DOCSLIB.ORG

The Sound of Good News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sound of Good News TOPIC ON THE PAGE 1 SHOW DAILY FRIDAY, 18 October 2019 | FRANKFURT BOOK FAIR | publishingperspectives.com The Sound of Good News It was standing-room only at the Frankfurt Audio Summit on Thursday, as publishers in many countries see continued growth from the audiobook sector. Subscribe FREE to Publishing Perspectives: Visit publishingperspectives.com/subscribePUBLISHING and sign PERSPECTIVES up for our / daily FRANKFURT email BOOK news. FAIR 2019 2 PUBLISHING PERSPECTIVES Letter from the Editor calling for 2020 to be the year that we, men and ABOUT THIS MAGAZINE women, demand that our executives examine their pay scales and start to make the necessary correc- Publishing Perspectives is the leading source tions to close the gap.” of information about the global book publishing Armstrong introduced the 50/50 By 2020 cam- business. Since 2009, we have been publishing paign, calling it “the next jump after #MeToo” and daily email editions with news and features from urging audience members to join. around the book world. Roanie Levy, CEO of Canada’s Access Copy- Our mission is to help build and contribute right and founding CEO of Prescient Innovations, to the international publishing community by concurred with Armstrong, citing North American offering information that publishing and media From left: Jorunn Sandsmark, managing director, statistics that show “other ways in which women professionals need to connect, cooperate, and Kagge Forlag; Roanie Levy, president and CEO, work together year-round and across borders. Access Copyright and Prescient Innovations; Mikyla are paid less in the publishing industry.” Bruder, publisher and global marketing chief, Amazon Female authors, she reported, earn 49 percent Publishing; Tracey Armstrong, president and CEO, of what their male counterparts make, while books Publisher: Hannah Johnson Copyright Clearance Center. (Image: Porter Anderson) by women from mainstream publishers were priced Editor-in-Chief: Porter Anderson on average 45-percent lower than books by men. Advertising Manager: Meike Eckern ne of the largest and most engaged audiences Mikyla Bruder, publisher and global marketing Contributors to this issue: for our Publishing Perspectives Talks at Frank- chief of Amazon Publishing, called attention to one O Mark Piesing furter Buchmesse was our Thursday (October 16) type of Catch-22 typically heard in editorial meet- Olivia Snaije discussion of “Women’s Leadership in Publishing.” ings at publishing houses, when the line, “We don’t Roger Tagholm And the debate was quickly on an economic foot- think the numbers are there” would be a response ing, one of the biggest rounds of applause being for to content proposed for underserved readerships. Photography: Johannes Minkus closing the gender pay gap between men and wom- And from Frankfurt’s Guest of Honor Norway, en in publishing. Kagge Forlag managing director Jorunn Sands- Distribution: Using data from the United States for 2019, mark said that the Scandinavian cultures have long Frank and Petra Hörnig Tracey Armstrong, CEO of Copyright Clearance been more purposefully conscious of such issues. Center, said that women in the workplace are paid What remains, of course, is a lot of work from Publishing Perspectives 78 cents for every dollar made by men. That’s true everyone in publishing to defeat unconscious bias a project of the Frankfurt Book Fair New York for women with MBAs. They’re making that much and move toward parity, making us think that this 30 Irving Place, 4th Floor less than men with MBAs. “And for women of col- topic may well be one we’d like to see in next year’s New York, NY 10003 USA or or members of under-represented minorities, it’s series of talks, too. Watch for it. • even worse,” she said, with “women making 60 per- cent of what men make doing the same job. “It’s a global epidemic,” Armstrong said. “The Sign up to receive to our daily email news at: Porter Anderson publishingperspectives.com/subscribe numbers might be slightly different from market to Editor-in-Chief market, but the trend is the same. And leaders are Event Highlights: Friday, October 18 Frankfurt Creative AI Conference Frankfurt Invitation Program Lecture: Navigating