Making Sense of Metrics in the Music Industries
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14Th Annual ACM Honors Celebrates Industry & Studio Recording Winners from 55Th & 56Th ACM Awards
August 27, 2021 The MusicRow Weekly Friday, August 27, 2021 14th Annual ACM Honors Celebrates SIGN UP HERE (FREE!) Industry & Studio Recording Winners From 55th & 56th ACM Awards If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES 14th Annual ACM Honors Beloved TV Journalist And Producer Lisa Lee Dies At 52 “The Storyteller“ Tom T. Hall Passes Luke Combs accepts the Gene Weed Milestone Award while Ashley McBryde Rock And Country Titan Don looks on. Photo: Getty Images / Courtesy of the Academy of Country Music Everly Passes Kelly Rich To Exit Amazon The Academy of Country Music presented the 14th Annual ACM Honors, Music recognizing the special award honorees, and Industry and Studio Recording Award winners from the 55th and 56th Academy of Country SMACKSongs Promotes Music Awards. Four The event featured a star-studded lineup of live performances and award presentations celebrating Special Awards recipients Joe Galante and Kacey Musgraves Announces Rascal Flatts (ACM Cliffie Stone Icon Award), Lady A and Ross Fourth Studio Album Copperman (ACM Gary Haber Lifting Lives Award), Luke Combs and Michael Strickland (ACM Gene Weed Milestone Award), Dan + Shay Reservoir Inks Deal With (ACM Jim Reeves International Award), RAC Clark (ACM Mae Boren Alabama Axton Service Award), Toby Keith (ACM Merle Haggard Spirit Award), Loretta Lynn, Gretchen Peters and Curly Putman (ACM Poet’s Award) Old Dominion, Lady A and Ken Burns’ Country Music (ACM Tex Ritter Film Award). Announce New Albums Also honored were winners of the 55th ACM Industry Awards, 55th & 56th Alex Kline Signs With Dann ACM Studio Recording Awards, along with 55th and 56th ACM Songwriter Huff, Sheltered Music of the Year winner, Hillary Lindsey. -
Concert Promotion and Production
CHAPTER SIXTEEN CONCERT PROMOTION AND PRODUCTION hile the monetization of recorded music has struggled mightily for years, it’s W a different story for live concerts. Although hardly immune to the vagaries of the greater economy, live music has an enormous economic advantage over recorded music. A fan must generally pay hard dollars to enjoy a live performance by a favored act, while an unauthorized shared download or a free streamdistribute puts little or nothing in the artist’s pocket. Music concerts generated $8.2 billion in surveyed 2017 ticket sales in North America, according to industry sources, not including the value of resale of tickets on the secondary market and the many acts that don’t tour nationally. Add to that sum ticket resales, corporateor sponsorships, and the economic spillover for supporting vendors and restaurants, and the vast economic footprint of live music becomes obvious. Besides generating substantial revenue from ticket sales, live concerts boost record sales. Live concerts also increase demand for artist-related licensed mer- chandise, such as T-shirts, posters, jewelry, keychains, and books. Concerts and the sale of ancillary products are so critical that major recording companies are reluctant to sign an act that doesn’t also have a compelling stage presence. And if the label does sign the act, there’s a goodpost, chance it’s part of a broad 360 deal that yields the label a healthy piece of the box office and licensed merchandise income, among other revenue streams. Three key players move and shake the concert promotion industry: the event promoter, the artist’s manager, and the tour-booking agent. -
Economic Insight 20
