Chart Rules Exist to Determine Eligibility for Entry Into the Irish Recorded Music Association CLG (IRMA) Official Charts
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Making Sense of Metrics in the Music Industries
International Journal of Communication 15(2021), 3418–3441 1932–8036/20210005 Making Sense of Metrics in the Music Industries NANCY BAYM1 RACHEL BERGMANN Microsoft Research, USA RAJ BHARGAVA University of California, Berkeley, USA FERNANDO DIAZ TARLETON GILLESPIE Microsoft Research, USA DAVID HESMONDHALGH University of Leeds, UK ELENA MARIS University of Illinois at Chicago, USA CHRISTOPHER J. PERSAUD University of Southern California, USA This article considers how media workers and organizations make use of the abundance of metrics available in the contemporary online environment. The expansion of audience measurement on digital music platforms, dashboard analytics, and third-party providers raises broad societal concerns about the quantification of culture; however, less attention has been paid to how professionals in the music industries approach, understand, and deploy these metrics in their work. Drawing on survey and interview data, we found that Nancy Baym: [email protected] Rachel Bergmann: [email protected] Raj Bhargava: [email protected] Fernando Diaz: [email protected] Tarleton Gillespie: [email protected] David Hesmondhalgh: [email protected] Elena Maris: [email protected] Christopher J. Persaud: [email protected] Date submitted: 2021-03-26 1 Authors are listed alphabetically; each made equal contributions to the article. Copyright © 2021 (Nancy Baym, Rachel Bergmann, Raj Bhargava, Fernando Diaz, Tarleton Gillespie, David Hesmondhalgh, Elena Maris, and Christopher J. Persaud). Licensed under the Creative Commons Attribution Non-commercial No Derivatives (by-nc-nd). Available at http://ijoc.org. International Journal of Communication 15(2021) Making Sense of Metrics 3419 music workers do not take metrics on faith or reject them out of hand; rather, they make sense of them, deploy them strategically, and narrate their meanings to give themselves rationales to make investments and predictions and to persuade others to do so. -
Official Albums Chart Rules
Rules for Chart Eligibility Albums January 2020 Official Charts Operations Team 020 7620 7450 [email protected] www.officialcharts.com Rules for Chart Eligibility January 2020 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Album Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply equally to all companies issuing and/or distributing recordings. They set out the conditions on which an album will be eligible for inclusion in the Chart. The rules also apply to the UK’s Official genre charts, subject to variation where appropriate. It should be noted that record companies and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the Chart. The Chart Rules are issued by the Official Charts Company in conjunction with the Chart Supervisory Committee (CSC) under the supervision of the Official Charts Company board. The Official Charts Company is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of the CSC. The Official Charts Company may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, a designated sub-committee of the CSC or the board, for a decision. The decision of the board will be final. -
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. -
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. -
Songs by Artist
Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co. -
You Belong with Me: Recording Artists' Fight for Ownership of Their Masters
Northwestern Journal of Technology and Intellectual Property Volume 18 Issue 2 Article 4 3-2021 YOU BELONG WITH ME: RECORDING ARTISTS’ FIGHT FOR OWNERSHIP OF THEIR MASTERS Ann Herman Northwestern Pritzker School of Law Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/njtip Part of the Intellectual Property Law Commons Recommended Citation Ann Herman, YOU BELONG WITH ME: RECORDING ARTISTS’ FIGHT FOR OWNERSHIP OF THEIR MASTERS, 18 NW. J. TECH. & INTELL. PROP. 239 (2021). https://scholarlycommons.law.northwestern.edu/njtip/vol18/iss2/4 This Note is brought to you for free and open access by Northwestern Pritzker School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Technology and Intellectual Property by an authorized editor of Northwestern Pritzker School of Law Scholarly Commons. YOU BELONG WITH ME: RECORDING ARTISTS’ FIGHT FOR OWNERSHIP OF THEIR MASTERS Cover Page Footnote Ann