Hollywood Book-to- 10:00 a.m. – 12:30 p.m. Get-Together Film Adaptations ARTS+ Salon, Hall 4.1 R71 12:30 – 2:00 p.m. 3:30 – 4:00 p.m. Hall 5.1 A116 THE ARTS+ Salon, Hall 4.1 R71 AI and virtual technology are embedding them- selves into the creative process and culture, foster- Meet the 20 publishers from Africa, Asia, Arab In this session, part of the “Book is a Film is a Game” ing a dialogue with the artist and redefining what countries, Latin America, and Eastern Europe who event, film producer and New Leaf director of film it means to be creative. But what is also being re- are participating in this year’s Frankfurt Invitation and television Pouya Shahbazian offers guidance defined and redrawn are the lines between fantasy Program. This program ensures that small publish- on how book publishers can most effectively work and reality, between what is real and what is “fake.” ers from many countries can attend the fair. with Hollywood and the film industry. Publishing Perspectives Talks: British Writers on Brexit South America in Translation Blockchain and Publishing 1:30 – 3:30 p.m. 4:00 – 5:30 p.m. 10:30 a.m. — 11:30 a.m. Weltempfang Stage, Hall 4.1 B81 Hall 5.1 B110 International Stage, Hall 5.1 A128 The Brexit vote brought about a political and con- Writers from Argentina and Chile discuss why Three leading experts in blockchain development stitutional crisis and a deep division in British so- translation is indispensable as a path to creating will provide you with exactly what you need to ciety. Literature Across Borders brings together a global literary phenomena and a body of world lit- know about blockchain’s potential value to the panel of writers from England, Ireland, and Wales erature during this panel discussion organized by book publishing business, dismissing misconcep- who will offer their perspectives on the causes and the Agencia Argentina de Inversiones y Comercio tions and addressing concerns along the way. impact of Brexit. Internacional. PUBLISHING PERSPECTIVES / FRANKFURT BOOK FAIR 2019 TOPIC ON THE PAGE 3 PUBLISHING PERSPECTIVES / FRANKFURT BOOK FAIR 2019 4 GUESTS OF HONOR Canada’s ‘Colorful Fabric’ at Frankfurt 2020 By Roger Tagholm voices, and I hope that the world will have a chance to discover these writ- ers as a result of the program.” anada promises to showcase its Kurtness talked about the im- C“Singular Plurality” when it be- portance of identity, and Guay- comes Guest of Honor at Frankfurt Poliquin highlighted literature’s 2020—and it is off to a cracking start ability “to absorb the point of view already as the driving force behind of the other,” something that is badly the initiative, Caroline Fortin, pres- needed in today’s world. ident of Canada FBM2020 and pub- During 2019 and 2020, the Can- lisher and vice-president of Montre- ada Council for the Arts (CCA) will al-based Groupe Québec Amérique, be responsible for the performing revealed at yesterday’s press confer- arts programming, complementing ence. the efforts of other partners. CCA “We set ourselves the target of is also responsible for managing having 200 works translated into Caroline Fortin (Image: Johannes Minkus) and coordinating a program that German, and I am proud to say that supports publishers by providing we are already nearing that goal,” she funding to translate Canadian works said. “Canadian literature is the sum to German. All genres—literary and of the diverse voices that reflect the star of our celebration in 2020, from names are less known international- non-literary—are eligible. The CCA ground swell of ideas that is Canada rising and emerging writers and il- ly were interviewed on stage yester- has launched three programs and today,” she continued. “Canada is lustrators to the highly acclaimed day: J.D. Kurtness, Lisa Moore, and approved support for more than eclectic and multicultural, and our and renowned authors. Canada will Christian Guay-Poliquin. Moore 35 performing and visual arts ini- differences are woven into this col- reveal powerful writing from all lit- is from Newfoundland and spoke tiatives, which will take place in 20 orful fabric that shows a nation that’s erary genres and from French, En- about the many small communities cities across Germany and Europe. growing and striving to push further glish, and Indigenous voices while on