Economic Insight Issue 20 04.08.10 www.prsformusic.com/economics Adding up the UK music industry for 2009 In the summer of last year we published the appreciate the international context and ‘Adding up the Music Industry for 2008’ to recognise the value of music to UK plc on the explain how much the entire UK music world stage. To do this, we’ve offered three industry was worth, and more importantly new areas of analysis: (i) the role of UK Prepared by Will Page and Chris Carey, how it all hangs together. Our hope is that songwriters and publishers as net exporters PRS for Music, London this work will become a valuable reference of repertoire (ii) the divergence between the document for the industry and all of its signs of stabilisation in the UK and stakeholders to understanding and pessimism being expressed in the US and (iii) appreciate all of the rights, relationships and the role of music in driving tourism in the revenue streams that UK music generates. current economic climate. This year we have revisited the same ‘adding Whilst the overall picture is one of up’ exercise with more evidence, improved stabilisation, any talk of green shoots should analysis and a better understanding thanks be tempered by stressing caution over to constructive and collaborative feedback complacency. To quote the late Thomas from across the media sector. The principle Edison, “we shall have no better conditions motive for this work remains the same: the in the future if we are satisfied with all those better we understand the true makeup of which we have at present”. -
Careers in the Music Business
Careers in the Music Business Careers in Music Business/Management Personal Manager (or Artist Manager, Agent) Personal managers represent one or more musical groups or artists and oversee all aspects of an act's career. They deal with and advise the act(s) on all business decisions, as well as many of the creative decisions an artist must make, and attempt to guide the artist's rise to the top. Booking Agent (or Talent Agent) Booking agents work to secure performance engagements for musical artists and groups. They work to find talent to book and may be involved with developing the talent toward a goal. They must possess good communication skills to sell talent and develop contacts in the music industry. They often work closely with an act's manager and may be involved in setting the fee and negotiating with promoters or clubs. A booking agent is paid a percentage of the negotiated fee for an act's performance. Concert Promoter The concert promoter presents, organizes, advertises, and in many cases, finances concerts at performance venues such as arenas, festivals, clubs, church buildings, auditoriums, etc. The promoter often secures money for the concert by finding others to share in the profits/expenses. However, it is often times the concert promoter who absorbs all the financial risk. Independent Radio Promoter The independent radio promoter (IRP) has a similar role as that of a promotional staffer at a record label, except the IRP is usually employed by an independent radio promotions company or works freelance. Often, a record label, artist/band, or manager will hire the services of an independent radio promotions company to generate airplay of a particular song or record. -
Disco Breaks Incorrectly Reported That Elektra Artist Suzi Lane's New LP Was Entitled
Labels Look At Roller Discos (continued from page 8) prominently displayed in all 15 roller rinks. DISCO (continued page BREAKS from 38/ label promoter. The owner, Clarence When patrons ask where they can buy the ques in a Rolls Royce cortege. Other prizes include a disco album Anderson, supplies the DJ with product, records played library and $9000 worth at the rink, Del Rey and rink of clothing, which works out to quite purchased retail, and bases his purchases a lot of grass skirts. The winners will be selected for employees direct them to Licorice Pizza. dancing talent, poise and style. on songs he hears on the radio. Requests Other promotional efforts by Del Rey in- HOT NEW ACT - In a stunning, SRO week of performances at Studio One's Backlot in from patrons also influence his buying. On clude listening parties at the roller rinks and West Hollywood, disco trio Hodges, James & Smith revealed their heretofore Saturday nights, the facility is turned into a American Bandstand hidden -type dance con- talents as a first rate cabaret act. Backed only full-fledged disco and skates are not al- by piano, bass guitar and synthesizer, the certs, hosted by the young promoter. group discarded their "studio" sound lowed. Nevertheless, DJ Keith and delivered beautifully conceived ballads, pop and Owens is not The Sherman Square roller rink in R&B tunes. Standing ovations from the audience frequently stopped an otherwise fast - a member of any pool, nor is he serviced by Reseda, Calif., is one of 15 serviced by Del paced show. -
