Record Labels in Orlando
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Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Constantly Evolving Music Business: Stay Independent Vs. Sign to a Label: Artist's Point of View
Constantly Evolving Music Business: Stay Independent vs. Sign to a Label: Artist’s Point of View Sampo Winberg Bachelor’s Thesis Degree Programme in International Business 2018 Abstract Date 22.5.2018 Author(s) Sampo Winberg Degree programme International Business Report/thesis title Number of pages Constantly Evolving Music Business: Stay Independent vs. Sign to and appendix pages a Label: Artist’s Point of View 58 + 6 The mark of an artist making it in music industry, throughout its relatively short history, has always been a record deal. It is a ticket to fame and seen as the only way to make a living with your music. Most artist would accept a record deal without hesitating. Being an artist myself I fall into the same category, at least before conducting this research. As we know record labels tend to take a decent chunk of artists’ revenues. Goal of this the- sis is to find out ways how a modern-day artist makes money, and can it be done so that it would be better to remain as an independent artist. What is the difference in volume that artist needs without a label vs. with a label? Can you get enough exposure and make enough money that you can manage without a record label? Technology has been and still is the single most important thing when it comes to the evo- lution of the music industry. New innovations are made possible by constant technological development and they’ve revolutionized the industry many times. First it was vinyl, then CD, MTV, Napster, iTunes, Spotify etc. -
WMG Acquisition Corp. (Exact Name of Co-Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 8-K CURRENT REPORT Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 Date of Report (Date of earliest event reported): May 23, 2011 Warner Music Group Corp. (Exact name of Co-Registrant as specified in its charter) Delaware 001-32502 13-4271875 (State or other jurisdiction (Commission (IRS Employer of incorporation) File Number) Identification No.) 75 Rockefeller Plaza, New York, New York 10019 (Address of principal executive offices) (Zip Code) Co-Registrant’s telephone number, including area code: (212) 275-2000 WMG Acquisition Corp. (Exact name of Co-Registrant as specified in its charter) Delaware 333-121322 68-0576630 (State or other jurisdiction (Commission (IRS Employer of incorporation) File Number) Identification No.) 75 Rockefeller Plaza, New York, New York 10019 (Address of principal executive offices) (Zip Code) Co-Registrant’s telephone number, including area code: (212) 275-2000 Check the appropriate box below if the Form 8-K filing is intended to simultaneously satisfy the filing obligation of the Co-Registrants under any of the following provisions: ¨ Written communications pursuant to Rule 425 under the Securities Act (17 CFR 230.425) x Soliciting material pursuant to Rule 14a-12 under the Exchange Act (17 CFR 240.14a-12) ¨ Pre-commencement communications pursuant to Rule 14d-2(b) under the Exchange Act (17 CFR 240.14d-2(b)) ¨ Pre-commencement communications pursuant to Rule 13e-4(c) under the Exchange Act (17 CFR 240.13e-4(c)) Item 1.01 Entry into a Material Definitive Agreement. -
Phil Guerini Joins Jonas Group Entertainment As
May 21, 2021 The MusicRow Weekly Friday, May 21, 2021 Phil Guerini Joins Jonas Group SIGN UP HERE (FREE!) Entertainment As CEO If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES Phil Guerini Joins Jonas Group Entertainment RCA Records Partners With Sony Music Nashville On Elle King Blake Shelton To Hit The Road In August Kelsea Ballerini To Join Jonas Brothers On Tour Jonas Group Entertainment has announced that music industry power player Phil Guerini has joined the team as CEO, effective immediately. James Barker Band Signs To Villa 40/Sony Music Nashville Based in Nashville, Guerini will be at the helm of Jonas Group Entertainment. The company was founded in 2005 by Kevin Jonas, Sr., Logan Turner Inks With who was managing his sons, Grammy-nominated, multi-Platinum selling UMPG Nashville group Jonas Brothers. Jonas