that island which each have their More than half of those projects will on all fronts, resulting in vibrant, still heralding the myriad of back- own dialects. “Their language has a be Canada focused. creative industries. grounds that represent our country, rhythm and power all its own, and The press conference also in- “This is reflective of today’s Ca- our ‘Singular Plurality.’” we have the ocean close by and this cluded some lovely cello playing by nadian literature, which more than Margaret Atwood will visit the ridiculous weather. We are close to indigenous musician Cris Derksen, ever, is bursting with new voices and fair on Saturday to lend her support the climate crisis, and all of this in- whose music evoked open spaces as perspectives that are reaching broad for the Guest of Honor program. forms my work. We have a lot of well as the interior places to which audiences. Our literature will be the Three participating authors whose diverse writers, a lot of indigenous literature takes us. • Spain’s New Translation Grants and Market Data Spanish is spoken by more than in 2021. Designed to increase aware- 570 million people (in Spain and ness of Spanish authors and litera- Latin America), and official languag- ture, the Acción Cultural Española es in Spain include Catalan, Basque, (AC/E), a public entity, is open to and Galician.
Load more

Recommended publications
  • Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control
    Table of Contents TECHNISCHE UNIVERSITÄT MÜNCHEN Dr. Theo Schöller-Stiftungslehrstuhl für Technologie- und Innovationsmanagement Openness in the music business– How record labels and artists may profit from reducing control Johannes L. Wechsler Vollständiger Abdruck der von der Fakultät für Wirtschaftswissenschaften der Technischen Universität München zur Erlangung des akademischen Grades eines Doktors der Wirtschaftswissenschaften (Dr. rer. pol.) genehmigten Dissertation. Vorsitzender: Univ.-Prof. Dr. I. Welpe Prüfer der Dissertation: 1. Univ.-Prof. Dr. J. Henkel 2. Univ.-Prof. Dr. F. v. Wangenheim Die Dissertation wurde am 09.12.2010 bei der Technischen Universität München eingereicht und durch die Fakultät für Wirtschaftswissenschaften am 11.05.2011 angenommen. i Table of Contents Table of Contents DETAILED TABLE OF CONTENTS .................................................................................................... II LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ......................................................................................................................
    [Show full text]
  • Summit Guide Guide Du Sommet Guía De La Cumbre Contents/Sommaire/Sumario
    New Frontiers for Creators in the Marketplace 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA www.copyrightsummit.com Summit Guide Guide du Sommet Guía de la Cumbre Contents/Sommaire/Sumario Page Welcome 1 Conference Programme 3 What’s happening around the Summit? 11 Additional Summit Information 12 Page Bienvenue 14 Programme des conférences 15 Autres événements autour du sommet ? 24 Informations supplémentaires du sommet 25 Página Bienvenidos 27 Programa de las Conferencias 28 ¿Lo que pasa alrededor del conferencia? 38 Información sobre el conferencia 39 Page Sponsor & Advisory Committee Profiles 41 Partner Organization Profiles 44 Media Partner Profiles 49 Speaker Biographies 53 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Welcome Welcome to the World Copyright Summit! Two years on from our hugely successful inaugural event in Brussels it gives me great pleasure to welcome you all to the 2009 World Copyright Summit in Washington, DC. This year’s slogan for the Summit – “New Frontiers for Creators in the Marketplace” – illustrates perfectly what we aim to achieve here: remind to the world that creators’ contributions are fundamental for cultural, economic and social development but also that creators – and those who represent them – face several daunting challenges in this new digital economy. It is imperative that we bring to the forefront of political debate the creative industries’ future and where we, creators, fit into this new landscape. For this reason we have gathered, under the CISAC umbrella, all the stakeholders involved one way or another in the creation, production and dissemination of creative works.