360° Deals: an Industry Reaction to the Devaluation of Recorded Music
360° DEALS: AN INDUSTRY REACTION TO THE DEVALUATION OF RECORDED MUSIC SARA KARUBIAN* I. INTRODUCTION In October of 2007, Radiohead released In Rainbows without a record label. The band’s contract with record company EMI had been fulfilled in 2003, and Radiohead did not bother finding a new deal as they began recording their seventh album.1 Radiohead then made the album available at www.inrainbows.com, where fans were instructed to “pay-what-you- want” for the digital download.2 Shortly after the album’s release, the band’s front man, Thom Yorke, said “I like the people at our record company, but the time is at hand when you have to ask why anyone needs one. And, yes, it probably would give us some perverse pleasure to say ‘F___ you’ to this decaying business model.”3 It was no surprise that Radiohead received critical acclaim for the artistic merits of the album,4 or that millions of fans found a way to acquire the music. Its financial success, however, was less predictable. Radiohead declined to release statistics related to its pay-what-you-want model, but a conservative estimate suggests that the band’s profits from this digital release exceeded six and a half million.5 Furthermore, when Radiohead contracted with iTunes and a distributor to sell the album on iTunes and in stores, its high sales pushed it to the top of traditional album charts6 in early * J.D. Candidate, University of Southern California Law School, 2009; B.A. University of California Berkeley, 2006. A special thank you to Gary Stiffelman, Professor Jonathan Barnett, and Professor Lance Grode. -
Promoter Guide
Promoter’s Guide 1245 Dauer Drive Coral Gables, FL 33146 PROMOTER’S GUIDE TABLE OF CONTENTS 0 STAFF CONTACTS 3 GENERAL INFORMATION 4 VENUE INFORMATION 5 LOCATION 5 PRODUCTION/MEDIA OFFICES 5 DRESSING ROOMS 5 HOSPITALITY SUITE- HURRICANE 100 ROOM 6 EMERGENCY EQUIPMENT 6 FEATURES FOR PATRONS WITH DISABILITIES 6 FORKLIFTS 6 HEADSETS 6 LOADING DOCK 6 PYROTECHNICS 6 SCOREBOARD 7 SPOTLIGHTS 7 STAGING 7 VIDEO SYSTEM 7 FIRST AID 7 SEATS 7 GENERAL ADMISSION 8 POLICIES & PROCEDURES 8 ALCOHOL 8 CAMERAS & RECORDING DEVICES 8 GENERAL RULES 8 BROCHURES/HANDOUTS 8 RE-SELLING OF TICKETS 8 SELLING OF MERCHANDISE OUTSIDE 8 RE-ENTRY 9 SMOKING 9 PROHIBITED ITEMS 9 BOOKING PROCEDURES 10 ASSIGNMENT OF DATES 10 DEPOSITS 11 STATEMENT AND PAYMENT POLICY 11 LIABILITY INSURANCE 12 EVENT PLANNING 13 SERVICES PROVIDED FOR BASIC RENTAL 13 FLOOR PLANS 14 PHYSICAL ARRANGEMENTS 14 DECORATIONS 14 AIR CONDITIONING & LIGHTING POLICY 15 BOX OFFICE 15 PROGRAMS, NOVELTIES, ETC. 16 OPERATIONS 16 HOUSE STAFFING SERVICES 16 SECURITY 17 FREIGHT DELIVERIES AND CRATE STORAGE 17 PARKING 17 FOOD AND BEVERAGE POLICY 18 CATERING 18 Page 1 of 31 MARKETING & SALES 19 MEDIA 20 RATES 21 ARENA RENTAL RATES 21 SERVICE RATES 21 EQUIPMENT RATES 22 STAFFING RATES 23-24 TIMELINE CHECKLIST 25 TECHNICAL SPECIFICATIONS (QUICK GLANCE) 26 SEATING CHART 27 VENUE EVENT PICTURES 28-29 HOTELS/ACCOMODATIONS 30-31 Page 2 of 31 Staff Contact List Title Name Phone Number Email Administration General Manager Kevin Retchless 305-284-6456 [email protected] Office/Marketing Manager Valeria Allen 305-284-8244 -
Promoter to Present Event on Campus Agreement Form
