Digitalisation and Intermediaries in the Music Industry
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Auto Retailing: Why the Franchise System Works Best
AUTO RETAILING: WHY THE FRANCHISE SYSTEM WORKS BEST Q Executive Summary or manufacturers and consumers alike, the automotive and communities—were much more highly motivated and franchise system is the best method for distributing and successful retailers than factory employees or contractors. F selling new cars and trucks. For consumers, new-car That’s still true today, as evidenced by some key findings franchises create intra-brand competition that lowers prices; of this study: generate extra accountability for consumers in warranty and • Today, the average dealership requires an investment of safety recall situations; and provide enormous local eco- $11.3 million, including physical facilities, land, inventory nomic benefits, from well-paying jobs to billions in local taxes. and working capital. For manufacturers, the franchise system is simply the • Nationwide, dealers have invested nearly $200 billion in most efficient and effective way to distribute and sell automo- dealership facilities. biles nationwide. Franchised dealers invest millions of dollars Annual operating costs totaled $81.5 billion in 2013, of private capital in their retail outlets to provide top sales and • an average of $4.6 million per dealership. These service experiences, allowing auto manufacturers to concen- costs include personnel, utilities, advertising and trate their capital in their core areas: designing, building and regulatory compliance. marketing vehicles. Throughout the history of the auto industry, manufactur- • The vast majority—95.6 percent—of the 17,663 ers have experimented with selling directly to consumers. In individual franchised retail automotive outlets are locally fact, in the early years of the industry, manufacturers used and privately owned. -
Cheap Rolling Stones Tickets
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Åpopulaty Musics and Globalization
}ÅPopulatY Musics and Globalization Foreign Music is where all the hipsters are. —Stanley Goman. Head of Retail Operations. Tower Records. 1995 1 HASN'T WOR1.n MUSIC.BF.FN AROUND FOR THOUSANDS OF YEARS? One of the most notable trends in the music industry since the 1980shas been the rise in popularity of new music genres: world music, world beat, world fusion; in Germany, Weltbeat and Weltmusik2; in other parts of the world, ethnopop, Afropop, Afrobeat. Offshoots of these genres include: tribal, techno-tribal, and cybertribal, as well as ambient, trance, and new age. All of these categories overlap to some degree and with other categories I haven't men- tioned. In 1988, Tower Records' international buyer told Newsweekthat his sec- tion was "definitely the fastest growing part of the store," more than tripling in the previous three years. 3 By 1991 the market share of world music was equal to clas- sical music and jazz,4 two very small categories (accordingto the Recording Industry Association of America, in 1995, the market share of classical music was writing).5 2.9% and for jazz, 3.0%; they had no category for world music as of this sales are of "foreign A report in Forbes says that only about 2% of Tower Records' music."6 ofworld music is grow- Two percent isn't much, but the visibility (audibility?) Nusrat Fateh Ali Khan sang a ing fast. For example, the Pakistani Qawwali singer to Tim Robbins'sfilm Dead duet with Eddie Vedder of Pearl Jam for the soundtrack 2 Global Pop Alan IValking, which raised Khan's fame to the extent that he was recently signed by Rick Rubin's Atnerican Recordings, an eclectic label that records, among 0th. -
Corel Ventura
Anthropology / Middle East / World Music Goodman BERBER “Sure to interest a number of different audiences, BERBER from language and music scholars to specialists on North Africa. [A] superb book, clearly written, CULTURE analytically incisive, about very important issues that have not been described elsewhere.” ON THE —John Bowen, Washington University CULTURE WORLD STAGE In this nuanced study of the performance of cultural identity, Jane E. Goodman travels from contemporary Kabyle Berber communities in Algeria and France to the colonial archives, identifying the products, performances, and media through which Berber identity has developed. ON In the 1990s, with a major Islamist insurgency underway in Algeria, Berber cultural associations created performance forms that challenged THE Islamist premises while critiquing their own village practices. Goodman describes the phenomenon of new Kabyle song, a form of world music that transformed village songs for global audiences. WORLD She follows new songs as they move from their producers to the copyright agency to the Parisian stage, highlighting the networks of circulation and exchange through which Berbers have achieved From Village global visibility. to Video STAGE JANE E. GOODMAN is Associate Professor of Communication and Culture at Indiana University. While training to become a cultural anthropologist, she performed with the women’s world music group Libana. Cover photographs: Yamina Djouadou, Algeria, 1993, by Jane E. Goodman. Textile photograph by Michael Cavanagh. The textile is from a Berber women’s fuda, or outer-skirt. Jane E. Goodman http://iupress.indiana.edu 1-800-842-6796 INDIANA Berber Culture on the World Stage JANE E. GOODMAN Berber Culture on the World Stage From Village to Video indiana university press Bloomington and Indianapolis This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://iupress.indiana.edu Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2005 by Jane E. -
NORTH NORFOLK ARTS E-NEWS 20 June 2016
NORTH NORFOLK ARTS E-NEWS 20 June 2016 – Issue 7 In this issue: News Opportunities • Opportunities at The Wells Maltings • Summer Textile workshops at the Mo, Sheringham • Two new visual arts development posts- The Arts Development Company in Dorset • Artswork Communications & Development Manager • Southwark Council: Gallery Operator • Lecturer: VFX - Norwich University of the Arts • Head of the School of Literature, Drama, and Creative Writing - University of East Anglia • Workshops - Norfolk Dance Artists Collective • Jeremy Webb Photography Workshops • Project Management in 10 Simple Steps - Creative Training Hub • Local Global Song Project Workshops - Southburgh Festival of World Music • Clore Leadership Programme: Clore Short Course Programme • Writers' Centre Norwich Emerging Translator Mentorships 2016 • FREE Special Drypoint Workshop Opportunity • Norfolk Community Foundation - Vital Signs Survey • Voluntary Arts - Disability & Access at Events Briefing • What Next? Norfolk chapter meeting • Volunteers' Week - Pledge the hours you give to arts Funding News For what’s going on in North Norfolk visit our Arts online diary www.northnorfolk.org/arts/search.aspx Submit your event for FREE visit www.northnorfolk.org/arts/submit_event.aspx or www.visitnorthnorfolk.com For information on North Norfolk WW1 events and support visit www.northnorfolk.org/ww1 Opportunities Opportunities at The Wells Maltings • Volunteering possibilities. We are always looking for new volunteers and recruits to work in the Tourist Information Centre alongside our staff. Fancy giving up a couple of hours a week? Go into the Centre and ask to speak to Inez or Sophie who would be very happy to give you further information. • Oral History Recordings . One of our projects for the Heritage Lottery for completion during the development stage is recording and collating recorded oral histories of the town and from the local people who live and have lived here. -
Value Growth and the Music Industry: the Untold Story of Digital Success by Maud Sacquet October 2017
RESEARCH PAPER Value Growth and the Music Industry: The Untold Story of Digital Success By Maud Sacquet October 2017 Executive Summary societies’ collections increased 26% globally between 2007 and 2015. Meanwhile, European consumers and For music listeners, digitisation and the internet tell a businesses are the highest contributors globally to story of increased consumer welfare1. Today, consumers collecting societies’ revenues. have access to a greater choice of music than ever before and can listen to music anywhere, anytime, on a broad range of devices. And with all these increased These figures undermine the case for an alleged “value choices has come an explosion of sharing and creativity. gap”, showing instead healthy rises in revenue. These figures demonstrate that digital’s efficiency savings are From the creative industry side, the internet has also passed on to both consumers and record labels — and enabled new business models for creators and the hence that digital streaming services enable massive emergence of new artists and music intermediaries. It value growth. has also allowed independent labels to thrive — in Adele’s producer’s own words, digital music is a “more level playing field”2. The supply side of music is more Introduction diverse and competitive than ever. The current debate in the European Union on copyright Have these gains been achieved at the expense of reform is in part focused on an alleged “value gap”, legacy music players, such as major labels and defined in May 2016 by the International Federation collecting societies? of the Phonographic Industry (“IFPI”) as “the dramatic contrast between the proportionate revenues In this paper, we look at data from major record labels generated by user upload services and by paid and from collecting societies to answer this question. -
Healthy at Work Requirements for Retail Businesses
