tag:blogger.com,1999:blog-55272016965625741912024-03-06T05:26:33.515+00:00Legrand NetworkEmmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.comBlogger918125tag:blogger.com,1999:blog-5527201696562574191.post-49254073199374058442021-09-04T02:53:00.005+01:002021-09-04T16:38:50.024+01:00A new start<p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKyKw7t1ilZ6OqDaEAHeg6rS4hUoXFbj01yVf5WFerzO40ijjBkEEI-3w40fz9sNjwGk1G6rT5Ffeo279g-3wbEpEHPPAY5iboaK0ZvAZq9_CSmGHRAxtqliO_hSjHcTnDk3tN01uq74nX/s783/CIN_Tablet.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="783" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKyKw7t1ilZ6OqDaEAHeg6rS4hUoXFbj01yVf5WFerzO40ijjBkEEI-3w40fz9sNjwGk1G6rT5Ffeo279g-3wbEpEHPPAY5iboaK0ZvAZq9_CSmGHRAxtqliO_hSjHcTnDk3tN01uq74nX/s320/CIN_Tablet.png" width="320" /></a></span></div><span style="font-family: arial;"><br />To readers:</span><p></p><p><span style="font-family: arial;">It's been a busy summer. </span></p><p><span style="font-family: arial;">I have been working on the redesigned version of the Creative Industries Newsletter, which is now part of a wider platform that includes a news site (https://creativeindustriesnews.com/), and a Twitter feed (@LegrandNetwork). </span></p><p><span style="font-family: arial;">The site's content includes at this stage some 1,000 articles that have been transferred from this blog (yes, over the years, that's how many stories I have written). </span></p><p><span style="font-family: arial;">The new site will be available for free for the next two weeks (until Monday September 13), after which only subscribers will be able to access it, alongside with the weekly newsletter. </span></p><p><span style="font-family: arial;">After writing about the creative industries' sector for over 8 years I decided that time had come to move to a "business" proposal. </span></p><p><span style="font-family: arial;">So the content of this blog, which had hosted these stories over the years, has now shifted to the <a href="https://creativeindustriesnews.com/">Creative Industries News platform</a>. </span></p><p><span style="font-family: arial;">I will now go back to the initial purpose of this blog, which was to write whatever I felt like about anything, but was never really fulfilled since it became a vehicle for news stories.</span></p><p><span style="font-family: arial;">I appreciate and I am thankful for the interest you had in my writing and following me over the years.</span></p><p><span style="font-family: arial;">I hope you will continue to follow me, either at the new "home" or here, which will be a place where more personal views will be expressed about music, food, travel, etc.</span></p><p><span style="font-family: arial;">Thanks your support over the years.</span></p><p><span style="font-family: arial;">— Emmanuel Legrand</span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;">[I am not kidding you – as I was writing these final words, my iTunes shuffle started playing 'Keep Loving Me' by The Draytones. You don't need to!]</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-62559117092647120162021-08-21T00:22:00.000+01:002021-08-21T00:22:30.413+01:00Audius becomes the first DSP to integrate TikTok Sound Kit<p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0slB7LdwbZvWQfiA1l8XAi9-Vujw1dXIknaFcTyr13ckufp7FlGlYnJuAv2QBncNtWJNDKap-e51mHzvqnRzOOvw4bkcwnZE9krxk3jzJJR7ykpI7YLdNGc_eAEicAnWNf6akVRb9bIGg/s468/Logo_Audius.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="468" data-original-width="427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0slB7LdwbZvWQfiA1l8XAi9-Vujw1dXIknaFcTyr13ckufp7FlGlYnJuAv2QBncNtWJNDKap-e51mHzvqnRzOOvw4bkcwnZE9krxk3jzJJR7ykpI7YLdNGc_eAEicAnWNf6akVRb9bIGg/s320/Logo_Audius.png" width="292" /></a></span></div><b style="font-family: arial;">By Emmanuel Legrand</b><p></p><p><span style="font-family: arial;">Digital streaming service <b>Audius</b> has become the first DSP to integrate the <b>Tiktok Sound Kit</b>, allowing musicians to share their work across both platforms effortlessly. </span></p><p><span style="font-family: arial;"> Audius is a community-owned decentralised music protocol that is described as "the largest decentralised consumer blockchain app." <span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">It claims to have over 5 million monthly active users.</span></span></p><p><span style="font-family: arial;"> Audius' 100,000+ artists can now reach out to TikTok’s estimated 1 billion+ users by uploading a track and clicking “Share to Tiktok”. Tracks can then be played behind their own videos and are also available to be selected by the entire TikTok user community. </span></p><p><span style="font-family: arial;"><b>Increase the exposure of artists</b></span></p><p><span style="font-family: arial;"> "We’re proud to be one of the earliest launch partners for TikTok Sounds and to give the artists on Audius a chance to increase their exposure even more," said <b>Forrest</b> <b>Browning</b> (pictured, below), Audius Co-Founder and Chief Product Officer. "We have a great community and we’re thrilled to give them easy access to share their music to TikTok Sounds." </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKsdwbCYXleqyuB1Go3gh8fvHIxI3UEpdYRBGxXeS5ZecSmOUFVa6C7c5PNy_i_2Ocqp_tnvUqc_BNfrUryJC0DQt1ud1DnKh5uyIcumCGVrw3n3M5DZeFvhgkM2RPUOzaeLJIov5uLlQ/s680/Audius_Forrest+Browning.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="469" data-original-width="680" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKsdwbCYXleqyuB1Go3gh8fvHIxI3UEpdYRBGxXeS5ZecSmOUFVa6C7c5PNy_i_2Ocqp_tnvUqc_BNfrUryJC0DQt1ud1DnKh5uyIcumCGVrw3n3M5DZeFvhgkM2RPUOzaeLJIov5uLlQ/s320/Audius_Forrest+Browning.png" width="320" /></a></div><p></p><p><span style="font-family: arial;"> Audius, founded in 2018, connects fans directly with artists and exclusive new music. Artists using Audius included <b>Skrillex</b>, <b>Weezer</b>, <b>deadmau5</b>, <b>Russ</b>, <b>Mike</b> <b>Shinoda</b>, <b>Diplo</b>, <b>Madeintyo</b>, <b>Odesza</b>, <b>Disclosure</b>, <b>Alina</b> <b>Baraz</b>, and <b>Wuki</b>. </span></p><p><span style="font-family: arial;"> "A lot of times artists can get in their own head and feel like they’re stuck," said Wuki, an artist/producer who has over 400,000 followers on TikTok. "Knowing that any track has the potential to pop off motivates me to be more productive and keep grinding."