Group Entertainment now houses entertainment, publishing, and marketing divisions, with offices in Nashville Jason Aldean Announces and Charlotte, North Carolina. Back In The Saddle Tour Guerini last oversaw music strategy for Disney Channels Worldwide Lady A To Launch What A networks, alongside all aspects of Radio Disney and Radio Disney Country. He played a vital role within three divisions and five businesses of Song Can Do Tour The Walt Disney Company with highlights that include spearheading the development and launch of the annual Radio Disney Music Awards in Jacob Durrett Inks With Big 2013, and reimagining Radio Disney’s highly-acclaimed artist development Loud And Warner Chappell program Next Big Thing (NBT). Prior to that he spent time in roles at radio stations in Miami and Atlanta, in addition to record labels like MCA More Tour Announcements Records, A&M Records, Chrysalis Records, and East West Records. -
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Worldwide Independent Market Report the Global Economic & Cultural Contribution of Independent Music
WORLDWIDE INDEPENDENT MARKET REPORT THE GLOBAL ECONOMIC & CULTURAL CONTRIBUTION OF INDEPENDENT MUSIC 2015 Launched June 2016 at Designed by: Emmy Buckingham The Global Economic & Cultural Contribution Of Independent Music Report © Worldwide Independent Network Ltd (WIN) 2016 All data, copy and images are subject to copyright and may not be reproduced, transmitted or made available without permission from WIN or the original copyright holder. ABOUT WIN Unique in the history of the global music industry, WIN is a representative organisation exclusively for the worldwide independent label community. It was founded in 2006 in response to business, creative and market access issues faced by the independent sector everywhere. WIN’s membership stretches across every continent, with trade associations in all the well- developed music markets taking a particularly active role. WIN’s priorities are set by the global membership, and with IMPALA, included the creation of Merlin, the world’s first commercial rights licensing agency for new media. For independent music companies and their national trade associations worldwide, WIN is a collective voice and platform. When appropriate it acts as an advocate, instigator and facilitator for its continually growing membership. WIN is also a focal point for collecting and sharing knowledge about the independent sector at national level. WINTEL 2015 The current WIN Trade Association members are: A2IM, US CIMA, CANADA LIAK, SOUTH KOREA ADISQ, CANADA DUP, DENMARK PIL, ISRAEL ABMI, BRAZIL FMPJ, JAPAN PMI, ITALY -
EMI Case Study
AS media studies THE MUSIC INDUSTRY - Example Case Study EMI is a major British, independent, leading, global music company. It produces and distributes music throughout the world with artists such as Coldplay and The Verve on its books. It is considered one of the big four record companies. It employs around 5,500 people and operates in 50 countries. Financially it is a world player with revenue in 2007 of over £1,751 million and profits of over £62 million. The EMI group comprises over 100 recording labels. It is the second-largest global music publisher (i.e. music scores). There are two main sides to the music business recorded music and music publishing. The recorded music division signs bands, manages bands and makes records – CDs and downloads. The music publishing division (based in New York) collects royalties every time their songs are played on radio, television, video games, films, ring tones and advertisements. The royalties are small but they all mount up to be a profitable business. EMI has the rights to the published songs by Amy Whitehouse, Arctic Monkeys, Duffy, and Jay-Z as well as perennial favourites like Over the Rainbow. This arm of the business is so successful that it is said to be worth 80% of the value of the company. EMI publishing owns or manages 1.3 million copyrights. EMI is a vertically integrated company because it creates music to sell on CD and as downloads on the internet, and it publishes the songs, lyrics and music of many of its own artists and many more artists. -
Mls-Nyc-Transcript06232014.Pdf
