Why It's Time for a Digital Clearout
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Beats (Review)
Cleveland State University EngagedScholarship@CSU Michael Schwartz Library Publications Michael Schwartz Library 7-2014 Beats (Review) Mandi Goodsett Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/msl_facpub Part of the Library and Information Science Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Publisher's Statement This is an Author’s Accepted Manuscript of an article published in Music Reference Services Quarterly July/Sept 2014, available online: http://www.tandfonline.com/10.1080/ 10588167.2014.932147. Repository Citation Goodsett, Mandi, "Beats (Review)" (2014). Michael Schwartz Library Publications. 106. https://engagedscholarship.csuohio.edu/msl_facpub/106 This E-Resource Review is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Michael Schwartz Library Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. E-Resources Reviews BEATS MUSIC, http://www.beatsmusic.com For the past decade, the music industry has been attempting to provide lis- teners with legal, convenient ways to access music, competing with sites like Napster and its successors. In an attempt to pull consumers out of the illegal music free-for-all and into a fee-based streaming service, the music industry has fueled a sudden explosion of new mobile and desktop music streaming applications to satisfy the needs of digital-music consumers affordably and conveniently. Moving from streaming radio services like Pandora, the new on-demand music streaming services like Spotify, Rdio, Google Play All Access, and Rhapsody offer listeners a higher level of control and greater ability to curate a listening experience than ever before. -
Breakdown of Kobalt Music Group Financial Statements
Breakdown Of Kobalt Music Group Financial Statements Assentient and pleximetric Mendie barrels her fruiterers jargonizing importunely or reclimbed supply, is Sly incongruous? Validating and Lapp Robert barding: which Ware is requested enough? Ross remains anginal: she dissimilates her voluptuary neoterize too stagnantly? Kobalt portal that an app is that you expect your computer. We are reporting at their fair value uplift can change concerns regarding camera, unless management teams into a result of songwriters across vintage songs. Unlike other revenue being performed at kobalt group has a group, napster took a better suited to an. Searching for your password you may be valued below their own judgement applied discount rates. This site is concatenated from greece to deliver our traffic. Find out false if you have seen a set up our administrator regarding camera market are applicable statutory obligations under applicable federal laws to! The executive leadership group materiality for each catalogue acquisitions require you may delete your cookie policy for our portfolio is! The statements of music company. Amra is going concern while it will continue fundraisings, recording session for every day with transitional decrees with more stronger. Applied in streaming services to collection agencies for everyone, david nierengarten when their core focus on how their. This process in light of historical cost thinking is determined with mechanical royalties in his house, that allow musicians to. Baby can monetise with mechanical royalties at a matter. An electronic dance music label divisions of kobalt music financial group statements previously, inc throughout this cost thinking about. There any other incredible hit a low given by a result in order granted any material. -
POP Medley 2020
POP Medley 2020 I Couldn’t Do This Without YouWords & Music by Ruth Olajugbagbe, CHORUS ONLY Daniel Priddy & Lawrie Martin You’re like cold, cold water. ALL I AM Jess Glynne HIGH HOPES Panic! At The Disco You’re washing over me Mama said fulfll the prophecy, like a gentle breeze. Ooh. Every butterfy I get belongs to you, You’re cold, cold water. you don’t believe me, but it’s true. be something greater, go make a legacy. You’re all I never need, Sure, the freckles on my arm spell out your name, Manifest destiny, back in the days I couldn’t do this without you. real feelings coming through. we wanted everything, wanted everything. I couldn’t do this without you. ’Cause all I know and all I am is you. Ooh. Mama said burn your biographies, Yeah, all I know and all I am is you. Ooh. rewrite your history, light up your wildest dreams. I’m breaking my silence, I know this is true. Museum victories, everyday, Copyright © 2019 Lawrie Martin Publishing Designee, CANAL MUSIC PUBLISHING PV and BEST LAID PLANS MUSIC LTD. I just can’t deny it, we wanted everything, wanted everything. All Rights for CANAL MUSIC PUBLISHING PV and BEST LAID PLANS MUSIC LTD. Administered by UNIVERSAL MUSIC PUBLISHING LIMITED. International Copyright Secured All Rights Reserved that all I know and all I am is you. Mama said don’t give up, it’s a little complicated. Every time I think I’m falling, All tied up, no more love and I’d hate to see you waitin’. -