</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-63796069809963296542021-08-20T22:17:00.000+01:002021-08-20T22:17:12.723+01:00TikTok Radio launches on SiriusXM as a full-time music channel featuring 'trending sounds'<p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMMx3BCob6APhNMQrDkLUN1nTzpgOGvhuWc3Z7dJZoGstydHlYWYIAST4j6Zu2OgM8ULq8q2TsYkfQxEzCdJlIPP1mhoCS7K_Fu6HvO42JlPgEe0ytAggbRitEaRXuZV4kWWh0zMrWROU/s691/Screen+Shot+2021-08-20+at+11.58.53.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="691" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMMx3BCob6APhNMQrDkLUN1nTzpgOGvhuWc3Z7dJZoGstydHlYWYIAST4j6Zu2OgM8ULq8q2TsYkfQxEzCdJlIPP1mhoCS7K_Fu6HvO42JlPgEe0ytAggbRitEaRXuZV4kWWh0zMrWROU/s320/Screen+Shot+2021-08-20+at+11.58.53.png" width="320" /></a></span></div><p></p><p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;"><b>TikTok</b>'s strategy to spread its brand through other platforms has reached a new step with the launch of <b>TikTok Radio </b>on US satellite radio service <b>SiriusXM</b>. The short-video format platform will be offering a full-time music channel that will feature "the trending sounds that are redefining pop culture from TikTok," according to a joint statement. </span></p><p><span style="font-family: arial;"> TikTok Radio will be presented by TikTok creators, tastemakers, artists, and DJs – including </span><span style="font-family: arial;">including <b>Billy</b>, <b>Cat Haley</b>, <b>HINDZ</b>, <b>Lamar</b> <b>Dawson</b>, and <b>Taylor</b> <b>Cassidy</b> – </span><span style="font-family: arial;">and will </span><span style="font-family: arial;">sound "like a radio version of the platform's 'For You' feed</span><span style="font-family: arial;">." It will be streamed on the SXM App, desktop, and all connected devices. </span></p><p><span style="font-family: arial;"> "Our groundbreaking new channel with TikTok is a first-of-its-kind, capturing the pulse of the global music culture, vibrancy and vitality found on the entertaining social platform and recreated as a full-time music channel on live national radio and our streaming platforms,” said <b>Scott</b> <b>Greenstein</b>, President and Chief Content Officer, SiriusXM. </span></p><p><span style="font-family: arial;"><b>Tap into the latest music trends</b></span></p><p><span style="font-family: arial;"> “The creators, who are also presenting the music on TikTok Radio, are deeply involved in the channel and will reflect the unique sound and personality of TikTok that is so enmeshed with today's music culture and community," added Greenstein. "TikTok creators will be delivering new audio experiences for our listeners as they tap into the latest music trends on TikTok."</span></p><p><span style="font-family: arial;"> <b>Ole</b> <b>Obermann</b>, TikTok’s Global Head of Music, said that through </span><span style="font-family: arial;">TikTok Radio, </span><span style="font-family: arial;">SiriusXM subscribers will have "a new road to discover the latest trends in music and get a first listen to tomorrow's musical superstars. The channel captures song-breaking music culture that creates so much joy and entertainment on TikTok through video in an all-audio format."</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-63951374487026325242021-08-20T20:31:00.000+01:002021-08-20T20:31:08.110+01:00SOCAN sells mechanical agency Audiam to HFA owner SESAC<p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYih5R5SNyKu3LdDy6H5Skw38v_wM3idhD65NA5lfMlZBgLNFXzXiCoVZO3NqbFOp86wBHj6_wVrPpE3AAbMKhzrBHlB-Gn3PyHLxIGmMKfSmKoNoH7ZgpwAFS46CqKNRRw_DhHcZp8K4b/s441/Logo_Audiam.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="139" data-original-width="441" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYih5R5SNyKu3LdDy6H5Skw38v_wM3idhD65NA5lfMlZBgLNFXzXiCoVZO3NqbFOp86wBHj6_wVrPpE3AAbMKhzrBHlB-Gn3PyHLxIGmMKfSmKoNoH7ZgpwAFS46CqKNRRw_DhHcZp8K4b/s320/Logo_Audiam.png" width="320" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXCw5NzXOT2eRd4P_rn1AmPuP_fI-aJvUgL6c-b-R_b981dEB3gBK7lpPCvbMTyEBW7dYSrnJ1TE8pGGlff6ojB9W_tyjWGzTQtrpT6cnszgk7lzmdDVBUqcQ2fDWW1FqGThDj1t8Xk-cs/s424/Logo_SESAC.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="85" data-original-width="424" height="64" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXCw5NzXOT2eRd4P_rn1AmPuP_fI-aJvUgL6c-b-R_b981dEB3gBK7lpPCvbMTyEBW7dYSrnJ1TE8pGGlff6ojB9W_tyjWGzTQtrpT6cnszgk7lzmdDVBUqcQ2fDWW1FqGThDj1t8Xk-cs/s320/Logo_SESAC.png" width="320" /></a></span></div><span style="font-family: arial;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></span><p></p><p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;">Canadian rights society <b>SOCAN</b> has sold music publishing digital rights reproduction collection agency <b>Audiam</b> to Nashville-based music rights organisation <b>SESAC</b>.</span></p><p><span style="font-family: arial;"> Financial terms of the transaction were not disclosed. SOCAN will retain a 15% minority share in Audiam, according to <b>Billboard</b>. The company, founded in 2013 by <b>TuneCore</b> founder and former CEO <b>Jeff</b> <b>Price</b>, will remain under the leadership of <b>Jamie</b> <b>Purpora</b>, who has been at the helm of the company since 2015.</span></p><p><span style="font-family: arial;"> SOCAN bought the company in 2016 as part of a strategy to diversify into other streams of revenues, in this case mechanical rights. Audiam provided one-stop licensing and collecting in North America for mechanicals, with a particular emphasis on <b>YouTube</b>.</span></p><p><span style="font-family: arial;"><b>A strategic partner and capital supporter</b></span></p><p><span style="font-family: arial;"> “SOCAN is delighted to complete this agreement with SESAC," said SOCAN CEO <b>Jennifer</b> <b>Brown</b>. "Since our acquisition of Audiam in 2016, the organisation has exceeded expectations, but the time is right for Audiam to continue its next phase with a new parent organisation. We look forward to seeing this new chapter for Audiam as the organisation benefits from new synergy with SESAC.” </span></p><p><span style="font-family: arial;"> SESAC Chairman and CEO <b>John</b> <b>Josephson</b> said SESAC was acquiring Audiam "with the intention of supporting the existing management team," and to act as "a supportive strategic partner and capital provider." He said he anticipates "a seamless transition in ownership with no disruption to the Audiam business activities as a result of this transaction."