    [Show full text]
  • Report by CEO Dr. Harald Heker
    GENERAL ASSEMBLY GEMA 10 JUNE 2021 REPORT OF THE CEO AND CHAIRMAN OF THE MANAGING COMMITTEE DR. HARALD HE- KER Dear members, Our last General Assembly took place early October 2020. Back then, silence ruled Germany’s stages. Today, it is still quiet. A silence which affects us all. And a stark contrast to GEMA’s bustling activities. Even though the licensing operations for the live sector disappeared in general, we have been busy working on other measures. Measures - To cushion the effects of the pandemic for our members and customers at least a little, - To lobby politicians for specific subsidies for creators, performers and publishers affected by the pandemic, - To push for digitisation processes to be accelerated. - And we were, of course, intensively involved when it came to the implementation of the EU Copy- right Directive into German law. Let me focus on this topic first as it has created a lot of upheaval in the last few weeks. On 20 May, the German Bundestag adopted the EU Copyright Directive into national law. It was the biggest reform of copyright in a long time. This process had, however, started more than 10 years ago. Back then, we already took a strong stand in Brussels for a new copyright. That was because the lack of a governing law made it possible for host providers such as YouTube to refuse to adequately pay creators and to simply walk away from the negotiating table. A political solution was therefore urgently needed. And GEMA contributed significantly that this solution was finally reached. In 2019, the EU Directive was finally adopted.
    [Show full text]
  • Fragen Zu Musik-Streamingdiensten Und Missbrauch Einer Marktbeherrschenden Stellung Im Musikmarkt
    Wissenschaftliche Dienste Ausarbeitung Fragen zu Musik-Streamingdiensten und Missbrauch einer marktbeherrschenden Stellung im Musikmarkt © 2014 Deutscher Bundestag WD 10 - 3000 - 049/14 Wissenschaftliche Dienste Ausarbeitung Seite 2 WD 10 - 3000 - 049/14 Fragen zu Musik-Streamingdiensten und Missbrauch einer marktbeherrschenden Stellung im Musikmarkt Verfasser: Aktenzeichen: WD 10 - 3000 - 049/14 Abschluss der Arbeit: 20. Juni 2014 Fachbereich: WD 10: Kultur, Medien und Sport Telefon: Ausarbeitungen und andere Informationsangebote der Wissenschaftlichen Dienste geben nicht die Auffassung des Deutschen Bundestages, eines seiner Organe oder der Bundestagsverwaltung wieder. Vielmehr liegen sie in der fachlichen Verantwortung der Verfasserinnen und Verfasser sowie der Fachbereichsleitung. Der Deutsche Bundestag behält sich die Rechte der Veröffentlichung und Verbreitung vor. Beides bedarf der Zustimmung der Leitung der Abteilung W, Platz der Republik 1, 11011 Berlin. Wissenschaftliche Dienste Ausarbeitung Seite 3 WD 10 - 3000 - 049/14 Inhaltsverzeichnis 1. Einleitung 4 2. Daten zur Struktur des Welt-Musikmarkts 6 3. Daten zur Struktur des Musikmarktes in Deutschland 10 3.1. Gesamtbetrachtung 10 3.2. Streamingdienste 13 4. Vorliegen einer marktbeherrschende Stellung 16 4.1. Deutsches Recht 16 4.2. Europäisches Recht 16 4.3. Marktstruktur 18 4.4. Unternehmenseigenschaften 19 4.5. Marktverhalten 20 5. Missbrauch einer marktbeherrschenden Stellung 21 5.1. Ausbeutungsmissbrauch 22 5.2. Behinderungsmissbrauch 22 5.3. Marktstrukturmissbrauch 22 6. Schlussbemerkung 23 7. Literatur 24 8. Tabellen- und Abbildungsverzeichnis 27 Wissenschaftliche Dienste Ausarbeitung Seite 4 WD 10 - 3000 - 049/14 1. Einleitung Musikstreaming stellt für die Musikindustrie einen weiteren zunehmend attraktiven digitalen Vertriebsweg dar. Der Trend zum Hören von ausgewählter Musik, ohne sie aus dem Internet herunterladen zu müssen, wird weltweit als weiter stark expandierend eingeschätzt.1 Die Zahl der Anbieter von Streamingdiensten wächst.2 Je größer die Reichweite bzw.
