How to Create a Lease Contract for Selling Beats
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The Music Industry?
Contents 02!Forewords 04!Executive Summary 07!Data Comes of Age 24!DSP Dashboards 28!Data and the Charts 31!Practical Tips 34!Data Startups to Watch Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on why big-data and analytics matter for labels, artists and digital 1 service providers alike Forewords Kim Bayley, CEO Geoff Taylor, CEO Entertainment Retailers Association BPI and BRIT Awards Much has been written about how digital music services including What powers the UK’s exceptional success in producing global hit records? Spotify, Amazon, Apple, Deezer and Google have helped return a music First of all, of course, the natural talent, open-mindedness and originality of industry whose decline once seemed terminal into growth again. our songwriters, producers and performers. But creating consistent commercial success also means relentless investment in A&R, an appetite But while digital services are proving their worth in terms of revenue, for risk-taking informed by years of experience and judgement, and their greatest contribution may yet turn out to be the vast quantities of innovative, expert marketing and promotion. data they generate about music fans’ preferences and listening habits. Increasingly, data, in all its forms – spanning metadata to big data – is Not only does this data allow them to hone their services, optimise playing a key role in shaping this process. As streaming comes to playlists and generate insights which could lead to new, value-added dominate music consumption, data is becoming a progressively more offerings, it is also potentially game-changing for the supply side of the important part of the process of producing and marketing music and, business, taking some guesswork out of what has always been a hit and arguably, one of the determinants of a song’s popularity. -
Mike Vernon: “The Producer” by Gianni Franchi
Mike Vernon: “the Producer” by Gianni Franchi Interview SB: Can you tell me something about your beginning in music as artist and then as producer? MV: I always had had a strong interest in music from a very early age. My father had a War time friend...I only really ever knew him as 'Uncle Charlie'...as a family we used to go their home on a Sunday for lunch. I remember that Charlie had a collection of 78s and he would often pick out a few and play them whilst we were relaxing after eating. The collection was very varied but he had a number of items that really intrigued me...even though I was not even a teenager at that time! Louis Jordan & His Tympany Five; The Mills Brothers and The Ink Spots in particular. Those Rhythm & Blues sounds were to become a very important part of my musical journey in future years. My mother was a regular Church goer and both my brother Richard and I attended on a regular basis also. We both had decent voices and joined the Church Choir...St. James's Church Riddlesdown, Purley in the County of Surrey. I started out as a treble but once my voice broke I found myself able to fulfill my duties as an alto; tenor (first and second) baritone and even basso profundo...that very much depended on my health! If I had a bad cold then my voice dropped another octave. I suppose I would have to say that the gift of a good voice did help me in the latter years of my life. -
The Music Market in Australia and New Zealand
THE MUSIC MARKET IN AUSTRALIA AND NEW ZEALAND 1 THE MUSIC MARKET IN AUSTRALIA AND NEW ZEALANDLAND ACKNOWLEDGEMENTS Funding for this study was provided by Ontario Media Development Corporation. Any opinions, findings, conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the views of Ontario Media Development Corporation or the Government of Ontario. The Government of Ontario and its agencies are in no way bound by the recommendations contained in this document. Funding for this study was also provided in part by Foreign Affairs, Trade and Development Canada. Foreign Affairs, Trade and Affaires étrangères, Commerce Development Canada et Développement Canada 2 THE MUSIC MARKET IN AUSTRALIA AND NEW ZEALAND 1. Executive Summary . 4 2. Introduction . .. 5 3. At a Glance . 5 Australia . 5 New Zealand . 7 4. Recorded Music Market . 8 Charts . .. 8 In Numbers . 11 Copyright Infringement and Piracy in Australia . 12 Streaming Services . .. 12 Record Stores . 13 Record Labels and Distributors . 13 General Trends . 16 Interview: Leigh Gruppetta, Cooking Vinyl Australia . .. 16 5. Live Performance Industry . 17 Festivals . 19 Interview: Chloe Goodyear . Woodford Folk Festival . 22 Touring Australia and New Zealand . 23 Venues . 24 Booking Agencies and Promoters . 30 Merch . 31 Illy’s Top Tips for Touring Australia . 31 6. Music Publishing . 34 In Numbers . 34 Synch . 35 Interview: Zoe Coverdale, Mushroom Music Publishing . 36 7. Promotion and Media . 37 Australia (Radio, Print, Television, Online) . 37 Interview: Nick Findlay, triple j . 38 New Zealand (Radio, Print, Online) . 43 Marketing and Advertising . 43 Interview: Pam Thornback, Inertia . 44 8. Business and Showcase Events . -
MBUSA-Issue-1-1.Pdf