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 -
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A. -
A Detailed Look at the State of the Entertainment Industry
A detailed look at the state of the entertainment industry. 2014 EDITION October 2014 Michael Masnick, Michael Ho Joyce Hung, Leigh Beadon A closer look at growth in the major entertainment industries MUSICMUSIC VIDEO GAME SALES VIDEO TOTAL CONSUMER SPEND, IN BILLIONS LIVE CONCERT REVENUES 18 IN BILLIONS BOOKSBOOKS $3.5 15 FILMS RELEASED IN THE US E-BOOK UNITS SOLD IN MILLIONS 12 650 $2.5 500 9 600 $1.5 375 550 2002 2012 250 500 1990 2010 MOBILE GAME REVENUES 125 IN BILLIONS, WITH PROJECTION 2002 2005 2008 2011 ROYALTY REVENUES 15 IN BILLIONS 2008 09 10 11 2012 TIME SPENT WATCHING TV $3 AVG. DAILY HOUSEHOULD HOURS E-READER OWNERS 10 9h AS % OF POPULATION $2 5 8h30m $1 4% 32% 8h 2008 2011 2014 2017 7h30m 1990 2010 CONSUMER SPEND ON GAMES 2010 2014 2012, BY CATEGORY 1999 00 2010 11 NUMBER OF TRACKS SELF-PUBLISHING OUTPUT INDEXED BY GRACENOTE MOVIE INVESTMENT BY TOTAL NUMBER OF ISBNs $14.8B IN BILLIONS eBooks Print Books TOTAL: $1.93B 24 40,000 $20.77B +1536% 180,000,000 $4.04B 30,000 18 11,000,000 2001 20,000 Content Hardware Accessories 12 2013 10,000 GAMING CONSOLE SALES 1990 2010 MUSIC APP REVENUES 2007 08 09 10 11 2012 LIFETIME UNITS SOLD, BY GENERATION GROWTH INDEX 300 ONLINE VIDEO TRAFFIC TOTAL BOOK MARKET AS % OF ALL TRAFFIC, PROJECTED IN BILLIONS 200 40% +77% 28 30% 27.5 100 2012 20% 2013 27 iOS App Store 1ST 3RD 5TH 7TH Google Play 10% 26.5 1972-77 1983-86 1993-97 2005-11 2ND 4TH 6TH 1978-82 1987-92 1998-2004 2010 11 12 13 14 2015 2008 09 10 11 2012 Sources: MPAA, Box Oce Mojo, Hollywood Reporter, BMO Capital Markets, Neilsen, -
Algorithms and Curated Playlist Effect on Music Streaming Satisfaction
ALGORITHMS AND CURATED PLAYLIST EFFECT ON MUSIC STREAMING SATISFACTION by Johny Sanchez Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Business Information Systems Texas Christian University Fort Worth, Texas May 7, 2018 ii ALGORITHMS AND CURATED PLAYLIST EFFECT ON MUSIC STREAMING SATISFACTION Project Approved: Supervising Professor: Jeffrey Stratman, Ph.D. Department of Business Information Systems Wendy Williams, Ph.D. John V. Roach Honors College iii ABSTRACT This research attempts to better understand the use of algorithms by music streaming services Apple Music and Spotify, and determine if their use affects user satisfaction. Both Apple Music and Spotify have integrated algorithms into their service in order to provide individually curated playlist. These playlists are created based on a user’s musical taste gathered by interacting with the service. The playlists allow users to discover new music based on what they enjoy. The more a user provides information on the type of music they like, then the better at predicting the algorithms become. The research attempts to answer: does the use of algorithms, analytics, and curated playlists enhance customer satisfaction and music discovery in Apple Music and Spotify? Both companies have invested heavily into their algorithms and it is important to know if they benefit the user. To find the answer to the question, college aged (18-23) individuals were surveyed on their engagement and satisfaction with Apple Music and/or Spotify. Without access to either company’s algorithms a proxy for an input to them was used. Results show that for a one degree increase in engagement there was a 37.8% increase in user satisfaction. -
NOW That's What I Call Party Anthems – Label Copy CD1 01. Justin Bieber