    [Show full text]
  • Printmgr File
    Warner Music Group Annual Report 2007 NYSE: WMG www.wmg.com A Message from Chairman and CEO Edgar Bronfman, Jr. Dear Fellow Shareholders: Industry transitions are times of great opportunity, and there is no doubt that the recorded music industry is in the midst of a significant and fundamental transformation. Of course, opportunity does not come without its challenges and this year, Warner Music Group continued to meet and address the challenges of this transition head on, laying the groundwork for future growth. The transformation of the recorded music industry will require not only a clear vision and a progressive strategy to radically alter traditional business models, but also leadership, continued financial discipline and resilience. At Warner Music Group, we are creating the foundation for future growth and believe we have the right strategy in place not only to effectively navigate through these difficult times, but also to reap the rewards of the recorded music industry’s evolution. Looking back on our fiscal 2007, we made meaningful progress in many different areas. Sustaining Digital Leadership During fiscal 2007, digital revenue grew 30% to $460 million or 14% of total revenue and, in the U.S. we once again reported digital SoundScan album share substantially above our physical share. Building upon our digital leadership is essential as the recorded music business rapidly shifts from physical to digital. We entered into selective partnerships across business models that are aimed at driving expanded monetization of our content through new products in the digital space. These partnerships included the acquisition of a majority stake in Zebralution, a German digital distribution company, as well as deals with social networking site, imeem, and online retailer and music discovery site, Lala.com.
    [Show full text]
  • Datenstandards Und Datentransferstandards Im Digitalen Musikvertrieb
    Diplomarbeit Datenstandards und Datentransferstandards im digitalen Musikvertrieb Eine Untersuchung digitaler Standards im digitalen Musikvertrieb aus techniksoziologischer Perspektive Von Benedikt Unger Betreut von Prof. (FH) Dr. Fritz Betz im Fachbereich: Information & Knowledge Management Fachhochschul-Studiengang Informationsberufe Eisenstadt 2007 B.Unger FHS Informationsberufe 2007 Ehrenwörtliche Erklärung Ich habe diese Diplomarbeit selbstständig verfasst, alle meine Quellen und Hilfsmittel angegeben, keine unerlaubten Hilfen eingesetzt und die Arbeit bisher in keiner Form als Prüfungsarbeit vorgelegt. Wien, 17.05.2007 Unterschrift -I- B.Unger FHS Informationsberufe 2007 Kurzreferat Schlagwörter: Musik, Online Musikvertrieb, Digitale Musikformate, Datenstandards, Metadatenstandards, Musikindustrie, Download-Plattformen, Digitale Musik-Aggregatoren Die Musikbranche hat im Bereich des Handels mit physischen Tonträgern einen gewaltigen Einbruch erlebt. Im Gegensatz dazu haben sich die Umsätze im Online-Musik Sektor im Jahr 2006 verdoppelt. Standards für digitale Musikformate, Daten und Prozesse können den Akteuren in diesem neuen Wachstumsmarkt dabei helfen, Aufwand und Kosten zu reduzieren und digitalen Musikvertrieb effizienter abzuwickeln. Die vorliegende Arbeit bietet einen groben Überblick über die digitale Musikvertriebsbranche wobei der besondere Fokus auf der Business-To-Business Beziehung zwischen Musikaggregatoren und Download-Plattformen (Online Music Stores) liegt. Sie zielt darauf ab, herauszufinden inwieweit Musikdaten-,