Spring/Summer 2019 1 @warnermusic @warnermusicgroup @warnermusic 1 XXXXXXXX Contributors ALEX ROBBINS GOLNAR KHOSROWSHAHI JUSTIN KALIFOWITZ Alex Robbins is an illustrator whose work Golnar Khosrowshahi is the founder and Justin Kalifowitz is the founder and has previously appeared in the likes of the CEO of Reservoir, an independent music CEO of Downtown Music Holdings, a New Yorker, Time Out, Wired, TIME company established in 2007. Based in provider of end-to-end services to artists, and i-D. He created our cover image, New York with operations in Los Angeles, songwriters, labels, music publishers and based on a quote from our lead interview Nashville, Toronto, and London, Reservoir other rights-holders. Established in 2007, with UMPG’s Jody Gerson: “It’s great the owns and administers over 110,000 Downtown’s global offices include those industry is making more money – but that’s copyrights. Khosrowshahi is also President in New York, Amsterdam, London, Los not the only thing that matters. Human of Silkroad, a non-profit organization Angeles and Nashville. Downtown recently connections matter.” founded by the cellist Yo-Yo Ma. acquired CD Baby’s parent company, AVL. MARK MULLIGAN RHIAN JONES ZENA WHITE Mark Mulligan is the founder of UK- Rhian Jones is a respected freelance Zena White is the Managing Director of based MIDiA Research, and one of journalist who often focuses on the music Partisan Records, the Brooklyn-born indie the most respected, and widely-read, industry. In addition to writing for Music label which is home to artists as diverse as analysts working in the global business. -
Britten-Working in the Music Industry
Visit our How To website at www.howto.co.uk At www.howto.co.uk you can engage in conversation with our authors – all of whom have ‘been there and done that’ in their specialist fields. You can get access to special offers and additional content but most importantly you will be able to engage with, and become a part of, a wide and growing community of people just like yourself. At www.howto.co.uk you’ll be able to talk and share tips with people who have similar interests and are facing similar challenges in their lives. People who, just like you, have the desire to change their lives for the better – be it through moving to a new country, starting a new business, growing their own vegetables, or writing a novel. At www.howto.co.uk you’ll find the support and encourage- ment you need to help make your aspirations a reality. You can go direct to www.working-in-the-music-industry.co.uk which is part of the main How To site. How To Books strives to present authentic, inspiring, practical information in their books. Now, when you buy a title from How To Books, you get even more than just words on a page. Published by How To Content, A division of How To Books Ltd, Spring Hill House, Spring Hill Road Begbroke, Oxford OX5 1RX Tel: (01865) 375794. Fax: (01865) 379162 info_howtobooks.co.uk www.howtobooks.co.uk All rights reserved. No part of this work may be reproduced or stored in an information retrieval system (other than for the purposes of review), without the express permission of the Publisher given in writing. -
Storstadmo, Sondre Decser.Pdf (1.291Mb)
In which ways has the digitalization changed the A&R profession A&R in today’s digital industry A valuable resource Sondre Decser Storstadmo Supervisor Daniel Nordgård This master’s thesis is carried out as a part of the education at the University of Agder and is therefore approved as a part of this education. However, this does not imply that the university for the methods that are used or the conclusion that are drawn University of Agder 2017 Faculty of Fine Art Department of Popular Music Abstract Behind every artist there is a handful of people that work day and night to make sure the artists career keeps going steady forward. In this machine consisting of record labels and managements, there is one profession that works in-between these to make sure everyone is happy. This paper aims to get a deeper understanding of the a&r profession and the importance this person actually has in the music industry. The background for this thesis lies in that a&r is a topic that not so many know too much about, and neither speaks of. In this paper, I will go deeper in to the world of the a&r and their working methods. The foundation for this thesis will be the a&r and the importance of their role before and after the digitalization. The A&R role will be set up against the changes the digitalization has applied to the music industry, to see if a&r role has been sustainable through the transition from analog to digital. -
The Best of Guerrilla Marketing/By Jay Con- Rad Levinson and Jeannie Levinson
greatest hits MARKETING GUERRILA GUERRILLA UPDATED, ADAPTED, REMASTERED... remix The only book to deliver The Best of Contributions from 35 Guerrilla Marketing—a combination Guerrilla hits, including: of the latest secrets, strategies, The Guerrilla Marketing Handbook tactics, and tools from more than Guerrilla Publicity 35 top-selling Guerrilla books— Guerrilla Marketing in 30 Days MARKETING updated for a new generation. Guerrilla Marketing for Writers Guerrilla Social Media Marketing Guerrilla Marketing on the Internet careers branding When they write the history of marketing thought, Guerrilla Networking Jay doesn’t get a page...he gets his own chapter. writers Guerrilla Negotiating Seth Godin, author of Poke the Box retailing remix networking Guerrilla Selling canvassing This book is the culmination of Guerrilla Marketing’s wealth Guerrilla Public Speaking huge footprint on the marketing landscape. Keep it on Guerrilla Multilevel Marketing top of your desk—it will become your marketing bible. advertisinginternet copywriting Guerrilla Profi ts Jill Lublin, international speaker and author, Jilllublin.com Guerrilla Finanacing For business survival in the 21st century, Guerrilla strategies job-hunters Guerrilla Business Secrets Marketing ranks right up there with food, water, Guerrilla Breakthrough Strategies shelter—and, of course, Internet access. negotiating speakers David Garfi nkel, author of The Best Of Guerrilla Retailing Advertising Headlines That Make You Rich Guerrilla Rainmaking Guerrilla Marketing for Consultants 21 million entrepreneurs around the world, including Guerrilla Marketing Goes Green myself, and most of my clients and friends, owe a debt of gratitude to Jay Conrad Levinson for his Guerrilla Marketing for Nonprofi ts Guerrilla Marketing inspiring Guerrilla Marketing advice and mentoring. -
