This redacted paper, summarises the extent and range of felt discriminations across the UK music industry and raises awareness of unfair practices in the expectation that the industry significantly improve its record on diversity
‘Leaked’ Spotify numbers emerged today indicating that the streaming service has just hit 37 million subscribers, which puts more clear water between it and and second placed Apple Music, despite the latter’s recent growth. It also means that Spotify is now nearly 10 times bigger than Tidal and probably Deezer (which hasn’t reported numbers since its France Telecom bundle partnership ended). It is beginning to look suspiciously like a 2 horse race. But there is a more important story here: Spotify’s accelerated growth in Q2 2016 was driven by widespread use of its $0.99 for 3 months promotional offer. Which itself comes on the back of similar offers having supercharged Spotify’s subscriber growth for the last 18 months or so. In short, 9.99 needs to stop being 9.99 in order to appeal to consumers. Which is another way of saying that 9.99 just isn’t a mainstream price point.
To the contrary of the UK and the US, Snep and GfK, the institute compiling the charts, have decided to multiply the sales figures (by 150) and add them to streaming data rather than dividing streaming by 150 and adding it to sales”.
This ultimately yields the same final rankings, but Snep is quoted in saying that “it seemed more logical to us to convert the data of the smaller trend to that of the bigger, and not the opposite”.
France has thus just introduced the sales-equivalent-streaming ratio!
“Today, I’m happy to announce that on mobile alone YouTube now reaches more 18–49-year-olds than any network — broadcast or cable. In fact, we reach more 18–49-year-olds during primetime than the top 10 TV shows combined.”
Artistic freedom is under extreme pressure in far too many countries. The Freemuse annual report summarises censorship and threats on artistic freedom in 2015 in over 70 countries.
In total, Freemuse registered 469 cases of censorship and attacks on artists and violations of their rights in 2015, making it our worst recorded year yet, nearly doubling the number of cases from 2014 with a 98% increase from the year previous, wherein 237 cases were registered.
While at the UN level there have been positive signs of larger attention being paid to the importance of protecting artistic freedom in 2015, sadly the year was dominated by a 20% increase in registered killings, attacks, abductions, imprisonments and threats, and a staggering 224% increase in acts of censorship.
What seems more likely to me is that Spotify will follow Apple's slowly unfolding tactic of using video content, perhaps even its own exclusive content, as a means of insulating itself from better-financed rivals like Apple and Alphabet. In recent weeks, word has surfaced that Apple is in fact accelerating the pace of its original and exclusive content strategies. The strategy is by no means innovative. It's really an extension of the content strategy we've seen employed with great success at Netflix in streaming video. Alphabet's YouTube has taken steps to secure its own original video content as well.
One thing that's clear is that content, either video or music, doesn't come cheap in today's day and age
la construction d’une communauté de « curateurs vidéos » est notre priorité : qu’ils soient « influenceurs » sur un réseau type Twitter ou YouTube aujourd’hui et se prennent au jeu de la curation vidéo ou qu’ils le deviennent grâce à Wellcut avec leurs collections d’extraits sur un sujet qui les passionne.
Le chiffre fait image. En 2015, les quelque 540 000 écoutes Spotify de la chanson Paradis City de Jean Leloup lui auront rapporté… un peu moins de 30 $ pour ses droits d’interprète.
Autre illustration d’une industrie qui ne tourne pas rond : l’an dernier, la vente de 17 millions de disques vinyles aux États-Unis a rapporté plus que le cumul de « milliards et de milliards » d’écoutes en ligne sur des sites légaux sans abonnement, révélait la Recording Industry Association of America (RIAA) la semaine dernière.
The main reason for existing stockholders (like the major labels and Merlin in Spotify’s case) to avoid a down round is to protect the preferences that the prior investors have built into their stock ownership. Those preferences can require the company to issue more shares to protect the percentage ownership of the insiders and key executives, for example, and that can lead to washout financings and recapitalizations to incentivize investors in the down round (who often are not, as one might say, “babies”).
Down rounds are also one indicator that a bubble is about to burst but that investors have not yet capitulated. (Down rounds are a precursor to failed capital calls, which are the real sign of a bubble bursting.) Down rounds were very common in the dot bomb bubble burst.