AGREEMENT FOR PROMOTER TO PRESENT EVENT ON CAMPUS GOVERNANCE Agreement for Promoter to Present Event on Campus This Agreement is made between ___________________________ ("Institution") and _______________________________________________________________(Full name and address of Promoter), a corporation organized and existing under the laws of the State of and having its principal place of business at _____ , with authority to do business in the State of ("Promoter"). RECITALS A. Institution desires to have a performance by ________________________________ ("Artist"); and B. Promoter has the authorization and capacity to contract to schedule a performance on- campus by the Artist. TERMS In consideration of the mutual promises and conditions set forth in this Agreement, the parties agree as follows: 1.0 Contract for Artist to Perform. Promoter holds a valid Performance contract for [______________________________________________(Name of Performing Artist)] to perform on Institution's campus on the day of , 20 , at p.m. ("Event"). Promoter furnishes evidence of its contractual relationship with the Performing Artist, which is appended to this Agreement as Attachment A and made a part of this Agreement hereof. 2.0 Performance Facility. Institution agrees to provide [__________________________________________(Name and campus address of Facility)] to Promoter from the hours of p.m. to p.m. on the day of , 20 for the Event. 3.0 Institution Liaison. Institution shall provide an Institutional representative, whose name, title, and phone number are ("Institution's Liaison"), to whom Promoter shall direct all communications, questions, and problems regarding the planning and conduct of the Performance, and to whom Promoter shall report in at _______ p.m. at the Facility for "check-in" and report out at approximately ______ p.m. -
Career Centers Career Opportunities for Majors In
Career Opportunities for Majors in Palm Beach State College Career Centers MUSIC www.palmbeachstate.edu/career.xml Some Florida public universities offering this major: FAMU FAU FIU NCF UF FSU UCF UNF USF *for a more extensive list of colleges and universities, go to www.petersons.com Description of major: Music majors would study the theoretical, creative, practical and historical aspects of music. Music majors can specialize in performance, theory, composition or education. Some go on to teach and there are limited openings in professional performance, music industry and sales, music library science, music therapy, music criticism, church music, music editing for television and radio, and college teaching. Regardless of your career choice, increase your marketability to employers through internships, related work experience, good grades, and involvement in college activities. Visit the Career Center at your campus to research this field. Talk to people employed in these occupations and meet with an Academic Advisor to develop an academic plan for this major. Sample Occupations Listed below are occupations related to this major. Some occupations may require additional skills, experience, coursework or an advanced degree. Artist & Repertoire (A&R) Person Band Leader Composer/Arranger Concert Promoter Disc Jockey Engineer/Mixer Film Music Director/Editor Music Critic Music Teacher Music Therapist Music Publishing Specialist Recording Technician Singer/Performer Studio Musician Tour Manager Music Librarian* Instrument Restoration Specialist -
THE ART of THEFT by Tim Schaefer I
THE ART OF THEFT By Tim Schaefer I. “Generations are fictions.” –Jeff Chang, Can’t Stop, Won’t Stop The kid ducked his head through the door -conspicuous from trying too hard to be inconspicuous- and then ducked out again. The sweaty, half-frosted front door almost clicked shut, but then the kid suddenly wrapped a hand around the edge, pulled the door open just enough, and slipped into the shop. He sweated a bit, too, and then worried about the sweat. There were little bits of receipt paper and mud streaks imprinted with crisscrossed sneaker soles on the floor, a temporary, coded record of the store’s visitors; he had to keep his eyes trained there for a moment, on the odd