived from any public assistance program, or retaliation. (Not all prohibited bases apply to all programs or activities.) If you require this information in alternative format (Braille, large print, audiotape, etc.), contact the USDA’s TARGET Center at (202) 720-2600 (Voice or TDD). If you require information about this program, activity, or facility in a language other than English, contact the agency office responsible for the program or activity, or any USDA office. To file a complaint alleging discrimination, write USDA, Director, Office of Civil Rights, 1400 Independence Avenue, S.W., Washington, D.C. -
In the United States Bankruptcy Court for the District of Delaware
Case 16-10238-MFW Doc 10 Filed 02/01/16 Page 1 of 15 IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 ( ) Debtors. (Joint Administration Requested) MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER AUTHORIZING THE DEBTORS TO HONOR CERTAIN PREPETITION TICKET OBLIGATIONS TO CUSTOMERS AND TO OTHERWISE CONTINUE CERTAIN PREPETITION CUSTOMER PRACTICES IN THE ORDINARY COURSE OF BUSINESS The above-captioned debtors and debtors-in-possession (collectively, the “Debtors”) hereby move the Court (the “Motion”) pursuant to sections 105(a), 363, 507, 1107 and 1108 of title 11 of the United States Code, 11 U.S.C. §§ 101, et seq. (the “Bankruptcy Code”) and Rules 6003 and 6004(h) of the Federal Rules of Bankruptcy Procedure (the “Bankruptcy Rules”) for entry of an order authorizing, but not directing, the Debtors, in their sole discretion, to honor certain prepetition obligations to customers and to otherwise continue certain prepetition customer practices offered in the ordinary course of their prepetition operations. In support of this Motion, the Debtors respectfully state as follows: 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
Media Release: Vivid Live Sydney Opera House 2015
VIVID LIVE 2015 AN EVENING WITH MORRISSEY | SUFJAN STEVENS | DANIEL JOHNS | FCX – 10 YEARS OF FUTURE CLASSIC FEAT. FLUME, FLIGHT FACILITIES, SEEKAE, HAYDEN JAMES, TOUCH SENSITIVE, GEORGE MAPLE & MORE | TV ON THE RADIO | BILL CALLAHAN | SQUAREPUSHER | THE DRONES – WAIT LONG BY THE RIVER… 10TH ANNIVERSARY + EXCLUSIVE ALBUM PREVIEW | THE PREATURES | REPRESSED RECORDS PRESENTS ROYAL HEADACHE & MORE | MELBOURNE SKA ORCHESTRA | DRESS UP ATTACK! | LIGHTING THE SAILS – UNIVERSAL EVERYTHING | RED BULL MUSIC ACADEMY STUDIO PARTIES: RBMA FREE OPENING NIGHT FEAT. ONRA (LIVE) / DREEMS (LIVE) / THE GOODS (LIVE) / SUI ET SUI (SUI ZHEN LIVE BAND) / PHYSIQUE l MAD RACKET FEAT. MATTHEW HERBERT (LIVE) / ZOOTIE / JIMMI JAMES / KEN CLOUD / SIMON CALDWELL | GOODGOD MINCETERIA! FEAT. HOUSE OF LADOSHA / ZANZIBAR CHANEL / VICTORIA KIM /SLÉ FEAT. BHENJI RĀ| ASTRAL PEOPLE FEAT. ROBERT OWENS / AMIR ALEXANDER / BEN FESTER/ PREACHA & MORE | ELEFANT TRAKS FEAT. JOYRIDE (LIVE) / JAYTEEHAZARD / DJ MK-1 / ADIT / DGGZ & MORE Tickets on sale to the general public at 9am, Friday 27 March 2015. The Sydney Opera House today announced the full line-up of artists joining British iconoclast Morrissey at the seventh annual Vivid LIVE program of contemporary music - part of Vivid Sydney, the Southern Hemisphere’s largest festival of light, music and ideas. Vivid LIVE programming will run for the duration of Vivid Sydney between 22 May and 8 June, which includes more than 30 international and Australian artists across every stage of the Opera House. Vivid’s centrepiece, Lighting the Sails, will this year be created by British multi-disciplinary design collective Universal Everything, known for their boldly coloured anthropomorphic designs for Radiohead’s PolyFauna and work with Warp Records and the 2012 London Olympics. -
Olivia Rodrigo's 'Sour' Returns to No. 1 on Billboard 200 Albums Chart