Victor Lewis by Ken Weiss
Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM April-May 2018 JAZZ HISTORY FEATURE ArtArt Blakey,Blakey, PartPart 55 Interviews ManuelManuel ValeraValera Jazz Standard, April 11 Javon Javon JackosnJackosn Dizzy’s Club, May 14 PHOTOs HoustonHouston PersonPerson Jazz Standard, April 19--22 KennyKenny GarrettGarrett Blue Note, April 19--22 FrankFrank MorganMorgan VictorVictor Comprehensive DirectoryDirectory of NY ClubS, ConcertS LewisLewis EffortEffort && RewardReward Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 April-May 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) April-May 2018 – Volume 9, Number 2 Cover Photo and photo at right of Victor Lewis by Ken Weiss Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ (published monthly). -
Foo Fighters BMI MUSICWORLD 1 BMI MUSICWORLD 2 HITMAKERS at Washington State University, He Excelled
® ® BROADCAST MUSIC, INC. ® MusicWorld SUMMER 2011 Gregg Allman Nicki Minaj Daft Punk Good Charlotte Black Keys Don Omar Alexandre Desplat and much more . www.bmi.com Foo Fighters BMI MUSICWORLD 1 BMI MUSICWORLD 2 HITMAKERS At Washington State University, he excelled. Football. Social sci- ence major. Member of Omega Psi Phi fraternity. He minored in mu- sic, honing his talent, but a minor isn’t enough to satiate a dream. “It was culture shock,” he says. “Football is the priority, even more than school. Art is frowned upon. I had to sneak music in.” After school in 2007, he returned to his parents’ new home. They expected an athlete but found a frustrated musician. “I couldn’t get a job. My parents became my worst enemy.” They kicked him out. He moved back to Watts. That’s when McCall, a.k.a. K-MAC, began posting music online and working his connections in L.A. By 2009, he’d pro- Kevin McCall duced 10 tracks on Chris Brown’s “In My Zone” mixtape. That led to another, Brown’s “Fan of a Fan” collaboration with Tyga, which contained “Deuces,” Brown’s comeback hit that landed at #1 on the Billboard R&B/Hip Hop chart. evin McCall was supposed to go to the NFL. That’s McCall has gone on to collaborate with some of r&b’s best what his parents wanted: to further the dream of his fa- talents, including Keri Hilson, Tank, Trey Songz and Keyshia ther and uncles, all great student athletes. McCall grew Cole, and has been working on new projects from heavyweights K up in Watts, a once-dangerous part of Los Angeles. -
I Want to Change My Life
I Want to Change My Life I Want to Change My Life: Can Reality TV Competition Shows Trigger Lasting Career Success? By Barrie Gunter I Want to Change My Life: Can Reality TV Competition Shows Trigger Lasting Career Success?, by Barrie Gunter This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Barrie Gunter All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6216-9, ISBN (13): 978-1-4438-6216-5 CONTENTS Chapter One ................................................................................................. 1 Career Capital of Reality TV Talent Competitions Chapter Two .............................................................................................. 19 Finding Pop Stars Chapter Three ............................................................................................ 75 Making Pop Stars Chapter Four ............................................................................................ 119 Finding Entertainers Chapter Five ............................................................................................ 147 Finding Fashion Models Chapter Six ............................................................................................. -
Response to Ofcom's Consultation on BBC Performance
BBC submission to Ofcom consultation: ‘Holding the BBC to account for the delivery of its mission and public purposes’ July 2017 CONTENTS 1 Executive Summary 2-3 2 Introduction 4 3 Overall assessment of the draft Operating Licence 5-6 4 Draft conditions to be re-considered in the final Licence 7-16 5 Draft conditons to be clarified in the final Licence 17-19 6 Longer-term evolution of the Licence 20-21 7 Responses to Ofcom's consultation questions 22-23 1 1. Executive Summary 1.1 This document sets out the BBC’s response to Ofcom’s draft Operating Licence and performance framework. It should be read in conjunction with the BBC’s interim Annual Plan, which sets out our creative plans to deliver the BBC’s mission and public purposes. One of the objectives of the interim Annual Plan is to set strategic and editorial commitments that demonstrate how each UK public service will contribute to the delivery of distinctive output and services; these commitments complement and build on the regulatory conditions set by Ofcom in the draft Operating Licence. 1.2 Our response is framed by reference to the respective responsibilities of the BBC Board and Ofcom in this area: The BBC Board’s responsibility to ensure the BBC fulfils its mission and promotes the public purposes by setting the BBC’s strategy and its creative direction. Ofcom’s responsibility to set an Operating Licence which contains the regulatory conditions they consider appropriate for requiring the BBC to: fulfil its mission and promote the public purposes; secure distinctive output and services; and serve UK audiences. -
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