    [Show full text]
  • 859744951280 Sound Recording I Hereby State Under the Penalty Of
    Gmail - TCX12786 UPC: 859744951280 Sound Recording 22.03.2021, 14:45 MARC MYSTERIO <[email protected]> TCX12786 UPC: 859744951280 Sound Recording MARC MYSTERIO <[email protected]> Thu, Jan 21, 2021 at 9:29 PM To: Copyright <[email protected]>, Daniel Iammatteo <[email protected]> DMCA COUNTERNOTIFICATION Dear Tunecore, Please confirm receipt of this email. I hereby submit my DMCA Counter-Notifcation as it pertains to the following sound recording(s): Album: Endless Summer Artist: Oceana UPC: 859744951280 I hereby state under the penalty of perjury that I have a good faith belief that the material was removed or disabled as a result of mistake or misidentification of the material to be removed or disabled. As such, I request the re-instatement of the removed content. I consent to the jurisdiction of the Federal District Court for the judicial district in which my address is located, or if my address is outside the United States, for any judicial district in which TuneCore may be found, and that I will accept service of process from the person who provided the DMCA Notification of Claimed Infringement (the "Claimant") or an agent of such person Respectfully Submitted, /s/ Marcel Albert (electronic signature) 288 RUE GROSVENOR MONTREAL, QC H3K 2M6 1.617.606.7275 [email protected] [Quoted text hidden] -- Cheers, Marc Mysterio Marc Mysterio Celebrity Charity Bio on LookToTheStars Marc Mysterio on Spotify Marc Mysterio on U.S. BILLBOARD Chart Marc Mysterio Bio on TMZ Marc Mysterio Profile on CelebVM
    [Show full text]
  • Music Ally Trends Report 2019
    thereport ISSUE 426 | 19 DECEMBER 2019 From Apple to Spotify, via China, TikTok, podcasts, publishers, Africa, YouTube, Artificial Intelligence and much, much more… 1 ISSUE 426 END-OF-YEAR REPORT 19.12.19 In this report Introduction Page 01 Page 18 Introduction 21 Green shoots for hi-res music Page 02–03 22 Heavy lifting ahead for Pandora 01 On the up Page 19 Page 04 23 New levels for games and music 02 The TL;DR of the ECD and MMA 24 LatAm’s stars are truly global Page 05 Page 20 03 Spotify’s two-sided strategy 25 Old Town Road rewrites the rules Page 06 26 Privacy matters – including for music 04 Apple Music heading for super-bundle Page 21 Page 07 27 Taylor’s Wizard of Oz moment 05 China: music in the hands 28 Distribution’s evolution 06 Voice smarts still developing Page 22 Page 08 29 Catalogue shopping booms 07 TikTok: it don’t stop 30 Middle Eastern promise is clear The music industry’s decline is receding Page 09 Page 23 08 Everyone loves podcasts 31 Amazon’s voice grows stronger into the past, but challenges remain 09 UMG meets Tencent Page 24 Page 10 32 Action, not just talk, for user-centric music:)ally was founded in 2002, at a time how startup-friendly they are; new markets 10 Publishers get punchy payouts when the music industry was just a few years are burgeoning; and new opportunities Page 11 Page 25 into its post-Napster decline, but when the emerging. 11 Facebook’s fluid future 33 Pledges broken mood was already pessimistic and fearful.