UNITED STATES OF AMERICA + + + + + U.S.COPYRIGHT OFFICE MUSIC LICENSING PUBLIC ROUNDTABLE + + + + + MONDAY, JUNE 23, 2014 + + + + + The U.S. Copyright Office Roundtable on Music Licensing met at 9:00 a.m., at the New York University School of Law, Lipton Hall, 108 W. 3rd Street, New York, New York, when were present: PRESENT JACQUELINE CHARLESWORTH, General Counsel and Associate Register of Copyrights, U.S. Copyright Office KARYN TEMPLE CLAGGETT, Associate Register of Copyrights and Director of Policy & International Affairs, U.S. Copyright Office SY DAMLE, Special Advisor to the General Counsel, U.S. Copyright Office JOHN R. RILEY, Attorney-Advisor, U.S. Copyright Office CHRISTOS P. BADAVAS, The Harry Fox Agency, Inc. GREGG BARRON, BMG Rights Management RICHARD BENGLOFF, American Association of Independent Music (A2IM) JEFFREY BENNETT, SAG-AFTRA MATT DEFILIPPIS, ASCAP WALEED DIAB, Google/YouTube JAMES DUFFETT-SMITH, Spotify USA, Inc. WILLARD HOYT, Television Music License Committee, LLC COLIN RAFFEL, Prometheus Radio Project LEE KNIFE, Digital Media Association (DiMA) NEAL R. GROSS COURT REPORTERS AND TRANSCRIBERS 1323 RHODE ISLAND AVE., N.W. (202) 234-4433 WASHINGTON, D.C. 20005-3701 www.nealrgross.com Page 2 BILL LEE, SESAC, Inc. STEVEN MARKS, Recording Industry Association of America (RIAA) CASEY RAE, Future of Music Coalition GARY RINKERMAN, Drinker, Biddle & Reath LLP JAY ROSENTHAL, National Music Publishers Association MICHAEL G. STEINBERG, Broadcast Music, Inc. (BMI) DOUG WOOD, National Council of Music Creator Organizations ERIC ALBERT, Stingray Digital Group PAUL FAKLER, National Association of Broadcasters/Music Choice ANDREA FINKELSTEIN, Sony Music Entertainment, Inc. CYNTHIA GREER, Sirius XM Radio Inc. BOB KOHN, Kohn On Music Licensing WILLIAM MALONE, Intercollegiate Broadcasting System, Inc. -
An AIM Guide to Starting an Independent Record Label
An AIM Guide to Starting an Independent Record Label What to expect when setting up your own record label October 2014 Introduction There are many reasons why people wish to set up their own record label: perhaps you have discovered the next big thing; maybe your friends have asked you to release their new EP; or perhaps you just want to put out your own material. Whatever the reason, the process of setting up a record label can be complex. Whilst it can take some time to ensure you have considered everything, there is no reason as to why it cannot be a fun, enjoyable, creative and hopefully profitable experience. Here at AIM, we advise labels of all shapes and sizes on how to set up their businesses from scratch. Over the course of this guide, we will take you through the basic steps you will need to follow to start up your very own record label. Business Plan Creating a business plan is the best place to start before setting up your own label. As well as being a reference point for potential investors, it will help to focus your attention on the important issues you need to address. A business plan is a document that outlines what the main activities of the business will be, how the business will be run, and how you foresee the business generating turnover and profits. The plan should cover at least the first three years of trading and should include details on bank accounts, cash flow, office location, business insurance, employers liability insurance, rates, overheads, tax and national insurance. -
ORIGINAL IR[RC~I"-M~A-8&3 DEC 1 9 2002
SUSAN CHERTKOF MUNSAT ASSOCIATE COUNSEL BUSINESS ANO LEGAL AFFAIRS ORIGINAL IR[RC~I"-M~a-8&3 DEC 1 9 2002 GENERAL COUNSEL a a December 19, 2002 QF COPYRIGHT I ' I I ' BY HAND David O. Carson, Esq. General Counsel U.S. Copyright Office James Madison Memorial Building Room LM-403 First and Independence Avenue, SE Washington, DC 20559-6000 Re: Notice of Intent to Participate in Copyright Arbitration Royalty Panel Proceedin Docket No. 2002-1 CARP DTRA3 Dear Mr. Carson: Enclosed please find for filing an original and five copies of a Notice of Intent to Participate (the "Notice") along with a sixth copy of the Notice for our records. Please date-stamp the sixth copy and return it to my assistant Edward Hahn, who will be hand- delivering the Notice to your office. Sincerely, &fgLQ /IlUJJJ ~ Susan Chertkof Munsat Enclosures ON /0C2 RECORDING INDUSTRY ASSOCIATION DF AMERICA 1330CONNECT I CUT AVE I NWI S II I TE3 0 0 I WASH I NG7 0 0 3 6 PHONE: 202.857.9682 FAX: 202.775.7253 WEB: www.viaa.corn IRXCKIE~KD& Before the DEC 1 9 2002 COPYRIGHT OFFICE LIBRARY OF CONGRESS GENERAL COUNSEL QOPYRlGHT Washington, D.C. QF ) ) In Re: ) ) Adjustment of Rates and Terms for the ) Digital Performance of Sound Recordings ) Docket No. 2002-1 CARP DTRA3 ) ) ) ) NOTICE OF INTENT TO PARTICIPATE The Recording Industry Association ofAmerica, Inc. ("RIAA"), on its own behalf and on behalf of SoundExchange, presently an unincorporated division ofthe RIAA, submits the following comments in response to the Copyright Office Notice published at 67 Fed. -
Frty Fve Records FINAL Copy
An independent record label built for emerging artists over 20,000 tracks are uploaded to music streaming platforms everyday. even more music content is posted to social networks every hour. the challenge now is how to cut through the noise. welcome to frtyfve records. who we are founded by conrad withey (previously president of warner music entertainment), frtyfve records is an independent record label based in london and new york. we focus on helping artists where they need it most. we start by building a global and engaged fanbase and continue with building a brand, pitching for playlists, investment in marketing or just a bit of funding when the time is right. build a global fanbase releasing your music is easy and lots of distributors can get your music into playlists on streaming platforms, but how do you connect with your fanbase and turn streams into a music career? we believe building an engaged and loyal fanbase is the most important factor in achieving success in music, which is why we partner with our artists on developing a bespoke digital strategy which enables our artists to find, connect and engage with their fanbase. build a global fanbase each of our artists are partnered with an audience development manager who combines data, passion and creative, to develop a strategy and content which connects with an audience. we also provide all of our artists with marketing investment for every release. we tailor our budgets based on realtime data and performance. our dedicated team of social media experts have worked with the likes of warner brothers, capitol records, warner music japan and east west. -
Timewarp Music Is a Greek Independent Record Label Whose Musical Style Moves Through Nu-Funk, Breaks, Nu- Disco, Funky House and Electronic Freestyle
Timewarp Music is a Greek independent record label whose musical style moves through Nu-Funk, Breaks, Nu- Disco, Funky House and Electronic Freestyle. It’s the creation of Angelos 'Timewarp' Stoumpos since 2004. Timewarp Music was inspired by the fresh Nu-Funk and Dub Electronic music that, at the time, were blooming in the neighborhood of Vienna, Berlin and Washington. The purpose was presenting this sound in Greece but it grew up quickly becoming today the home of over 40 Producers, DJs and Bands. The artists and producers that complete the Timewarp Music’s Family are spread all around the world. While some of them have been introduced for the Greek Label, others have international careers and some of their tracks have been a “must” for any “breaker” out there. From 2004 to 2011, Timewarp Music released on physical format 6 Artist Albums (CD), 3 Compilations (CD) and 2 Singles , one on CD and one on Vinyl... apart of the physical products, Timewarp Music was one of the first independent label which believed and invested in the Digital format, and because of its impressive digital catalogue with around 100 digital releases , it’s one of the most active European independent label in the digital musical business. Timewarp Music’s releases are always located in the top positions of the best sellers charts of Brokenbeats, Breakbeat, Funk and many times featured in the Playlists of the best DJs of these styles in the biggest digital retail music stores; I-Tunes, Beatport, Juno, DJ Download, E-music . All these hits gave us the title of the biggest Freestyle Ambassador of Greece in American and British radio stations like KRCW and BBC .