VERSION 1.0 – Effective May 20, 2020 Requirements for Retail Businesses In addition to the Healthy at Work Minimum Requirements, retail businesses must meet the requirements below in order to reopen and remain open: Social Distancing Requirements • Retail businesses should provide services and conduct business via phone or Internet to the greatest extent practicable. Any retail employees who are currently able to perform their job duties via telework (e.g., accounting staff) should continue to telework. • Retail businesses must limit the number of customers present in any given retail business to 33% of the maximum permitted occupancy of the facility, assuming all individuals in the store are able to maintain six (6) feet of space between each other with that level of occupancy. If individuals are not able to maintain six (6) feet of space between each other at 33% of capacity, the retail business must limit the number of individuals in the store to the greatest number that permits proper social distancing. • If a retail business has more customers wishing to enter their business than is possible under the current social distancing requirements of six (6) feet between all individuals, the business should establish a system for limiting entry and tracking occupancy numbers. Once a retail business has reached its capacity, it should permit a new customer inside only after a previous customer has left the premises on a one-to-one basis. Retail businesses experiencing lines or waits outside their doors should establish a safe means for customers to await entry, such as asking customers to remain in their car and notifying them via phone when they are able to enter the store or marking off spots six (6) feet apart where customers can safely stand without congregating. -
The History of Nipper and His Master's Voice by Erik Østergaard
The History of Nipper and His Master's Voice By Erik Østergaard Nipper and His Master's Voice - What is the story? Nipper the dog was born in Bristol in Gloucester, England in 1884 and so named because of his tendency to nip the backs of visitors' legs. When his first master Mark Barraud died destitute in Bristol in 1887, Nipper was taken to Liverpool in Lancashire, England by Mark's younger brother Francis, a painter. In Liverpool Nipper discovered the Phonograph, a cylinder recording and playing machine and Francis Barraud "often noticed how puzzled he was to make out where the voice came from". This scene must have been indelibly printed in Barraud's brain, for it was three years after Nipper died that he committed it to canvas. Nipper died in September 1895, having returned from Liverpool to live with Mark Barraud's widow in Kingston-upon-Thames in Surrey, England. Though not a thoroughbred, Nipper had plenty of bull terrier in him; he never hesitated to take on another dog in a fight, loved chasing rats and had a fondness for the pheasants in Richmond Park! In 1898 Barraud completed the painting and registered it on 11 February 1899 as "Dog looking at and listening to a Phonograph". "Dog looking at and listening to a Phonograph" Barraud then decided to rename the painting "His Master's Voice" and tried to exhibit it at the Royal Academy, but was turned down. He had no more luck trying to offer it for reproduction in magazines. "No one would know what the dog was doing" was given as the reason! Next on Barraud's list was The Edison Bell Company, leading manufacturer of the cylinder phonograph, but again without success. -
Eastern News: January 20, 2012 Eastern Illinois University
Eastern Illinois University The Keep January 2012 2-20-2012 Daily Eastern News: January 20, 2012 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_2012_jan Recommended Citation Eastern Illinois University, "Daily Eastern News: January 20, 2012" (2012). January. 9. http://thekeep.eiu.edu/den_2012_jan/9 This Article is brought to you for free and open access by the 2012 at The Keep. It has been accepted for inclusion in January by an authorized administrator of The Keep. For more information, please contact [email protected]. “Tell the truth and don’t be afraid.” Friday THE DAILY JANUARY 20, 2012 VOLUME 96 | No. 176 EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILL. DENNEWS.COM EastErn nEws TWITTER.COM/DENNEWS JANUARY 20, 2012 Check out this week’s Panthers come up cold edition of Verge! on Miller’s hot night The Daily Eastern News' weekly arts and entertainment section Section B Page 8 VPunk Yankees mix dance, humor “Even for general audiences, enough is contextualized that they completely enjoy it. It’s inviting to pretty much everybody.” Julia Rhoads, artistic director for Lucky Plush Productions By Sara Hall Verge Editor Many people recognize stealing music is wrong, but they may never consider the ram- ications behind borrowing someone else’s dance and choreography. is is the idea the Lucky Plush Produc- tions’ show “Punk Yankees” will be present- BOARD OF TRUSTEESing on Jan. 21 and 22 at Doudna Fine Arts Center. Julia Rhoads, artistic director for Lucky Plush Productions, said many mainstream dances and choreography are often stolen without acknowledging the artist. -