</span></p><p><span style="font-family: arial;"> SESAC also operates mechanical rights unit the <b>Harry Fox Agency</b> (HFA), which was acquired from the <b>National Music Publishers’ Association</b> (NMPA) in 2015, and which has been selected as one of the vendors to the newly-created Mechanical Licensing Collective, <b>The MLC</b>, to provide back office functions.</span></p><p><span style="font-family: arial;"><b>Position SESAC for enhanced growth</b></span></p><p><span style="font-family: arial;"> Added Josephson: "Going forward, we believe this will position SESAC well for enhanced growth of our multi-rights, multi-territory global rights management business and continued delivery of best-in-class service to our affiliates, licensees and commercial partners.” In an interview with Billboard, Josephson suggested that Audiam could also pivot to become a collection agency for recorded music rights or neighbouring rights.</span></p><p><span style="font-family: arial;"> Reacting to the news, Price, who left Audiam last year, said in a statement that <span style="background-color: white;">by acquiring Audiam, "the Harry Fox Agency is eliminating competition and removing the sole entity that revealed HFA’s lack of payments to copyright holders as well as its role in widespread copyright infringement.”</span></span></p><p><span style="font-family: arial;"><span style="background-color: white;"> Price said that through</span><span style="background-color: white;"> </span><span style="background-color: white;">Audiam’s daily auditing of HFA, Audiam has revealed "HFA’s incorrect payment amounts, underpayments and/or complete lack of payments to songwriters and music publishers globally." </span></span></p><p><span style="font-family: arial;"><span style="background-color: white;"><b>Offering an alternative to songwriters and publishers</b></span></span></p><p><span style="font-family: arial;"><span style="background-color: white;"> He continued: "</span><span style="background-color: white;">With this acquisition, HFA neutralises the sole entity that exposes its own actions."</span></span></p><p style="orphans: 2; widows: 2;"><span style="font-family: arial;"> Price founded in 2020 Word Collections, a rights licensing and collection agency for comedians and non-musical literary work. Price wrote on <b>Twitter</b> that he plans to expand World Collections into music collections, explaining that with HFA and Audiam under the same roof, songwriters and publishers "need a place to go."</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-2908339295561245392021-08-20T01:27:00.008+01:002021-08-20T14:41:58.107+01:00Jaxsta reverts to a paid model with the launch of Jaxsta Plus<p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;"><b>Jaxsta</b>, the Australia-based dedicated database of official music credits, has reverted to a pay model for its Premium service, after the decision from the platform to make its Jaxsta Pro version available for free since April 2020 in response to the Covid pandemic.</span></p><p><span style="font-family: arial;"> Jaxsta Pro will now be available through two version: a freemium version, <b>Jaxsta</b> <b>Core</b>; or a paid version, <b>Jaxsta</b> <b>Plus</b>. Jaxsta Plus is offering "an extensive and evolving suite of new features designed to empower music creatives and those who represent them." </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTvE1W7ZvXe9zLYG6PZIeWM8d-K8JF0_hDZ5iZGSmb1WOwiFAXd07_GxrspKfTyeheHHuZtDbiENsMys6SCDzhuwrrHl_qwfIYG8flBQLtJyJX9Rjs45-sg_A4s7sPSd3_dCFeDdb4Bqb/s546/Jaxsta_Jacqui+Louez+Schoorl.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="546" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTvE1W7ZvXe9zLYG6PZIeWM8d-K8JF0_hDZ5iZGSmb1WOwiFAXd07_GxrspKfTyeheHHuZtDbiENsMys6SCDzhuwrrHl_qwfIYG8flBQLtJyJX9Rjs45-sg_A4s7sPSd3_dCFeDdb4Bqb/s320/Jaxsta_Jacqui+Louez+Schoorl.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: arial;"> </span><span style="font-family: arial;">“We are thrilled to have the new structure of Jaxsta Pro ready and to move back to a paid model," said </span><span style="font-family: arial;">Jaxsta CEO and Co-Founder </span><span style="font-family: arial;"><b>Jacqui </b></span><span style="font-family: arial;"><b>Louez Schoorl</b> (pictured, above)</span><span style="font-family: arial;">. "Many users and advocates of Jaxsta have provided feedback on the use and value they receive from the platform, and this initial rollout will address a number of their requests."</span><p></p><p><span style="font-family: arial;"><b>A new range of features</b></span></p><p><span style="font-family: arial;"> </span><span style="font-family: arial;">Louez Schoorl added that Jaxsta's team</span><span style="font-family: arial;"> has been working on "a new range of incredible features which will be coming to our Jaxsta Plus service in the months to come."</span></p><p><span style="font-family: arial;"> Jaxsta Plus features include: </span></p><p><span style="font-family: arial;"> > Claim Your Jaxsta Profile, or the profiles of the artists represented by the holder of the account, with the possibility to update the bio, image, social links and contact details. </span></p><p><span style="font-family: arial;"> > Prioritise Your Credits: allows to highlight the releases </span><span style="font-family: arial;">the holder of the account</span><span style="font-family: arial;"> wants to be known for, and move others to the back of the profile page. </span></p><p><span style="font-family: arial;"> > Credit Alerts: a tool that notifies users by email every time a song they’ve worked on is released. </span></p><p><span style="font-family: arial;"> > Chart Alerts: a tool that notifies users by email every time a release they’ve worked on hits the charts. </span></p><p><span style="font-family: arial;"> > Jaxsta’s Events and Markets directory, providing territory-specific industry information from the world’s Top 20 music markets. </span></p><p><span style="font-family: arial;"> > Global Charts covering over 70 territories from Spotify, Apple, Shazam and other leading chart suppliers