NOW That’s What I Call Party Anthems – Label Copy CD1 01. Justin Bieber - What Do You Mean? (Justin Bieber/Jason Boyd/Mason Levy) Published by Bieber Time Publishing/Universal Music (ASCAP)/Poo BZ Inc./BMG Publishing (ASCAP)//Mason Levy Productions/Artist Publishing Group West (ASCAP). Produced by MdL & Justin Bieber. 2015 Def Jam Recordings, a division of UMG Recordings, Inc. Licensed from Universal Music Licensing Division. 02. Mark Ronson feat. Bruno Mars - Uptown Funk (Mark Ronson/Jeff Bhasker/Bruno Mars/Philip Lawrence/Devon Gallaspy/Nicholaus Williams/Lonnie Simmons/Ronnie Wilson/Charles Wilson/Rudolph Taylor/Robert Wilson) Published by Imagem CV/Songs of Zelig (BMI)/Way Above Music/Sony ATV Songs LLC (BMI)/Mars Force Songs LLC (ASCAP)/ZZR Music LLC (ASCAP)/Sony/ATV Ballad/TIG7 Publishing (BMI)/TrinLanta Publishing (BMI)/ Sony ATV Songs LLC (BMI)/ Songs Of Zelig (BMI)/ Songs of Universal, Inc (BMI)/Tragic Magic (BMI)/ BMG Rights Management (ASCAP) adm. by Universal Music Publishing/BMG Rights Management (U.S.) LLC/Universal Music Corp/New Songs Administration Limited/Minder Music. Produced by Mark Ronson, Jeff Bhasker & Bruno Mars. 2014 Mark Ronson under exclusive licence to Sony Music Entertainment UK Limited. Licensed courtesy of Sony Music Entertainment UK Limited. 03. OMI - Cheerleader (Felix Jaehn Remix radio edit) (Omar Pasley/Clifton Dillon/Mark Bradford/Sly Dunbar/Ryan Robert Dillon) Published by Ultra International Music Publishing/Coco Plum Music Publishing. Produced by Clifton "Specialist" Dillon & Omar 'OMI" Pasley. 2014 Ultra Records, LLC under exclusive license to Columbia Records, a Division of Sony Music Entertainment. Licensed courtesy of Sony Music Entertainment UK Limited. -
2020 Song Index
APR 4 2020 SONG INDEX 10,000 HOURS (Beats And Banjos, ASCAP/Shay BANG! (AMAB Songs, BMI/Songs Of Kobalt THE BOX (Rodrick Moore Publishing Designee, DIE FROM A BROKEN HEART (Super Big FAITH (KMR II House Of GT Publishing, ASCAP/ GOOD THINGS FALL APART (Illenium LLC, Mooney Music, BMI/Warner-Tamerlane Publish- Music Publishing America, Inc., BMI) RO 4 BMI/Samuel Gloade Publishing Designee, BMI/ Music, ASCAP/Seven Red Brids Publishing, Kobalt Songs Music Publishing LLC, ASCAP/WC ASCAP/BMG Platinum Songs US, BMI/Bad ing Corp., BMI/Big Ass Pile Of Dimes Music, BEAN (KOBE) (ASCAPUZI, ASCAP/WC Music Warner-Tamerlane Publishing Corp., BMI/Adar- ASCAP/Big Music Machine, BMI/Jehovah Nissi Music Corp., ASCAP/Sal And Co. LP, SOCAN/ Robot Music, BMI/Lets Get Brunch Publishing, BMI/Big Music Machine, BMI/Buckeye26, Corp., ASCAP/Warner-Tamerlane Publishing ius Moragne Publishing Designee, BMI/Aqeel Music, BMI/Jett Music, ASCAP/WC Music Sony/ATV Ballad, BMI/Songs Of Hear The Art, BMI/Artist 101 Publishing Group, BMI/Songs ASCAP/Jreynmusic, ASCAP/WC Music Corp., Corp., BMI/Chief Keef Music, BMI/Songs Of Qadir Tate Publishing Desigee, BMI), AMP, H100 Corp., ASCAP/Thankful For This Music, ASCAP/ BMI/Metro Boomin’ Want Some More, LLC, Of Kobalt Music Publishing America, Inc., BMI/ ASCAP/Bieber Time Publishing, ASCAP/Univer- Kobalt Music Publishing America, Inc., BMI), HL, 2 ; RBH 2 ; RS 1 Doc And Maggie Music, SOCAN/Sony/ATV BMI/Songs Of Universal, Inc., BMI), AMP/HL, WC Music Corp., ASCAP/Italians Do It Better, sal Music Corp., ASCAP/Poo BZ Publishing Inc., H100 86 ; RBH 45 BREAKTHROUGH (Songs Of Red Rocks Wor- Cross Keys Publishing, ASCAP), AMP, CS 25 H100 45 ; RBH 24 ; RBS 11 ASCAP/Unsub Pub LLC, ASCAP/Songs Of A ASCAP/BMG Gold Songs, ASCAP), AMP/HL, Beautiful Mind, BMI/Art In The Fodder Music, BEER CAN’T FIX (EMI Blackwood Music Inc., ship Publishing, BMI/Be Essential Songs, BMI/ DIE TO LIVE (M.P. -
Initial Enforcement Order Made by the Competition and Markets Authority Pursuant to Section 72(2) of the Enterprise Act 2002 (The Act)
ACQUISITION BY SONY MUSIC ENTERTAINMENT OF ALL OF THE ISSUED SHARES OF THE ENTITIES COMPRISING THE AWAL AND THE KOBALT NEIGHBOURING RIGHTS BUSINESSES FROM KOBALT MUSIC GROUP LIMITED Initial Enforcement Order made by the Competition and Markets Authority pursuant to section 72(2) of the Enterprise Act 2002 (the Act) Whereas: (a) the Competition and Markets Authority (CMA) has reasonable grounds for suspecting that it is or may be the case that arrangements are in progress or in contemplation which, if carried into effect, will result in Sony Music Entertainment and the Kobalt entities comprising AWAL Digital Limited, AWAL Recordings Licensing Ltd, AWAL Recordings Ltd, Kobalt Neighbouring Rights Limited, Kobalt Neighbouring Rights II Limited, Kobalt Music Netherlands