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JUNE 28, 2021 Page 1 of 24 INSIDE Olivia Rodrigo’s ‘Sour’ Returns to • BTS’ ‘Butter’ Leads Hot 100 for Fifth No. 1 on Billboard 200 Albums Chart Week, Dua Lipa’s ‘Levitating’ Becomes BY KEITH CAULFIELD Most-Heard Radio Hit livia Rodrigo’s Sour returns to No. 1 on five frames (charts dated Jan. 23 – Feb. 20). (It’s worth • Executive of the the Billboard 200 chart for a second total noting that Dangerous had 30 tracks aiding its SEA Week: Motown Records Chairman/ week, as the album steps 3-1 in its fifth and TEA units, while Sour only has 11.) CEO Ethiopia week on the list. It earned 105,000 equiva- Polo G’s Hall of Fame falls 1-2 in its second week Habtemariam Olent album units in the U.S. in the week ending June on the Billboard 200 with 65,000 equivalent album 24 (down 14%), according to MRC Data. The album units (down 54%). Lil Baby and Lil Durk’s former • Will Avatars Kill The Radio Stars? debuted at No. 1 on the chart dated June 5. leader The Voice of the Heroes former rises 4-3 with Inside Today’s Virtual The Billboard 200 chart ranks the most popular 57,000 (down 21%). Migos’ Culture III dips 2-4 with Artist Record Labels albums of the week in the U.S. based on multi-metric 54,000 units (down 58%). Wallen’s Dangerous: The consumption as measured in equivalent album units. Double Album is a non-mover at No. -
Concert Promotion and Production
CHAPTER SIXTEEN CONCERT PROMOTION AND PRODUCTION hile the monetization of recorded music has struggled mightily for years, it’s W a different story for live concerts. Although hardly immune to the vagaries of the greater economy, live music has an enormous economic advantage over recorded music. A fan must generally pay hard dollars to enjoy a live performance by a favored act, while an unauthorized shared download or a free streamdistribute puts little or nothing in the artist’s pocket. Music concerts generated $8.2 billion in surveyed 2017 ticket sales in North America, according to industry sources, not including the value of resale of tickets on the secondary market and the many acts that don’t tour nationally. Add to that sum ticket resales, corporateor sponsorships, and the economic spillover for supporting vendors and restaurants, and the vast economic footprint of live music becomes obvious. Besides generating substantial revenue from ticket sales, live concerts boost record sales. Live concerts also increase demand for artist-related licensed mer- chandise, such as T-shirts, posters, jewelry, keychains, and books. Concerts and the sale of ancillary products are so critical that major recording companies are reluctant to sign an act that doesn’t also have a compelling stage presence. And if the label does sign the act, there’s a goodpost, chance it’s part of a broad 360 deal that yields the label a healthy piece of the box office and licensed merchandise income, among other revenue streams. Three key players move and shake the concert promotion industry: the event promoter, the artist’s manager, and the tour-booking agent. -
Amsterdam Dance Event 30 Componist Des Vaderlands 35 Buma Music Academy 37
Jaarverslag 2017 www.bumacultuur.nl Joris Raaijman Foto Foto Inhoud BUMA CULTUUR ZET ZICH IN VOOR MUZIEK UIT NEDERLAND 3 6 DE EVENEMENTEN VAN BUMA CULTUUR IN 2017 5 EUROSONIC NOORDERSLAG 6 BUMA AWARDS 12 ANNIE M.G. SCHMIDTPRIJS 15 MUZIKANTENDAG 17 17 BUMA MUSIC IN MOTION 19 BUMA ROCKS! 