Of the 430 music venues that traded in London in 2007, only 245 remain and campaigners are calling for an Agent of Change principle to be introduced, which would put the onus on developers to mitigate potential conflicts between long-standing live venues and new developments.
Led by Ukrainian-American businessman Len Blavatnik, Access Industries has spent the last half a decade quietly establishing itself as something of a power broker in the digital landscape with investments in telecommunications, TV and especially in music. Access surprised many by taking ownership of Warner Music in 2011 for $3.3 billion (including acquiring billions of debt) and then went on to buy up a sizeable chunk of the EMI assets that UMG was compelled to divest by European regulatory authorities. Since that time Access has led, or been a major investor in, $120 million investments in Beats Music (across two rounds), $30 million in Songkick (across two rounds) and $170 million in Deezer (again, across two rounds).
eading position is in jeopardy, says a report due out on Tuesday. A new emphasis on creative thinking among foreign competitors has underlined a growing threat to Britain’s worldwide standing in the arts.
Comédies musicales, humour et concerts. La ministre s'est félicitée de la progression de 2,9% de son budget, qui permettra notamment "de conforter le financement du spectacle vivant en réformant et en augmentant en particulier nos aides aux équipes artistiques, ensembles et compagnies. Il faut y ajouter un crédit d'impôt qui lui sera spécialement dédié", a poursuivi la ministre, qui précisera son annonce jeudi aux Biennales du spectacle vivant à Nantes. Le crédit d'impôt s'appliquera au "spectacle musical et de variété", a expliqué son entourage. Seront éligibles les comédies musicales, les spectacles d'humour et la musique.
The European Parliament will adopt its position on the Digital Single Market (DSM) strategy today (19 January). In an interview with EurActiv, rapporteur Kaja Kallas warned that it would be a “mess” if the European Commission does not come up with its proposals in a timely manner.
Nostalgia, la petite soeur finlandaise de Nostalgie, vient de remporter plusieurs appels à candidatures, lui offrant ainsi 9 nouvelles fréquences supplémentaires. La station va désormais couvrir 85% du pays.
Universal Music Group (UMG) has partnered with US radio and events giant iHeartMedia to create a series of virtual reality (VR) music experiences designed to ‘connect artists, music fans and brands and sponsors’.
Full shows from four individual UMG artists will be shot and distributed in VR later this year at the iHeartRadio VR Concert Series held at the iHeartRadio Theater in Los Angeles, with dates TBC.
Many tech experts believe 2016 will see the mainstream maturation of VR headsets, which last saw popularity in the mid-’90s when video game giants released primitive arcade devices such as Sega’s VR-1.
This year on the radio, News/Talk remained American’s No. 1 overall format in the 48 Nielsen portable people meter (PPM) markets. However, Urban Contemporary and Sports both experienced record-breaking years.
In 2015, Facebook again took the lead as the top smartphone app. The social networking app had more than 126 million average unique users each month, a growth of 8% from last year. YouTube came in second with over 97 million average unique users each month, followed by Facebook Messenger with more than 96 million average unique users each month.
Passeport ou visa? Informez vous sur les formalités pour entrer au Canada selon votre pays (France, Belgique, Suisse, etc).
Printz Patrick's insight:
Bon à savoir ! ’à partir du 15 mars prochain, tous les voyageurs internationaux qui accèderont au territoire canadien, exceptés ceux en provenance des Etats-Unis, devront se procurer au préalable une Autorisation de Voyage Electronique ( AVE).
Spotify and Apple Music rival CÜR Music quietly launched in the US this week with 10m licensed tracks – but there could be more on the way.
MBW has discovered that the three biggest recorded music companies in the world, Universal Music Group, Sony Music Entertainment and Warner Music Group have all licensed the platform in the past fortnight.
And it will be no surprise to hear that all three appear to have taken a chunk of equity for their trouble.
On January 12, 2016, CÜR Media Inc issued UMG, SME and Warner warrants to purchase an aggregate (total) of 2,798,613 shares, at a weighted average price of $0.49 per share.
