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The Creative Conver
TWO PETERRAINMAKERS EDGETHE CREATIVE CONVERSATION s chief of RCA, Peter Edge has presided over one of the splashiest rosters in the biz, which has culminated in big chart successes, top-tier Grammy love and, occa- sionally, pop-cultural godhead for his acts. Edge’s keen A&R chops Aand artist whispering have been integral to his reign, and he has been acutely sensitive to the shifting winds of the marketplace. “I’m always looking for a unique propo- sition,” Edge said a decade and a half ago, and it clearly resonates today. “I’m really attracted to people who have an abundance of talent because I’m just in awe of that, being a music fan.” “Peter Edge loves music so much, it’s his heart and soul,” notes one of Edge’s Grammy-winning, chart-topping signings, Switch, where he booked artists such as Sade Khalid. “I’ve had such meaningful artistic and Grace Jones. His work there caught conversations with him, and I’m always in the eye of Simon Fuller, who hired him as awe of his knowledge and his passion.” an A&R rep at Chrysalis Music Publishing; “I have known and worked with Peter he subsequently moved to the label side at since I first started in this business,” says Chrysalis and was tasked with launching the manager Brandon Creed, “and he has London-based Cooltempo imprint in 1985, always been a very kind and soulful leader in tandem with producer Danny D. and personal mentor to me. His taste and In the U.K., the label would release talent are inspiring, and he’s as authen- music by Erik B and Rakim, EPMD, tic and genuine as an executive as he is a The Real Roxanne, Slick Rick and Doug human being.” E. -
The 360 Contract in the Digitalizing Music Industry
Western University Scholarship@Western FIMS Publications Information & Media Studies (FIMS) Faculty 2012 The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry Matt Stahl The University of Western Ontario Leslie Meier The University of Western Ontario, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/fimspub Part of the Library and Information Science Commons Citation of this paper: Stahl, Matt and Meier, Leslie, "The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry" (2012). FIMS Publications. 272. https://ir.lib.uwo.ca/fimspub/272 The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry Matt Stahl & Leslie M. Meier University of Western Ontario ABSTRACT The devaluation of the recorded music commodity under digitalization has destabilized the recording industry. One primary record industry response is the new “360 deal” form of the recording contract. By securing rights to individual acts’ live performance, music publishing and licensing, and merchandizing activities, this new deal expands record companies’ access to more profitable fields of music industry activity (if in piecemeal fashion). We examine the context, evolution, and varieties of the 360 deal, and argue that it re-secures record industry profitability and further stratifies the population of recording artists by shifting risk onto performers. KEYWORDS Cultural Industries; Popular Music; Recording Industry; Creative -
30789 18 Baskerville 9E.Pdf
CHAPTER18 The Digital Age or nearly a century the modern music industry was forged by two then-new F technologies—the phonograph record and broadcasting. In the late 20th century, a third “The future is here. force—digital technology—emerged to shake the industry’s foundations. Digital technology It’s just not widely radically altered not only the business of music but also its creation, manufacture, and distribu- distributed yet.” tion. Furthermore, it changed the very culture of how music is created, with inexpensive tech- —William Gibson nologies to record, present, distribute, promote, and play music, fashioning a unique artistic and commercial digital democracy, which drew mu- sic artist and music consumer closer even as it blurred the boundary between them. Digital’s power was most graphically illustrated in the arena of distribution. The unauthorized digital