In terms of a media time breakdown, TV is still the dominate form of entertainment, with the average adult watching for 35 hours, 26 minutes a week. Radio is a distant second at a weekly average of 13 hours, 1 minute, followed by smartphones at 11 hours, 36 minutes. The proportion of time for the 18-34 age bracket, which spent only 20 hours, 24 minutes per week with TV and 10 hours, 54 minutes with radio, compared with 14 hours, 23 minutes on smartphones.
On a sunny Thursday morning in Barcelona last month, dozens of professionals gathered under a wooden awning at the Sónar+D conference to hear prophecies from opposite ends of the music curation spectrum: algorithmic playlisting and old-school terrestrial radio. It was a jarring but much-needed juxtaposition, suggesting that curation as we know it is both more fruitful than ever and in danger of dying out.
A la demande de la SABAM et en collaboration avec le dr. Micheline Lesaffre de l’Instituut voor Psychoacoustica en Elektronische Muziek (IPEM) de l’Université de Gand, le bureau d’études de marché Profacts a réalisé une enquête dans le cadre de laquelle un échantillon de 1015 consommateurs de musique/ membres adultes de la population belge ont été interrogés en ligne pour savoir comment ils perçoivent la musique et établir ce que celle-ci représente en termes de bien culturel et économique.
La SABAM a en outre décidé de faire réaliser une deuxième étude par Profacts, afin de déceler ce qui motive les entrepreneurs à diffuser de la musique dans leur entreprise. 300 professionnels ont été interrogés au moyen d’entretiens téléphoniques structurés. Dans ces études, nous nous posons la question de savoir si la valeur de la musique dans notre société actuelle est mise sous pression et quels sont les facteurs qui déterminent cette valeur.
Until AMRA took over last year, Kobalt’s collection responsibility in Europe fell to its partnership with Swedish CMO STIM – a venture which, after it was struck in 2013, resulted in its own significant uplift in collections.
Tomas Ericsson, CEO of AMRA said, “This uplift is exceptional both because it’s in Europe, one of the most mature markets in the world, and because it’s in addition to the already significant uplift from Kobalt’s previous partnership with STIM.
“To deliver a combined 28% uplift from Spotify and YouTube on top of what Kobalt has already achieved with STIM, is truly an amazing result. As well as a strong indicator of the tremendous uplift to come from the other major DSP’s and other markets around the world.”
The Nuits Sonores festival, which takes place annually in the city of Lyon was created in 2003. The European Lab is only five years old but is quickly gathering pace. Running in parallel with the festival, this cultural forum is designed to promote discussion about cultural challenges in Europe.
Wolfgang Spindler, euronews: “The European ‘spirit’ is going through a crisis, globalisation is diminishing cultural diversity, the internet seems to dictate our lives and many are finding it hard to remain optimistic about the future. In the words of French writer Raphaël Glucksmann, this generation is suffering from a hangover.”
Le géant de l'e-commerce chinois a profité de la très populaire émission de télévision « I'm A Singer » pour présenter son intelligence artificielle, Ai. L'IA a réussi à prévoir 100% des finalistes et même le vainqueur de l'émission.
Xiaomi has furthered its push into India after completing its first investment in the country. The Chinese smartphone firm today announced it has led a $25 million round for Hungama, a video and music streaming service that claims 65 million users, and that it will integrate the company’s services into its content platform in India “in the near future.”
Xiaomi has made a concerted effort to gain marketshare in India’s fast-growing smartphone market since it began selling there in 2014. It joined the government’s Make In India program and took strategic investment from top businessman Ratan Tata, and has long said on record that it would invest in startups that complement its business in India.
While the music industry bickered in the media over fractions of cents per stream, there were innumerous development projects shipped and celebrated by corporate and independent coders. Historic rivals formed enviable collaborations. Petabytes of content alongside billions of lines of code were released. At the center of it all – open source and free sharing of digital resources. Amazingly, companies and people have been able to do this while still profitably protecting the value of intellectual property.
The global open source renaissance is here. There is as an opportunity to leverage the same resources and adopt the same guiding principles that have seen success everywhere else. Most, if not all of the core tools have already been developed; let’s work together to bring them to the music world. The wider music industry now has an opportunity to build on our existing collaborative spirit. Instead of hiding behind opaque processes masquerading as ’trade secrets’, let’s remember and re-engage our own rich history of artistic collaboration.
Une des missions essentielles qui incombe au monde de la culture dans les temps à venir est de repenser au plus vite son rapport à la société. De réfléchir à une définition nouvelle de l'engagement culturel, qui est par essence engagement sociétal.
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