21 INJAZZ 23 BUMA NL 26 21 BUMA CLASSICAL 28 AMSTERDAM DANCE EVENT 30 COMPONIST DES VADERLANDS 35 BUMA MUSIC ACADEMY 37 23 BUMA CULTUUR ONDERSTEUNT TEVENS: 40 EXPORTBEVORDERING 41 FINANCIEEL VERSLAG 44 DE MENSEN VAN BUMA CULTUUR 45 30 COLOFON 46 37 2 Buma Cultuur Zet zich in voor muziek uit Nederland Jorn Baars Foto Foto INHOUDSOPGAVE 3 De missie van Buma Cultuur is glashelder: evenementen en activiteiten binnen alle in de media is er voor de Buma Awards, ten, overheid en media heeft haar al in een met de Nederlandse muziekauteurs en muziekgenres. Sommige daarvan, zoals waaronder ook de Buma Gouden Harp, leidende rol geplaatst in het debat over muziekuitgevers als belangrijkste doel Eurosonic Noorderslag, het Amsterdam de Lennaert Nijgh Prijs en de Buma Film bijvoorbeeld het auteursrecht. De muziek groep, is en blijft de promotie van het Dance Event, Buma NL, inJazz en Buma muziek Award vallen. Audiovormgeving industrie zit complex in elkaar en ontwikkelt Nederlands muziekauteursrecht in rele Music In Motion, zijn uitgegroeid tot sterke en reclamemuziek hebben eveneens zich razendsnel. Als een belangenbehartiger vante markten haar belangrijkste opdracht. netwerkevenementen met een duidelijk hun eigen Buma Awards en de Lifetime voor de sector is Buma Cultuur daarom De manier waarop Buma Cultuur daarin te inhoudelijk profiel. -
Beatport Acquires Leading DJ Streaming & Subscription Service, Pulselocker, Inc
Beatport Acquires Leading DJ Streaming & Subscription Service, Pulselocker, Inc. Purchase will create a seamless DJ experience for Beatport’s customers and expand the company’s product offering beyond downloads. April 5, 2018: Beatport has acquired the assets of Pulselocker, Inc. in a strategic deal that paves the way for the creation of a next generation offering for its half million DJ customers. Pulselocker’s proprietary and patented technology allows DJs to access an integrated locker of music via a variety of performance software applications, including RekordBox (Pioneer DJ), Serato, Virtual DJ and others. The announcement was made today By Beatport’s CEO, RoBB McDaniels. Terms of the acquisition were not disclosed. “Pulselocker spent years developing an innovative solution that provides DJs with the flexiBility to access the content they want when they want it - all through the DJ software they want to use - while providing copyright holders with the security and tracking mechanisms to calculate royalty payments”, commented McDaniels. “Beatport is committed to delivering the Best tools to create a more seamless and interoperaBle user experience for our massive ecosystem of DJs, and Pulselocker accelerates our timeline to deliver just that type of product,” continued McDaniels. Beatport’s acquisition of Pulselocker’s assets further shows the continued financial commitment By parent company LiveStyle to the Beatport Business model. Beatport is currently experiencing its second consecutive year of growth under the new LiveStyle management -
The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry
UCLA UCLA Entertainment Law Review Title The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry Permalink https://escholarship.org/uc/item/7n4322vm Journal UCLA Entertainment Law Review, 22(1) ISSN 1073-2896 Author Richardson, James H. Publication Date 2014 DOI 10.5070/LR8221025203 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry James H. Richardson* I. INTRODUCTION �����������������������������������������������������������������������������������������������������46 II. ILLEGAL DOWNLOADING LOCALLY STORED MEDIA, AND THE RISE OF STREAMING MUSIC ����������������������������������������������������������������������������������������������������������������47 A. The Digitalization of Music, and the Rise of Locally Stored Content. ......47 B. The Road to Legitimacy: Digital Media in Light of A&M Records, Inc. ..48 C. Legitimacy in a Sea of Piracy: The iTunes Music Store. ...........................49 D. Streaming and the Future of Digital Music Service. ���������������������������������50 III. THE COPYRIGHT AND DIGITALIZATION �������������������������������������������������������������������51 A. Statutory Background ................................................................................51 B. Digital Performance Right in Sound Recordings Act ................................52