all in one place. </span></p><p><span style="font-family: arial;"> Jaxsta also offers the possibility to lodge Neighboring Rights claims via a partnership with Songtradr. </span></p><p><span style="font-family: arial;"> Jaxsta Plus will be available for the introductory offer of US$49 per year, or US$9.99 per month, with the offer of a free 14-day trial. Jaxsta Core, the freemium version of Jaxsta Pro, is already used by the existing 100,000+ Jaxsta Pro members that have automatically been migrated to the new service. </span></p><p><span style="font-family: arial;"> Jaxsta claims that its data solution system is now processing more than 240,000 new credits per day from the its list of official music industry data partners. At the moment, Jaxsta offers over 160 million official music credits from more than 1.2 million worldwide record labels, sourced directly from 291 data partners including publishers, royalty agencies and industry associations across the globe.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-68434043857327382042021-08-19T18:59:00.000+01:002021-08-19T18:59:01.958+01:007digital integrates Muzooka’s artist asset database to its B2B offering<p><span style="font-family: arial;">By Emmanuel Legrand</span></p><p><span style="font-family: arial;">B2B digital music platform <b>7digital</b> has sealed a partnership with </span><span style="font-family: arial;">artist asset database</span><span style="font-family: arial;"> <b>Muzooka</b> that will see content delivered via 7digital’s music-as-a-service platform pre-mapped with Muzooka’s pre-approved database of artist images, links, and other media assets. </span></p><p><span style="font-family: arial;"> 7digital said the use of Muzooka's assets will allow brands to deliver "a highly visual experience to their users via a simplified integration."</span></p><p><span style="font-family: arial;"> Muzooka's database contains assets from more than two million musical acts and comedians. Its </span><span style="font-family: arial;">central hub provides artists, </span><span style="font-family: arial;">record labels and managers to control their own artist assets (</span><span style="font-family: arial;">photos, bios, and links at HD-quality resolution) </span><span style="font-family: arial;">across multiple platforms, websites, apps, and smart displays. When an update is made on Muzooka, the new content is instantly distributed across all connected platforms.</span></p><p><span style="font-family: arial;"><b>Maximise engagement</b></span></p><p><span style="font-family: arial;"> </span><span style="font-family: arial;">“By integrating our label-approved artist assets, music services offer deeper engagement with the artists connected to their branded experience,” said <b>Shawn</b> <b>Wilson</b>, Muzooka CEO and founder. “We are thrilled to join forces with 7digital and offer this turnkey solution to maximise engagement on music streaming platforms across all industries.” </span></p><p><span style="font-family: arial;"> </span><span style="font-family: arial;"><b>Paul Langworthy</b>, CEO of 7digital, said the integration of Muzooka's database will allow platforms to offer "</span><span style="font-family: arial;">new and differentiated experiences to market.” </span></p><p><span style="font-family: arial;"> He elaborated: "</span><span style="font-family: arial;">This collaboration between 7digital and Muzooka provides a powerful solution for our clients across streaming, B2B music, and fitness, as well as in automotive, gaming, and more. Combined with 7digital’s core music platform capabilities, strong visual content and enhanced metadata has the capability to positively affect key consumption and audience engagement indicators."</span></p><p><span style="font-family: arial;"> Muzooka recently inked partnerships with US rights society <b>BMI</b> and the <b>Recording</b> <b>Academy</b>.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-82020184669256126372021-08-19T16:36:00.001+01:002021-08-19T16:36:18.524+01:00Universal Music Group inks exclusive global partnership with kids' content provider Moonbug Entertainment<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9E4GJHSdGS6Zt55Di43NH7IJjfmGPJTerZld_IDa3PrBthTCHeNwpD1A5JxYfw0sgDE40j7uJ0TrC4-mTcK4TwV6ambD5BA-YZpeWO5LlTGlaAMy90357gJ9gTCpK6nK6pjmEpAlayBx/s1280/Moonbug.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="295" data-original-width="1280" height="74" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9E4GJHSdGS6Zt55Di43NH7IJjfmGPJTerZld_IDa3PrBthTCHeNwpD1A5JxYfw0sgDE40j7uJ0TrC4-mTcK4TwV6ambD5BA-YZpeWO5LlTGlaAMy90357gJ9gTCpK6nK6pjmEpAlayBx/s320/Moonbug.png" width="320" /></a></b></div><b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtoTsLF3QdsRFPeyD2OZqHQBT71bfdWPucFu4Ic-3yxMtygBgt8UXV0e_DNeo7hOb5wRYWDzGD5SyK7WtIq3Xd4HpE84Lg82yp0lYf64kNX7KSGvIu91IL4uKScwGJCRhgLefAhSgh7WeG/s2913/UMG_LineworkLogo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1079" data-original-width="2913" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtoTsLF3QdsRFPeyD2OZqHQBT71bfdWPucFu4Ic-3yxMtygBgt8UXV0e_DNeo7hOb5wRYWDzGD5SyK7WtIq3Xd4HpE84Lg82yp0lYf64kNX7KSGvIu91IL4uKScwGJCRhgLefAhSgh7WeG/s320/UMG_LineworkLogo.png" width="320" /></a></div></b><b><span style="font-family: arial;"><p><b><span style="font-family: arial;"><br /></span></b></p>By Emmanuel Legrand</span></b><p></p><p><span style="font-family: arial;">Kid's content specialist <b>Moonbug</b> <b>Entertainment</b> and <b>Universal Music Group</b> (UMG) have agreed to an exclusive global partnership, which will see UMG providing worldwide distribution, publishing and licensing for the Moonbug Music label and its kids and family music catalogues.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA7x9rIwjPY2zXLYXGx6rhl24FWkqIRahRKFkQSKQnQVLphb-H00jgIySinIolGWZsC7wTrNPqpenQNmZtWq8C90SwDjI5MDL7dPRfb7SzLep7tQRi1peGIv4EEKcvIpuW6YS2wUKWW2eO/s1890/UMG_Moonbug.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1890" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA7x9rIwjPY2zXLYXGx6rhl24FWkqIRahRKFkQSKQnQVLphb-H00jgIySinIolGWZsC7wTrNPqpenQNmZtWq8C90SwDjI5MDL7dPRfb7SzLep7tQRi1peGIv4EEKcvIpuW6YS2wUKWW2eO/s320/UMG_Moonbug.jpg" width="320" /></a></div><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"> In a statement, the companies said the multi-year partnership "will see the companies work closely together to reach new audiences globally, explore new opportunities to improve the accessibility of kids music for parents as well as infants, toddlers and other key learning phases through optimisation of voice-activated technology and in-home devices, playlisting and other innovations."