Then last week two senior industry figures on separate days stated that “artists are making more money from streaming than they did from CDs”. Are you sure? It’s not what our members generally report. Where did that information come from? Ah! Yes. Last years IFPI Digital Report. I remember flicking through the contents page when it was published in April 2015 (ifpi.org/downloads/Digital-Music-Report-2015.pdf) and being bemused by p.20 –
WHY DO VIOLINISTS have mentors, sportsmen have coaches and doctors (usually) have neither? That was the starting point for Atul Gawande’s examination of his career as an elite surgeon. A similar question inspired a series I made for BBC Radio 3 when I was a professional cricketer. It explored the parallels between athletes and classical musicians.
The digital music service platforms of Kugou.com and Kuwo.cn have established strategic cooperation relationships with over 800 enterprises, record companies, and copyright management organizations in China and abroad. At present, their copyright cooperation covers 90% record companies and individual artists, accumulating nearly 20 million digital music licenses.
"We've never been 100 per cent sure that any of the businesses we’ve started at Virgin were going to be successful," says Richard Branson. "But over 45 years, we’ve always stood by our motto: 'Screw it, let’s do it'. While this attitude has helped us build hundreds of companies, it hasn’t always resulted in success." The Virgin businesses that failed did so for different reasons, but once these were identified they became powerful learning experiences. And as other entrepreneurs have discovered, the mistakes that lead to failure can be the making of a successful business next time around.
It’s been a challenging start to 2016 for Spotify’s business affairs team.
First, right at the end of last year, the streaming company was served a $150m class action lawsuit from songwriter and artist David Lowery.
It claimed that Spotify “unlawfully reproduces and/or distributes copyrighted musical compositions” in the US market and “profit[s] off its own unlawful conduct”.
In short, Lowery argues that Spotify has publicly acknowledged that it has not correctly paid US mechanical rights owners the money they are due – and that the company is subsequently making interest by keeping hold of this sum.
Now Spotify has been hit by a second lawsuit, this time arguing that songwriters should get more than $200m from Daniel Ek’s company.
US songwriter and publishing company owner Melissa Ferrick filed her class action complaint in the US District Court in Los Angeles on Friday (January 8).
Like Lowery, Ferrick is claiming damages for Spotify’s alleged “wholesale copyright infringement” on behalf of all songwriters whose musical compositions were “reproduced and distributed without a license during the last three years”.
As most people expected, the UK recorded music industry returned to growth in 2015. The UK now follows an increasingly familiar European narrative of strong streaming growth helping bring total markets back to growth. Sales revenue increased 3.5% to reach £1.1 billion while total streams increased by 85% to reach 53.7 billion, with audio stream representing 49.9% of that total. There is no doubt that these are welcome figures for the UK music industry but as is always the case, a little digging beneath the surface of the numbers reveals a more complex and nuanced story. Here are the three things you need to know about UK music sales in 2015.
2015 saw such momentous moments as the launch of Apple Music and TIDAL, The Beatles land on streaming services, Kobalt ostensibly launch its own collection society and PRS sue, then settle with, SoundCloud.
Early indications suggest that 2016 could prove even more significant in the super-fast evolution of the music biz.
Spotify is being sued by songwriter, performer and artist rights advocate David Lowery for up to $150m over alleged unpaid mechanical royalties in the US.
The musician, of indie rock bands Cracker and Camper Van Beethoven, filed the lawsuit in the U.S. District Court of Central California on Monday (December 28), on behalf of himself and ‘the numerous other similarly-situated holders of mechanical rights’.
C’est une excellente nouvelle, fort attendue par le secteur des arts de la scène (le théâtre, l'opéra, la comédie musicale, le récital de musique, le ballet, le cirque, le spectacle de rue). Le gouvernement, lors de sa dernière séance 2015, a approuvé le projet de loi instaurant un tax shelter pour les arts de la scène
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