    [Show full text]
  • We Could Define Rafha Madrid the Same Way and with the Same Adjectives We All Do Describe Many Great Dj’S from the Best Clubs Around the World
    RAFHAMADRID.COM FACEBOOK.COM/RAFHAMADRIDMUSIC MIXCLOUD.COM/RAFHAMADRID SOUNDCLOUD.COM/RAFHAMADRID YOUTUBE.COM/USERS/RAFHAMADRID INSTAGRAM.COM/RAFHAMADRID We could define Rafha Madrid the same way and with the same adjectives we all do describe many great dj’s from the best clubs around the world. However, there is something unique that sets Rafha apart: his beat. Rafha Madrid’s beat intertwines from different brushes of electronic music and house music, which makes his sets such an exuberant and energetic experience where the audience is unable to stop dancing. Rafha Madird started his Dj career by chance since he had never envisioned himself as a Dj in his youth. Nonetheless, he has always been a night owl, enthusiastic in a dance floor, and passionate of a sportive life. With such spirit, he found himself one night in a friend’s house playing around with a mixing table where he discovered what now is his greatest passion; music. Rafha has stated that “the best of being a Dj is being able to think and feel the music where then you can transform it into different sensations for the audience through the mixing table. What matters the most is to reach your audience’s hearts through music.” Rafha started as a Dj in 2005 when he was only 22 years old in Chiko Malo, a colorful and small club in Barcelona now long gone. Chiko Malo was a spot to pay a visit in Barcelona’s nightlife back then. His sudden career as a Dj was hard initially due to the difficulty to break in into the scene, until he played a warm up session in Café Olé Ibiza Festival in 2012 in Razzmatazz club in Barcelona.
    [Show full text]
  • Distribution Revolution
    PRESENTS DISTRIBUTION REVOLUTION MAPPING THE 21ST CENTURY DIGITAL MUSIC SUPPLY CHAIN DISTRIBUTION THE ASSOCIATIONREVOLUTION OF INDEPENDENT MUSIC 1 AIM.ORG.UK AIM & CMU INSIGHTS ‘Distribution from artists including AJ Tracey, Arctic Monkeys, Aphex Twin, Blood Orange, Revolution’ is a new Bonobo, Danny Brown, Hot Chip, High report based on Contrast, Little Simz, New Order, research undertaken Radiohead and many, many more. by CMU Insights More at aim.org.uk on behalf of the the Association Of ABOUT CMU INSIGHTS Independent Music. CMU helps people navigate and understand the music business through ABOUT AIM media, education, research and events. CMU Insights is the company’s AIM is the not-for-profit trade body business intelligence unit. exclusively representing the UK’s independent music sector, which now CMU shares its insights with thousands makes up a quarter of the recorded of music industry professionals every music market. year through its own programme of seminars and masterclasses; the Now in its 20th year, AIM’s members training courses it delivers for music range from the largest, most respected companies and organisations; the record labels and associated speed briefings it presents at music music businesses in the world to conferences around the world; and self-releasing artists and the next the three full-day conferences it generation of entrepreneurs in music. curates as part of The Great Escape AIM promotes and supports this showcase festival in Brighton each exciting and diverse sector globally May. and provides a range of services, CMU also supports grass roots commercial opportunities and artists and future industry talent practical help to members; enabling through partnerships with the likes them to innovate, grow and break into of the Featured Artist Coalition and new markets.