</span></p><p><span style="font-family: arial;"> UMG will also work closely with Moonbug "to maximise the impact of its catalogue" through sync and licensing, through <b>Universal Music Publishing</b> (UMPG) worldwide. </span></p><p><b><span style="font-family: arial;">Expand the possibilities of Moonbug's music content</span></b></p><p><span style="font-family: arial;"> Moonbug Entertainment popular shows include 'CoComelon' (pictured, below) and 'Little Baby Bums', which currently generate more than 150 million monthly streams across Moonbug brands.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Lv-HeGRVAsOw6dBpTSAZOvumyfM0FNqZfNBi8PYvJP99KjBbDX510prAml58FqOHXS61PRnsefci4IewzHNm6Mxa7w3LAt_ZLFeZan6D0PSjFwL0Zihk6oQWEVXIR4CWL5TFpqxBphF4/s900/Cocomelon_PR.pg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="900" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Lv-HeGRVAsOw6dBpTSAZOvumyfM0FNqZfNBi8PYvJP99KjBbDX510prAml58FqOHXS61PRnsefci4IewzHNm6Mxa7w3LAt_ZLFeZan6D0PSjFwL0Zihk6oQWEVXIR4CWL5TFpqxBphF4/s320/Cocomelon_PR.pg.jpg" width="320" /></a></div><span style="font-family: arial;"> "We could not be more thrilled to partner with a respected and influential industry powerhouse like Universal Music Group to expand the possibilities of our music content," said </span><b style="font-family: arial;">René</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Rechtman</b><span style="font-family: arial;">, co-founder and CEO of Moonbug Entertainment. "Music plays a critical role not only in our company’s growth strategy but also in childhood development. We look forward to the possibilities for our already popular nursery rhymes and songs, and the new music that we’ll produce together."</span><p></p><p><span style="font-family: arial;"> Through this agreement, UMG intends to capitalise on the increase in kids' music consumption across streaming services in the past two years, in particular through the adoption of voice-enabled devices.</span></p><p><span style="font-family: arial;"><b>Tremendous growth in the kids and family segment</b></span></p><p><span style="font-family: arial;"> "We are delighted to partner with Moonbug Entertainment, reinforcing UMG’s position as the leading distributor and publisher of kids music globally," said UMG Chairman & CEO </span><b style="font-family: arial;">Lucian</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Grainge</b><span style="font-family: arial;">. "We have seen tremendous growth in the kids and family segment in recent years, thanks to advances in streaming and voice-technology. We look forward to working with Rene and the talented Moonbug team to amplify the reach of their catalogue to families around the world, and to further improve the accessibility of music for children of all ages."</span></p><p><span style="font-family: arial;"> UMG added that through this exclusive agreement, the <b>Vivendi</b>-owned company will "leverage its world-leading expertise in publishing, distribution and its unparalleled global network of 300+ partners and DSPs to bring Moonbug’s library of great audio entertainment to families all over the world, reaffirming UMG’s position as the global market-leader for Kids and Family music of all ages, supported by UMG’s operations worldwide."</span></p><p><br /></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-13971938196107563782021-08-19T16:08:00.001+01:002021-08-19T16:08:17.047+01:00MUSO’s data shows visits to TV piracy sites were up 20% in the first half of 2021<p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"><b>By Emmanuel Legrand </b> </span></p><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;">Visits to TV piracy websites have increased by over 20% in the first six months of 2021 compared to the first 6 months of 2020, according to a report from UK-based piracy tracking site <b>MUSO</b>. </span></p><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"> During the period, MUSO tracked over 41 billion visits to TV piracy sites. The United States remain the leading market for accessing unlicensed TV content, followed by China and the Russian Federation. </span></p><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-align: center; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><b><span style="font-family: arial;">Top 15 countries in volume accessing to TV piracy sites, January-June 2021</span></b></p><figure class="wp-block-image size-full is-resized" style="background-color: white; border: 0px; font-variant-ligatures: normal; margin: 0px 0px 1em; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"><img alt="" class="wp-image-4819" height="361" loading="lazy" sizes="(max-width: 740px) 100vw, 740px" src="https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Visit-to-piracy-sites.png" srcset="https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Visit-to-piracy-sites.png 812w, https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Visit-to-piracy-sites-300x147.png 300w, https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Visit-to-piracy-sites-768x375.png 768w" style="border-bottom-left-radius: inherit; border-bottom-right-radius: inherit; border-top-left-radius: inherit; border-top-right-radius: inherit; border: 0px; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: baseline;" width="740" /></span></figure><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;">Of this traffic, 94% visited unlicensed streaming websites with public torrent networks only accounting for 2.9% of traffic.