distribution of music via peer-to-peer (P2P) networks like Napster and Grokster was often cited as the primary force behind the music industry sales slump that began in 2001. Ironically, although these P2P networks also presented a method for legitimate digital distribution via the Internet, record labels, which had reaped a fortune from the sales of CDs for two decades, perceived digital distribution as a threat rather than an opportunity. When Philips and Sony collaborated on the development of the compact disc (CD) in the early 1980s, no one could have predicted the extent to which digital technology, in combination with the Internet (which was still gestating at the time), would revolutionize the music industry. Left: Steve Jobs unveils Apple’s iPod Mini, 2004. -
Santana: "Corazón, Live from Mexico: Live It to Believe
MARTEDì 26 AGOSTO 2014 Il 23 settembre Carlos Santana e la sua band Santana pubblicheranno uno speciale cofanetto intitolato "Corazón, Live From Mexico: Live It To Believe It". Il box set, sarà in vendita in tre diversi formati: DVD, DVD/CD Santana: "Corazón, Live From e Blu-Ray/CD, conterrà il concerto e il documentario del "making of" (dal Mexico: Live It To Believe It" titolo "Live It To Believe It", girato a Puerto Vallarta, Riviera Nayarit e Guadalajara, della durata di 30 minuti) e un CD live (disponibile anche in Il 23 settembre viene pubblicato in DVD, digitale). DVD/CD e Blu-Ray/CD Oltre alle hit messe a segno in 40 anni di carriera, Carlos Santana - icona del rock, membro della Rock and Roll Hall of Fame e vincitore di dieci Grammy - nel corso di uno straordinario concerto che ha tenuto nel CRISTIAN PEDRAZZINI dicembre 2013 ha eseguito molti dei brani dell'album "Corazón" (disco di rock latino, pubblicato a maggio di quest'anno e certificato doppio disco di platino negli USA). Ad accompagnare il chitarrista, molti degli special guest dell'album, entusiasti di celebrare le proprie origini latine al fianco di Carlos all'Arena VFG di Guadalajara (nello stato di Jalisco, del quale Santana è originario) in collaborazione con l'Ente per il Turismo del [email protected] Messico. SPETTACOLINEWS.IT La location di Guadalajara è stata scelta da Santana e Sony Music perché il chitarrista potesse rendere omaggio al popolo, alla cultura e alla storia messicani. Il concerto, che ha quindi visto Carlos giocare in casa, ha rappresentato una sorta di festeggiamento speciale per "Corazón", progetto che l'artista ha molto a cuore. -
The T.J. Martell Foundation Announces the Clive Davis Research Fellowship Award
For Immediate Release: THE T.J. MARTELL FOUNDATION ANNOUNCES THE CLIVE DAVIS RESEARCH FELLOWSHIP AWARD 40 YEARS AGO CLIVE DAVIS AND TONY MARTELL LAUNCHED THE T.J. MARTELL FOUNDATION – MUSIC’S PROMISE FOR A CURE Fellowship Award, to be Presented at Annual Martell Dinner, Will Support Leukemia, Cancer and AIDS Research New York, New York – (September 30, 2015) – When Tony Martell was faced with a devastating diagnosis of leukemia for his young son T.J 40 years ago, music industry icon and friend Clive Davis did not hesitate to partner with him in launching what would go on to be one of the most aggressive and ambitious organizations fighting to find a cure for Leukemia, Cancer and AIDS – The T.J. Martell Foundation, “Music’s Promise for a Cure.” This year, the T.J. Martell Foundation proudly celebrates its 40th year with the creation of The Clive Davis Research Fellowship Award. The permanent grant bearing the five-time Grammy- winner’s name will be awarded annually to a scientist or medical professional undertaking substantial early-stage work aimed at finding a cure for Leukemia, Cancer or AIDS at one of T.J. Martell Foundation’s funded institutions. For decades, Clive Davis – the iconic music producer and executive who has steered some of the world’s biggest superstars to musical success – has quietly supported the Foundation, which has been responsible for saving of thousands of lives since its inception as a result of innovative research and medical treatments in the fight against Leukemia, Cancer and AIDS. Davis, who has worked with the likes of Bruce Springsteen, Whitney Houston, Janis Joplin, Alicia Keys, Rod Stewart, Simon & Garfunkel, Aerosmith, Carlos Santana, Sean “Puffy” Combs, Barry Manilow, Aretha Franklin, The Grateful Dead, Herbie Hancock, Jennifer Hudson and so many others has been behind-the-scenes in helping to support innovative cancer research that is truly remarkable. -