    [Show full text]
  • REGISTERED COMPANIES at MIDEM 2012
    REGISTERED COMPANIES at MIDEM 2012 ANTIGUA AND BARBUDA RED IGLOO MUSIC MISSIONCULTURE* RIOT ENTERTAINMENT PTY LTD OFFICER BUSINESS SOFTWARE SOLUTIONS GMBH* BRIGHTCHOICE ROWLEY MUSIC* ORDIS GBR DIGITAL DISTRIBUTION* ARGENTINA RUBBER MUSIC PTY. LTD.* ORF ENTREPRISE SELECT AUDIO-VISUAL DISTRIBUTION PTY LTD PATE RECORDS* AF MUSIC SRL* SHOCK ENTERTAINMENT* PHOENICS CREATIVE STUDIO OG* AKE MUSIC PRODUCTIONS* SONY MUSIC PREISER RECORDS* DBN DISCOS* SOUND ALLIANCE PROJEKT POP! / OEST MUSIKFONDS* DBN SRL.* SOUNDS AUSTRALIA* REAL NETWORKS GMBH DIRECCION GENERAL DE INDUSTRIAS CREATIVAS / GCBA* TEMPO INTERNATIONAL P/L REBEAT DIGITAL GMBH* DISTRIBUIDORA LEF SRL* THE AU REVIEW RED BULL MEDIA HOUSE GMBH LEADER MUSIC S.A.* THE PLANET COMPANY* RUDI SCHEDLER MUSIKVERLAG GMBH* MUSIC BROKERS ARGENTINA S.A.* THE WEST AUSTRALIAN MUSIC INDUSTRY ASSOCIATION SALZBURGER FESTSPIELE ORGANIZACION MUSICAL SUDAMERICANA (OMSA) SRL INC. SCHUBERT MUSIC PUBLISHING E.U.* THE FAINMUSIC* TIMELESS MUSIC COMPANY* SERVUS TV* THE ORCHARD - SOUTH AMERICA* TOPOLOGY SONY DADC AUSTRIA AG UK TRADE & INVESTMENT ARGENTINA UNIVERSAL MUSIC PUBLISHING GROUP AUSTRALIA SOUND AND MEDIA AUSTRALIA XELON ENTERTAINMENT LIMITED* SPECTRALMIND GMBH* SWAY GESBR 120 PUBLISHING* AUSTRIA VIDEOLAND MEDIENVERTRIEBS GESMBH* ALBERTS* AKM* WEINBERGER JOSEF WIEN GESMBH* AUSTRALIAN INDEPENDENT RECORD LABELS AKM / GFOEM* ZBONEK MARCUS HERR TISCHBEIN* ASSOCIATION ALFRED REITER DANUBIA SAXOPHONE QUARTET* BOX HILL INSTITUTE BARBADOS ALLROUND MUSIC, ROSITA S. ROMANO MUSIKVERLAG* CENTRAL STATION* A & O SOUND OG INVEST BARBADOS CHACONNE MUSIC* AUSTRIAN MUSIC COUNCIL CHELSEA J GIBSON BELARUS AUSTRO MECHANA GMBH* CPC MUSIC SERVICES* BERNHARD FLEISCHER MOVING IMAGES GMBH VIGMA GROUP DEEP PURPLE (OVERSEAS)* COL LEGNO PRODUKTIONS - UND VERTRIEBSGMBH* DIGIRASCAL BELGIUM DELADAP STANISLAV VANA* FILTER SQUAD ELIETTE UND HERBERT VON KARAJAN INSTITUT 2 BRAINS ENTERTAINMENT* HARVEST MEDIA FAMA - FACHVERBAND DER FILM- UND MUSIKINDUSTRIE ADASONG PRODUCTIONS* INERTIA PTY LTD* FILM+CO.
    [Show full text]
  • Audiobooks: Taking the World by Storm
    Linda Lee Audiobooks: Taking the World by Storm White Paper Follow us: #fbm20 More information: buchmesse.de/audio 1 Audiobooks: Taking the World by Storm Abstract Audiobooks are the current darling of today’s publishing industry. This paper will examine the trends shaping today’s audiobook market as well as look at what the future may hold for the industry in the era of increasing audio proliferation. In considering new sales and distribution models, this paper looks to illuminate the different models currently available and how they are supporting and shaping the audiobook market’s growth. The paper is written in partnership with Zebralution, which was founded in 2004 as the first digital distributor for inde- pendent music labels in Europe and entered the audiobook market in 2010. Zebralution has gathered interesting data regarding consumer behaviors, which can be used to understand what is driving market growth. Since there is no inter- national standard in data collection and some online retailers withhold sales data as proprietary information, the data provided by Zebralution gives a useful but admittedly partial snapshot at one segment of the consumer market, hoping that publishers and further interested parties will be able to use this information as guidance for their future publishing plans. Table of Contents 1. An overall look at the global market today and factors that are driving growth THE MARKET TODAY ............................................................................................................................................................
    [Show full text]