Herman, J.D. candidate 2021. I would like to dedicate this Note to my grandfather and journalist, Martin “Gene” Herman, who always inspired and encouraged me to write. He was one of my earliest editors and supporters, and I would not be where I am today without him. This note is available in Northwestern Journal of Technology and Intellectual Property: https://scholarlycommons.law.northwestern.edu/njtip/vol18/iss2/4 NORTHWESTER N J O U R N A L OF TECHNOLOG Y AND INTELLECTUAL PROPERT Y YOU BELONG WITH ME: RECORDING ARTISTS’ FIGHT FOR OWNERSHIP OF THEIR MASTERS Ann Herman March 2021 VOL. 18, NO. 2 © 2021 by Ann Herman Copyright 2021 by Ann Herman Volume 18, Number 2 (2021) Northwestern Journal of Technology and Intellectual Property YOU BELONG WITH ME: RECORDING ARTISTS’ FIGHT FOR OWNERSHIP OF THEIR MASTERS Ann Herman* ABSTRACT—Copyright law, governed by the Copyright Act, is based on utilitarian theory, which balances artists’ interests in ownership of their creations with the public’s interest in accessing and enjoying such creations. -
Page 1 for PUBLICATION UNITED STATES COURT of APPEALS
FOR PUBLICATION UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT UMG RECORDINGS, INC., a Delaware corporation; UNIVERSAL MUSIC CORP., a New York corporation; SONGS OF UNIVERSAL, INC., a California corporation; UNIVERSAL-POLYGRAM INTERNATIONAL PUBLISHING, INC., a Delaware corporation; RONDOR MUSIC INTERNATIONAL, INC., a California corporation; UNIVERSAL MUSIC-MGB NA LLC, a California Limited Liability Company; UNIVERSAL MUSIC-Z TUNES LLC, a New York Limited Liability Company; UNIVERSAL MUSIC-MBG MUSIC PUBLISHING LTD., a UK Company, Plaintiffs-Appellants, v. SHELTER CAPITAL PARTNERS LLC, a Delaware Limited Liability Company; SHELTER VENTURE FUND LP, a Delaware Limited Partnership; SPARK CAPITAL LLC, a Delaware Limited Liability Company; SPARK CAPITAL, L.P., a Delaware Limited Partnership; 21055 21056 UMG RECORDINGS v. SHELTER CAPITAL PARTNERS TORNANTE COMPANY, LLC, a Delaware Limited Liability Company, No. 09-55902 Defendants-Appellees, D.C. No. and 2:07-cv-05744- VEOH NETWORKS, INC., a California AHM-AJW corporation, Defendant. UMG RECORDINGS, INC., a Delaware corporation; UNIVERSAL MUSIC CORP., a New York corporation; SONGS OF UNIVERSAL, INC., a California corporation; UNIVERSAL-POLYGRAM INTERNATIONAL PUBLISHING, INC., a Delaware corporation; RONDOR MUSIC INTERNATIONAL, INC., a California corporation; UNIVERSAL MUSIC-MGB NA LLC, a California Limited Liability Company; UNIVERSAL MUSIC-Z TUNES LLC, a New York Limited Liability Company; UNIVERSAL MUSIC-MBG MUSIC PUBLISHING LTD., a UK Company, Plaintiffs-Appellants, v. VEOH NETWORKS, INC., a California corporation, Defendant-Appellee, UMG RECORDINGS v. SHELTER CAPITAL PARTNERS 21057 and SHELTER CAPITAL PARTNERS LLC, a Delaware Limited Liability Company; SHELTER VENTURE FUND LP, a Delaware Limited No. 09-56777 Partnership; SPARK CAPITAL LLC, a D.C. -
Nielsen Music Year-End Report U.S
NIELSEN MUSIC YEAR-END REPORT U.S. 2016 NIELSEN MUSIC YEAR-END REPORT U.S. 2016 Copyright © 2017 The Nielsen Company 1 Welcome to the annual Nielsen Music Year End Report, providing the definitive 2016 figures and charts for the music industry. And what a year it was! The year had barely begun when we were already saying goodbye to musical heroes gone far too soon. David Bowie, Paul Kantner, Glenn Frey, Leon Russell, Maurice White, Prince, Juan Gabriel, George Michael, Sharon Jones... the list goes on. And yet, while sad 2016 became a meme of its own, there is so much for the industry to celebrate. Music consumption is at an all-time high. Overall volume is up 3% over 2016, fueled by a 76% increase in on-demand audio streams, enough to offset declines in sales and return a positive year for the business. Nearly 650 solo artists, groups and collaborators appeared on the Top 200 Song Consumption chart in 2016, representing over 1,200 different songs. The rapid changes in technology and distribution channels are changing the way we discover and engage with content. Reaction times are shorter and current events ERIN CRAWFORD can have an instant impact on consumption. The last Presidential debate had SVP ENTERTAINMENT barely finished when there was an increase in streaming activity for Janet Jackson’s & GM MUSIC “Nasty.” The day after the news broke about Prince’s passing, over 1 million of his songs were downloaded. When a Florida teen set his #mannequinchallenge to “Black Beatles,” the song rocketed up the charts.