R a I N M a K E R S 76
RAINMAKERS 76 Sir Lucian Grainge The Architect of Change ir Lucian Grainge is the first Englishman operating a global music scompany based in the U.S. to ever get it right. And when, in 2011, he came to ultimate power, taking control of the biggest music group in the world, the business was in decline. His willingness to take risks and draw on his decades of music-business experi- ence and combined with his great instincts encour- 76 77 With Sam Smith and Katy Perry aged him to bet on the future and lead in each metric. the most intriguing questions of the year. rights holders into the new streaming The second half of 2018 promises to “He’s the great hope for the music revolution. He moved forward swiftly be huge for UMG, following parent com- business,” Irving Azoff accurately pre- to make deals with Spotify, Apple, pany Vivendi’s decision to sell up to 50% dicted in a 2014 L.A. Times profile YouTube, Amazon and Facebook. As a of the company to a strategic partner to of Lucian Grainge. “He started as a result of Grainge’s wager, his Universal be determined, with the process begin- songplugger and a publishing guy. He Music Group has become more domi- ning this fall. Grainge will be making the understands the entire worldwide record nant than ever: At presstime, UMG had key decisions in this all-important matter, business. And he gets technology. He 38.1% in overall U.S. marketshare and including the ultimate one—the choosing understands that’s the future of the busi- 39.2% in streaming share, while snag- of said strategic partner. -
The Barbarians
54 GOLDMINE June 26, 1992 The Barbarians by Matt Whorf cleaning business in Abington, Massachu- the Barbarians began under the deadline blocked and it just seemed that people fror setts, looks back with nothing but fondness pressure of a Saturday night gig which was all over were trying to get into the clut Were the Barbarians the first-ever punk and appreciation for his career in the music only three nights away. which only had a capacity for between 20 band? Given that punk as a style has always business. Said Moulty, "The Rumpus Room had and 300. The people included friends. rela been as much defined by stance and attitude Born February 24, 1945, Moulty grew up never had live entertainment. But when I tives and ·music fans in general. Nobody ha· as by musical sound, the case for the Cape in Provincetown, Massachusetts. His was a told my cousin I was a drummer he offered ever seen anything like that in Provin ce Cod-bred mid-'60s garage-rock band for musical family, with both of his parents gui- me a spot to play there that weekend. So, town." such a status is quite strong indeed. Among tar players who occasionally performed live, within three days I called a couple of guys I From there, the Barbarians began playi n those who suggest yes in answer to the ques- playing what he describes as "old-fashioned knew who played guitars and asked them if at cl ubs all over their hometown. Two ofth tion is one Joe Doissyof the Luxembourg- country 'n' western," and a grandfather who they wanted to play at the club Saturday players at the original gig were soon found to based Barbarians fan club in his album also played guitar and piano. -
BTS' 'Butter' on a Roll, Spends Second Week at No. 1 on Billboard Hot