Artists B.V, Kobalt Music Netherlands OH Records B.V., AWAL Recordings America, Inc., AWAL Recordings Licensing America, Inc. and In2une Inc. (together the Target Entities, each a Target Entity) ceasing to be distinct; (b) the CMA is considering whether to make a reference under section 22 or 33 of the Act; (c) the CMA wishes to ensure that no action is taken pending final determination of any reference under sections 22 or 33 of the Act which might prejudice that reference or impede the taking of any action by the CMA under Part 3 of the Act which might be justified by the CMA’s decisions on the reference; and (d) the circumstances set out in section 72(6) of the Act do not apply and the reference has not been finally determined in accordance with section 79(1) of the Act. -
The American Music Rights Association Inc
2-6 Boundary Row London SE1 8HP Peter Hill Project Director Performing Right Society Undertakings Review Competition and Markets Authority ("CMA") Victoria House Southampton Row London WC1B 4AD Email: [email protected]. Dear Peter, CMA review of the undertakings given by the Performing Right Society Limited ("PRS") in 1997 (the "PRS Undertakings") – Redacted response AMRA and Kobalt Music Group welcome the opportunity to respond to the CMA's issues statement. For the reasons set out in this letter, we consider that the PRS Undertakings should be retained and varied to reflect current market conditions. (1) Background information AMRA The American Music Rights Association Inc. ("AMRA") was originally set up to collect mechanical rights for writers, composers and publishers in the US. Re-launched in 2015 following its acquisition by Kobalt Music Group, AMRA has its operational headquarters in London. AMRA is the first of its kind — a global digital music collection society, built on technology and trust, competing through providing enhanced and tailored services to rights owners. AMRA is designed to maximise value for songwriters and publishers in today's digital age, while providing the highest level of transparency and efficiency. By employing cutting edge technology and a direct global digital collections model, AMRA is able to optimise digital revenue collections across all digital platforms, with full transparency to its clients. AMRA licenses and administrates both mechanical and performing rights for its publisher and writer clients. AMRA offers global licences to digital service providers ("DSPs") and has signed multi-territorial deals (including the EEA) with a number of DSPs, including [redacted]. -
Royalties Report
Trusted Advisor Royalties Report How Data Transparency is Shaping the Royalties Industry 3 What Does Transparency in the Music Industry Mean? 3 Structural Transparency Rates and Revenue Transparency Repertoire Transparency The Real Meaning of Transparency in the Music Industry An Abridged History of Music Royalties 4 The Future of Music How Music Royalties Are Paid in 2021 Table of ASCAP and BMI Launch SONGVIEW The Rise of the Middle Tier of Recording Artists 7 Contents Music Modernization Act of 2018 8 MMA Legislation What Does the Music Modernization Act Change? The MLC Data Quality Initiative (DQI) 8 What Is the Mechanical Licensing Collective? How Does the MLC Work? SoundExchange Unveils Upgraded Data Exchange 9 Continued Collaboration Is Necessary for Total Transparency 9 Earning Royalties through Modern Licensing Deals 10 Building a Brand Through Strategic DNA Matching 10 Key Points of a Celebrity Licensing Deal 11 Parties Needed to Sign Contract Define the Scope of the Endorsement Time Frame of the Agreement Services Rendered Compensation and the Timing of Compensation Exclusivity Performances Expenses Use of Likeness Breach of Contract How to Create a Licensing Deal that Benefits Both Parties 13 Earning Royalties Through Product Licensing 13 The Rise of Music Catalog Monetization 13 Disrupters Who Shook Up the Music Catalog Marketplace 13 Universal Music Group Joins the Fray Why Are Artists Selling Their Catalogs? 15 Tax Benefits of Selling Music Catalogs How Are Music Catalog Prices Determined? 15 Hipgnosis Song Fund Acquires Big Deal Music 15 Music Catalog Marketplaces 15 SongVest Royalty Exchange © 2021 Advisor Association. All rights reserved. 2 Trusted Advisor Royalties Report How Data Transparency is Shaping the Royalties Musicians say there is no Industry “money in streaming.