things dragged in by careless feet, because the UK bass music coming from the store’s PA system made him woozy and confused. He was unmoored by it, and by the unfamiliar surroundings. He finally, gratefully, caught the logic in the song’s rhythm, more-or-less grabbed on to its meter, and immediately felt more comfortable. He still had no idea what it was, or where it was from. It was surely made by people. One person, maybe? Perhaps it was self-programmed by a computer, a sad beige hunk of wires and chips left alone for too long. Sharp trebly clips of female soul vocals gave him something to grab onto as hits of surely machine-made drums drilled past in dark purple waves of aggression. He didn’t really like it, but he didn’t hate it either. -
Unit 1 – the Music Industry Revision Guide
Unit 1: The Music Industry Revision Guide Contents Job Roles 1 Musician | Composer/Song Writer 1 Record Producer 2 Conductor | Live Sound Technician 3 Roadie 4 Instrument Technician | Artistic Manager 5 Venue Manager 6 Studio Manager | Promoter 7 Marketer 8 A&R | Sound Engineer 9 Session Musician 10 Mastering Engineer | Manufacturer 11 Music Journalist/Blogger 12 Broadcaster | Software Programmer/App Developer 13 DJ 14 Retailer | Distributer 15 Employment Types 17 Full Time | Part Time 17 Freelance/Self | Permanent Vs Casual 18 Venue 19 Large Venues | Medium/Small Venues 19 Health, Safety and Security 20 Organisations 21 Recording Companies/Record Labels 21 Major Labels 21 Sub Labels 22 Independent Labels 22 Music Publishing 23 Self Publishing 24 Promotion Companies | PR and Marketing Companies 25 Hire and Transport Companies 26 Agencies, Unions and Trade Bodies 27 Agencies 27 Unions 28 Trade Bodies 29 Job Roles Musician A musician is someone who performs music through the playing of an instrument or singing. Musicians play many different styles of genre’s, from Jazz to Pop, from Classical to Folk. Musicians main responsibilities are: Train and practise regularly to keep skills to Why is it difficult to be a a high standard professional musician? Turn up to rehearsals on time and ready to play Ed Sheeran Look after their instrument or their voice (Guitarist and Learn new music for a show. Vocalist) How do Musicians relate to other job roles? Record Producer Oversee and manage the recording of the Musician. Coach the artist in the studio. Conductor Direct the Musician in rehearsal, helping them to develop. -
I Am Kloot Natural History Mp3, Flac, Wma
I Am Kloot Natural History mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Natural History Country: Europe Released: 2001 Style: Indie Rock MP3 version RAR size: 1721 mb FLAC version RAR size: 1899 mb WMA version RAR size: 1447 mb Rating: 4.1 Votes: 991 Other Formats: VOC MOD ADX AA MIDI DTS WAV Tracklist Hide Credits 1 To You 3:16 2 Morning Rain 3:20 3 Bigger Wheels 3:28 4 No Fear Of Falling 2:10 5 Loch 4:33 6 Storm Warning 3:59 7 Dark Star 2:22 8 Stop 3:56 9 Sunlight Hits The Snow 2:44 10 Twist 2:57 11 86 TV's 2:55 Because 12 Other [Guacamollie] – Guy GarveyPerformer [Wine Glass] – Craig Potter, Garvey*, Mark 7:18 Potter, Peter Turner*, Jupp* Credits Artwork By – Stacey Manton Backing Vocals – Guy Garvey, John Harold Arnold Bramwell, Peter Jobson Bass, Guitar [Slide] – Peter Jobson Drums – Andy Hargreaves Engineer – Craig Potter, Guy Garvey, Mark Potter, Pete Troughton* Engineer [Additional] – Jemina Cox, Laurie Bebb Mastered By – Guy Davie Mixed By [Additional] – Pete Troughton* Percussion – Andy Hargreaves, Guy Garvey Producer, Mixed By, Effects, Harmonica – Guy Garvey Written-By – John Harold Arnold Bramwell Notes Recorded at Studio Studio, Rochdale; The Elbow Rooms, Manchester; The Big House, Manchester and the Isle of Mull, Scotland. Mixed at Studio Studio, except tracks 1, 10 and 11 mixed at The Elbow Rooms. Mastered at The Exchange. Made in Australasia. Barcode and Other Identifiers Barcode: 7 24385 09522 1 Other (Rights Societies): bel/BIEM Other versions Category Artist Title (Format) Label Category Country