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JUNE 7, 2021 Page 1 of 41 INSIDE BTS’ ‘Butter’ on a Roll, • Taylor Swift’s Spends Second Week at No. 1 ‘Evermore’ Returns to No. 1 on Billboard 200 Chart on Billboard Hot 100 • Revealed: BY GARY TRUST Billboard’s 2021 Indie Power Players TS’ “Butter” adds a second week at No. 1 on Sales chart, drops 4-10 on Streaming Songs and rises • Bill Ackman’s UMG the Billboard Hot 100 songs chart, a week 39-32 on Radio Songs. Play: A Bad Deal or after it soared in at the summit, becoming First two weeks at No. 1: “Butter” is the 23rd title Just Too Confusing the South Korean superstar group’s fourth to debut at No. 1 on the Hot 100 and post a second for Investors? Bleader on the list. consecutive week on top, among 54 total No. 1 ar- • Apple Music The song again fends off Olivia Rodrigo’s “Good 4 rivals, making for a 43% second-week success rate. Releases Spatial U,” which holds at No. 2 on the Hot 100, two weeks It’s the third among seven such songs this year, after Audio and Lossless after it launched at No. 1. Olivia Rodrigo’s “Drivers License” spent its first eight Streaming The Hot 100 blends all-genre U.S. streaming (of- weeks at No. 1 (encompassing its entire reign) and • How Premier’s ficial audio and official video), radio airplay and sales Polo G’s “Rapstar” ruled in its first two frames (also Josh Deutsch Is data. -
Taking Care of Business—And Legal
RAINMAKERS 2020 JULIE SWIDLER TAKING CARE OF BUSINESS—AND LEGAL 110 ou can’t always Behind the popular song,” and noted, accurately, “I deal tell a book by its in dreamers/And telephone screamers.” cover. Take Julie She also has great empathy for artists, particularly Swidler, Sony Music those whose interests she champions and protects. To cite Entertainment’s top a recent example, Swidler played a central role in upgrad- lawyer, dealmaker ing Sony Music’s artist-royalty portal, which brings new- and policy formula- found transparency, enabling artists to view their earnings tor, whose name and get paid promptly. “It affects tens of thousands of and lofty title— artists,” she explained in the midst of the reboot. EVP of Business Affairs and General n 2018, she was one of 16 industry luminaries Counsel—are tapped for the Recording Academy’s Tina Tchen- frequently invoked, with all due formality, in high-profile led Task Force on Diversity and Inclusion, where trade stories. Swidler is seen across the industry as a formi- she helped bring about sorely needed changes with- dableY presence—a tough but fair negotiator who fiercely in the beleaguered organization. advances her company’s interests as one of Rob Stringer’s The role perfectly suited Swidler, whose philan- most trusted negotiators. You don’t want to go against her Ithropic efforts include her role as Vice Chair of the T.J. if you’re not fully prepared; otherwise, you won’t know Martell Foundation—she was the recipient of the 2017 what hit you. Lifetime Music Industry Award at the nonprofit’s 42nd As the chief adviser to Sony Music’s labels and divi- annual Honors Gala—and her work with the UJA- sions worldwide on all legal issues and policy initiatives— Federation of New York’s Music for Youth initiative. -
Craig Kallman
CRAIG KALLMAN CHAIRMAN/CEO, THE ATLANTIC RECORDS GROUP * * * * * * CRAIG KALLMAN Craig Kallman carries on the entrepreneurial tradition that has driven Atlantic Records since its founding by Ahmet Ertegun over 65 years ago, and is embodied in the careers of such fellow Atlantic producer/executives as Jerry Wexler, Nesuhi Ertegun, and Doug Morris. Craig joined Atlantic in 1991, when the company acquired his independent Big Beat Records label. Advancing through the executive ranks, the New York-born Kallman was named Chairman/CEO of the Atlantic Records Group in 2005. A passionate music fan, obsessive record collector (with an archive now numbering 350,000 vinyl albums and counting), and avid audiophile, Kallman began his music industry career while still in high school. He started out by DJ-ing at the Cat Club in New York, while working in Columbia Records' dance department. At Brown University, he was the CBS Records college representative, programmed urban and rock specialty shows on WBRU-FM, and ran a legendary series of campus dance parties. After graduating in 1987 with a B.A. in English, Kallman worked for Factory Records and Billboard magazine, while DJ-ing at such legendary nightspots as Danceteria, Area, The Palladium, and The Tunnel – spinning boundary-crossing sets drawn from his vast collection. Fresh out of college, he started the Big Beat label in his bedroom, selling dance records on the street from a shopping cart. He launched the label with the single "Join Hands" by Taravhonty. His second release, "The Party" by Kraze, was an international smash, selling over 300,000 copies, and prompting calls for Kallman remixes from such major artists as Soul II Soul. -