</span></p><figure class="wp-block-image size-full" style="background-color: white; border: 0px; font-variant-ligatures: normal; margin: 0px 0px 1em; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"><img alt="" class="wp-image-4820" height="362" loading="lazy" sizes="(max-width: 718px) 100vw, 718px" src="https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Piracy-platforms.png" srcset="https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Piracy-platforms.png 718w, https://creativeindustriesnews.com/wp-content/uploads/2021/08/MUSO_Piracy-platforms-300x151.png 300w" style="border-bottom-left-radius: inherit; border-bottom-right-radius: inherit; border-top-left-radius: inherit; border-top-right-radius: inherit; border: 0px; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: baseline;" width="718" /></span></figure><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"><b>Disney+</b>'s show ‘Loki S1’ was the most popular TV show with piracy audiences, and accounted for 40% of piracy consumption of the top 10 TV titles for June 2021. MUSO said the show’s audience was largely from Brazil and the US. </span></p><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"> MUSO’s data also shows that there is a immediate correlation between the moment a show is available on licensed TV, and when it pops up on pirated sites. For example, the show ‘Rick and Morty’ (Season 5) was officially released on June 20th on <b>HBO Max</b> in the US, and was available via piracy networks on the same day. It ended up being the second most in-demand show in June 2021, despite being only available for 10 days. The new season was especially followed by audiences in the US, Mexico, Turkey and the UK. </span></p><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"> <b>Netflix</b> provides two of the Top 10 most pirated shows during the period: ‘Elite’ (Season 4) and ‘Sweet Tooth’ (Season 1). </span></p><p style="background-color: white; border: 0px; font-variant-ligatures: normal; line-height: 1.55; margin: 0px 0px 20px; orphans: 2; padding: 0px; text-decoration-thickness: initial; vertical-align: baseline; widows: 2;"><span style="font-family: arial;"> MUSO tracks piracy data relating to over 165,000 films and TV titles.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-30537863757727430982021-08-18T17:14:00.001+01:002021-08-18T17:14:38.121+01:00Justin Kalifowitz becomes Executive Chairman of Downtown Music Holdings; Andrew Bergman promoted to CEO<p><span style="font-family: arial;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDHg0YVsTG6vp8YglznGKjsAWFL2ixd9OXRRNBkjHJP5XWx_QCNygA_ky8Nv5w_bDtOsoBVFhleo_EEiiWY1XGhtgCwR2OT_F5EG3N1t8HyuQHKH8NrJDDnbO7oV7Q-PT1Jy9MZBkCREr/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="236" data-original-width="257" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDHg0YVsTG6vp8YglznGKjsAWFL2ixd9OXRRNBkjHJP5XWx_QCNygA_ky8Nv5w_bDtOsoBVFhleo_EEiiWY1XGhtgCwR2OT_F5EG3N1t8HyuQHKH8NrJDDnbO7oV7Q-PT1Jy9MZBkCREr/" width="261" /></a></b></span></div><p></p><p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;">Justin Kalifowitz (pictured below, right), the founder and current Chief Executive Officer of <b>Downtown Music Holdings</b>, will take on the new position as Executive Chairman of the New York-based independent music company. Current Chief Operating Officer <b>Andrew Bergman </b>(pictured below, left) will assume day-to-day responsibilities as the company’s CEO, effective September 1. </span></p><p><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv_g5U6ao1FjMc88NYtI4ntJY-N0beOXjMypfGRvtuyZr-eZWx8wRb02kDeedMyMTpCPQno9QC13ozOIXacux_hvLn86fMsA6UMJXaaPK3Je0WaYnvigmmeQ2EP_VsdiN0QJ3uFZwv9xUz/" style="font-weight: bold; margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="655" data-original-width="1046" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv_g5U6ao1FjMc88NYtI4ntJY-N0beOXjMypfGRvtuyZr-eZWx8wRb02kDeedMyMTpCPQno9QC13ozOIXacux_hvLn86fMsA6UMJXaaPK3Je0WaYnvigmmeQ2EP_VsdiN0QJ3uFZwv9xUz/" width="320" /></a></span></p><p><span style="font-family: arial;"> The company said in a statement that Kalifowitz will continue "to focus on driving strategic development, leading Downtown’s Board of Directors and working together with Bergman and the executive team on transformational growth opportunities for the company."</span></p><p><span style="font-family: arial;"> Kalifowitz created the company 14 years ago and has served as CEO since its inception. Over the years, Downtown morphed from a traditional music publishing unit to a service company for the independent sector, with a wide range of affiliates: <b>Songtrust</b> (rights management), <b>FUGA</b> (digital distribution), <b>CD</b> <b>Baby</b> (distribution), among others.</span></p><p><span style="font-family: arial;"><b>Expand Downtown's market position</b> </span></p><p><span style="font-family: arial;"> "Downtown has always set ambitious goals both internally and with respect to our role in driving equity and innovation across the music industry," said </span><span style="font-family: arial;">Kalifowitz</span><span style="font-family: arial;">. "As we continue to expand our market position by empowering entrepreneurial creators and their partners, Andrew’s unrivaled knowledge of the business coupled with his operational excellence make him the perfect choice as our next CEO."</span></p><p><span style="font-family: arial;"> He added: "With Andrew managing day-to-day operations for Downtown, I'm looking forward to continuing to work closely together in advancing the organization's strategic development at an accelerated pace." </span></p><p><span style="font-family: arial;"> Bergman commented, "I feel very fortunate to continue my 14 year collaboration with Justin in my new role as CEO and I am excited about what we will accomplish together in Downtown’s next growth stage. With an exceptional team, global operations, industry leading technology and substantial capital resources, Downtown is well positioned to continue expanding our role as the leading service provider to the global music industry."</span></p><p><span style="font-family: arial;"><b>Providing solutions for creators</b></span></p><p><span style="font-family: arial;"> Bergman served as </span><span style="font-family: arial;">served as outside legal counsel for</span><span style="font-family: arial;"> Downtown when the company launched and he formally joined Downtown in 2008 as General Counsel and Executive Vice President. He was promoted to COO in 2014. Most recently, Bergman has architected Downtown’s M&A integrations and operations spanning more than 500 employees on six continents.