Universal Execs, Acts Bather for San Francisco Meet Universal Recently Held Its Worldwide Senior Management Confer- Ence at the Ritz -Carlton San Francisco
Newsmakers Universal Execs, Acts bather For San Francisco Meet Universal recently held Its Worldwide Senior Management Confer- ence at the Ritz -Carlton San Francisco. The three -day event, Sept. 7 -9, featured performances from a number of Universal recording acts and played host to more than 170 Universal executives. On Sept. 8, MCA's Mary J. Bllige and Motown's Brian McKnight brought their soulful sounds to the conference. Shown at the performance, from left, are Zach Horowitz, president/COO of Universal Music Group; Jorgen Larsen, chairman /CEO of Universal Music International; Doug Morris, chairman /CEO of Universal Music Group; Blige; Max Hole, senior VP of market- ing and A &R for Universal Music International; Jay Boberg, president of MCA Records; and Kirk Burrowes, Blige's manager. Shown, from left, are John Reid, co- president of Island /Def Jam Music Group; Jim Caparro, chairman of Island /Def Jam Music Group; Jim Urie, president of Universal Music and Video Distribution; Def Soul artist Kandace Love; Henry Droz, chairman of Universal Music and Video Distribution; Island Records artist Mikaila; Lyor Cohen, co- president of Island /Def Jam Music Group; Jeff Fenster, senior VP and head of A &R for Island /Def Jam Music Group; and Edgar Bronf- man Jr., president/CEO of the Seagram Co. Shown after Aqua's performance, in the front row from left, are Jorgen Larsen, Shown after Brian McKnight's performance, from left, are chairman /CEO of Universal Music International; Lene Grawford Nystrom of Kedar Massenburg, president/CEO of Motown; Doug Mor- Aqua; Doug Morris, chairman /CEO of Universal Music Group; Jay Boberg, pres- ris, chairman/CEO of Universal Music Group; McKnight; ident of MCA Records; and Bruce Hack, vice chairman of Universal Music Herb Trawick, McKnight's manager; Zach Horowitz, presi- Group. -
London on Da Track Signs with Rca Records Releases Debut Single “No Flag” Ft
LONDON ON DA TRACK SIGNS WITH RCA RECORDS RELEASES DEBUT SINGLE “NO FLAG” FT. NICKI MINAJ, 21 SAVAGE & OFFSET CLICK HERE TO LISTEN ANNOUNCES “NO FLAG” TOUR Pictured from left to right: Khalil Edwards, Road Manager; John Fleckenstein, EVP, RCA; Kevin Liles, Manager; Peter Edge, Chairman & CEO, RCA; Keith Naftaly, EVP/Head of A&R, RCA; London On Da Track; on screen, Mark Pitts, CEO ByStorm Entertainment/President, Urban Music, RCA; Tom Corson, President & COO, RCA; Cheryl Mack, Manager; Trevor Jerideau, SVP A&R, RCA; Derrick Aroh, Director A&R, RCA. Not Pictured: Adellyn Polomski, Day to Day Manager. “No Flag” Cover Art [New York, NY – August 25, 2017] Today, RCA Records announces the signing of 26-year-old Atlanta producer, London On Da Track as a recording artist. To celebrate his signing, London releases his debut single, “No Flag” ft. Nicki Minaj, 21 Savage & Offset, which is now available at all digital service providers. Click here to listen. “No Flag,” reunites London with 21 Savage and marks his first time working with Nicki Minaj and Offset. On the release of his debut single and signing with RCA Records London says: “I feel great signing to RCA. I gave them my vision and they believe in my vision and we’re about to take it to another level! My transition from being a producer to an artist is taking me back to my roots and doing what I used to do as an artist in Atlanta when I was a teenager. So, now that I get to be in both worlds, as a producer and artist, I can brand myself in an equivalent way.