</span></p><p><span style="font-family: arial;"> </span><span style="font-family: arial;">Downtown said it manages more than 23 million music assets on behalf of over one million artists and enterprise clients hailing from 145 countries from a catalogue that spans 100 years of popular music, including music for film and television.</span></p><p><span style="font-family: arial;"> "With a strong foundation centered around service, Downtown provides solutions for creators and businesses at all stages including distribution, rights management, royalty collection, creative marketing and promotional services," said the company in a statement. "As creators of all types increasingly look to maintain ownership of their music IP, Downtown’s size, scale and business model uniquely enable clients to retain their rights for the long term while enjoying the operational benefits historically associated with traditional music companies."</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-63260350456648760272021-08-17T00:37:00.000+01:002021-08-17T00:37:28.688+01:00DistroKid gets investment from Insight Partners valuing the distribution company at $1.3 billion <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqzomlxULel0-SubVVDgQ66cWGoE8ap3ET6z18VjznfVE_DKYZHtcDUOhuurFncYV1eKWJoe7IE6W-Zr96fZjBw4nhw1qrQp4hUZIkBm7bPoPL-G2rDR6aKaT36crArJiC_nx-hZXJhqo/s506/Logo_DistroKid.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="88" data-original-width="506" height="56" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqzomlxULel0-SubVVDgQ66cWGoE8ap3ET6z18VjznfVE_DKYZHtcDUOhuurFncYV1eKWJoe7IE6W-Zr96fZjBw4nhw1qrQp4hUZIkBm7bPoPL-G2rDR6aKaT36crArJiC_nx-hZXJhqo/s320/Logo_DistroKid.png" width="320" /></span></a></div><p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b></p><p><span style="font-family: arial;">New York-based global private equity and venture capital firm <b>Insight</b> <b>Partners</b> has made "a substantial investment" in independent music distribution company <b>DistroKid</b> that values the company at $1.3 billion. </span></p><p><span style="font-family: arial;"><b> Silversmith Capital Partners</b>, a Boston-based growth equity firm that led the company’s first outside investment in 2018, will retain "a meaningful ownership position" going forward and remain on DistroKid’s board.</span></p><p><span style="font-family: arial;"> “DistroKid is transforming the music industry with its laser focus on innovation, including the latest technology and engineering expertise," said Insight Partners Managing Director <b>Deven</b> <b>Parekh</b> (pictured, below). </span></p><p><span style="font-family: arial;"><b>A household name for musicians</b></span></p><p><span style="font-family: arial;"> He added: "By helping developing artists with the same opportunities as superstars, DistroKid stands out in an industry traditionally known for being hard to break through. DistroKid has already become a household name among musicians of all levels and we’re thrilled to partner as they continue their rapid growth.”</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKUz3a9tDlLai52mO7lIsJC18Kz1RwkrTACiT2LVd1qpoqVNcsngo5OSXL3GYnzAA2L9kKNvfCP5r5tNAqPMvMDWYXMSk0s1YUKlSuwOWlwNHDmFEtd8SAUrdr2XU3zNfAP-suHbduAIGf/s337/Insight+Partners_Deven+Parekh.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="329" data-original-width="337" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKUz3a9tDlLai52mO7lIsJC18Kz1RwkrTACiT2LVd1qpoqVNcsngo5OSXL3GYnzAA2L9kKNvfCP5r5tNAqPMvMDWYXMSk0s1YUKlSuwOWlwNHDmFEtd8SAUrdr2XU3zNfAP-suHbduAIGf/s320/Insight+Partners_Deven+Parekh.png" width="320" /></span></a></div><span style="font-family: arial;"><br /></span><p><span style="font-family: arial;"> The investment is expected to finance the continued development of DistroKid’s suite of tools for musicians. Distrokid's tools and services are used by over two million artists at every level. The company estimates that it accounts for more than a third of all new music distributed globally.</span></p><p><span style="font-family: arial;"><b>Building tools to help artists</b></span></p><p><span style="font-family: arial;"> "My goal since founding DistroKid was to build great things for musicians”, said the company’s founder and CEO <b>Philip</b> <b>Kaplan</b>. "Our growth has been wild, but the mission hasn't changed. Most of all, we're incredibly honored and thankful for every artist who's chosen DistroKid to be a part of their journey. I’m excited to partner with Insight Partners as we continue building amazing things to help musicians and empower creators worldwide.”</span></p><p><span style="font-family: arial;"> DistroKid was founded in 2013 and provides musicians, managers and record labels with online tools and services, covering areas such as music distribution, monetisation, metadata customisation, storage, and promotion.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-11418758267616019002021-08-16T23:15:00.000+01:002021-08-16T23:15:05.139+01:00PopArabia launches new UAE-based music Rights Management Entity called ESMAA <p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hcETEV1qfh30WSXy-c8TrDIXKzisPoSl7t4YLHyFG_arFPx-TE6k1fEJDhhaZ5FEmeLxgZYIjVkm97gQbVjiBmjmAUQ5dLUk11fzYoPbEt6RGzgmFRWCIvTMlX1GSGdxTYo9GZtBJDCR/s336/Logo_ESMAA.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="336" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hcETEV1qfh30WSXy-c8TrDIXKzisPoSl7t4YLHyFG_arFPx-TE6k1fEJDhhaZ5FEmeLxgZYIjVkm97gQbVjiBmjmAUQ5dLUk11fzYoPbEt6RGzgmFRWCIvTMlX1GSGdxTYo9GZtBJDCR/s320/Logo_ESMAA.png" width="320" /></a></span></div><p></p><p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;"><b>PopArabia</b>, the </span><span style="font-family: arial;">Abu Dhabi-based independent music company</span><span style="font-family: arial;">, </span><span style="font-family: arial;">is launching <b>ESMAA</b>, a new UAE-based music Rights Management Entity to facilitate music licensing in the Gulf region. </span></p><p><span style="font-family: arial;"> ESMAA</span><span style="font-family: arial;">, which translates to the Arabic word for “listen,”</span><span style="font-family: arial;"> has already secured significant representation deals with rights societies such as </span><span style="font-family: arial;">the UK’s <b>PRS for Music</b> and Canada’s <b>SOCAN</b></span><span style="font-family: arial;"> to represent their repertoire in the region. Through those deals, </span><span style="font-family: arial;">ESMAA has access to </span><span style="font-family: arial;">30 million musical works from over 150,000 songwriters, composers, and music publishers respectively through these deals</span></p><p><span style="font-family: arial;"> It has also sealed</span><span style="font-family: arial;"> agreements to license UK record label<b> Chrysalis Music</b> and n</span><span style="font-family: arial;">eighbouring rights company</span><span style="font-family: arial;"> <b>Global Master Rights</b>, which</span><span style="font-family: arial;"> is among the societies managing neighbouring rights acquired at the end of 2020 by </span><span style="font-family: arial;"><b>peermusic</b>. </span><span style="font-family: arial;">Global Master Rights </span><span style="font-family: arial;">represents </span><span style="font-family: arial;">over 300 record labels and more than 2500 performers, from <b>Rihanna</b> and <b>Billie</b> <b>Eilish</b> to <b>Migos</b> and <b>David</b> <b>Guetta</b>, among others.</span></p><p><span style="font-family: arial;"><b>A historic step forward for music licensing in the Gulf</b></span></p><p><span style="font-family: arial;"> </span><span style="font-family: arial;">“We’re very pleased to have already begun working with rights holders to license music in the market and meet the needs of regional businesses who have been in need of a local solution," said </span><span style="font-family: arial;">ESMAA Founder and CEO Hussain ‘Spek’ Yoosuf</span><span style="font-family: arial;">. "After navigating music rights challenges in this region for many years, I can say with confidence that the work we are doing at ESMAA represents a historic step forward for music licensing in the Gulf.” </span></p><p><span style="font-family: arial;"> ESMAA will work with global rights holders and regional businesses "to provide Gulf markets with the ability to license music domestically for the first time." </span><span style="font-family: arial;">ESMAA has already begun developing a comprehensive music repertoire database for the Gulf territories.</span></p><p><span style="font-family: arial;"> ESMAA has recently become a Client Rights <b>Management</b> Entity of the <b>International Confederation of Societies of Authors and Composers</b> (CISAC). </span><span style="font-family: arial;">ESMAA’s status as a Client of CISAC marks the first and only time an organisation from the Gulf region has ever been able to benefit from CISAC’s technical tools and solutions for authors’ rights administration.</span><span style="font-family: arial;"> </span></p><p><span style="font-family: arial;"><b>Supporting the local music industry</b></span></p><p><span style="font-family: arial;"> ESMAA is a subsidiary of Abu Dhabi-based PopArabia and a partner of <b>twofour54</b>, Abu Dhabi’s media and entertainment hub. </span><span style="font-family: arial;">PopArabia is a portfolio company of twofour54 and New York-headquartered independent music company, <b>Reservoir Media Management</b>.</span></p><p><span style="font-family: arial;"> “Enabling content creation in Abu Dhabi and building the emirate into a leader within the creative industries is twofour54’s ultimate goal," explained </span><span style="font-family: arial;">Michael <b>Garin</b>, CEO of twofour54 Abu Dhabi</span><span style="font-family: arial;">. "Through our investment into PopArabia a decade ago, we have supported the local music industry and enabled home-grown artists. As the latest step in this journey, ESMAA will elevate music licensing in the region and place the emirate firmly on the global music stage.”</span></p><p><span style="font-family: arial;"> Founded in 2011 by Yoosuf, PopArabia has grown into the leading music publisher and indie label in the Middle East through its own catalogue and as the sub-publisher major publishing houses such as <b>Sony Music Publishing</b>, <b>BMG Rights</b>, <b>Kobalt Music Publishing</b>, <b>Songtrust</b>, <b>Concord Music Publishing</b>, among others.</span><span style="font-family: arial;"> In 2020, Reservoir entered into a joint venture with PopArabia to invest in the development of Arabic talent from the region.</span></p><div><br /></div><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-7936622390751206532021-08-16T16:12:00.003+01:002021-08-16T16:12:41.883+01:00DDEX names Universal Music Group's Kim Beauchamp as its new Chair of the Board<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC5I1ZN50NGKf2RDNnyRRet-bGWkoyI3DUGgplrbrNpEJUWZ0gJ-SwNEKBtTsHxt5ez1zl6oZr5vava8z7oWjwi70w6jWrPw8yJ1JWEM3GYDvHAfS3VWdsnjRXybyvuwU4l0D6WnFUVk3t/s395/Logo_DDEX.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="197" data-original-width="395" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC5I1ZN50NGKf2RDNnyRRet-bGWkoyI3DUGgplrbrNpEJUWZ0gJ-SwNEKBtTsHxt5ez1zl6oZr5vava8z7oWjwi70w6jWrPw8yJ1JWEM3GYDvHAfS3VWdsnjRXybyvuwU4l0D6WnFUVk3t/s320/Logo_DDEX.png" width="320" /></a></div><p></p><p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;">Music industry's international standards-setting organisation <b>DDEX</b> has named <b>Kim</b> <b>Beauchamp</b>, Senior Vice President Process Innovation & Advanced Operations at <b>Universal Music Group</b>, as its new Chair of its Board. She succeeds Jeff <b>King</b>, the former Chief Operating and Corporate Development Officer of <b>SOCAN</b>.</span></p><p><span style="font-family: arial;"> Beauchamp (pictured, below), who becomes the first woman to chair the organisation, has been part of DDEX since 2008, and has been a member of the Executive Board for the past eight years. She has been active in the Working Groups developing the Electronic Release Notification Message Suite (ERN) and the Media Enrichment and Description (MEAD) standards, as well as the newly-published version 2.0 of the Recording Information Notification (RIN) standard. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcpCU1nmUbejfSpKczFjWhYOsMji7QfRosPn-Orug2G0yWLYU6wKC1rRsOXCzAKCRF-OuNCqUPSigqoOqF-vg6UcXR7NAbphGlDd75UWQLdv5iFMknU4Eu6v6pg1vplwjmMLrLAmMUelxZ/s294/UMG_Kim+Beauchamp.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="294" data-original-width="228" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcpCU1nmUbejfSpKczFjWhYOsMji7QfRosPn-Orug2G0yWLYU6wKC1rRsOXCzAKCRF-OuNCqUPSigqoOqF-vg6UcXR7NAbphGlDd75UWQLdv5iFMknU4Eu6v6pg1vplwjmMLrLAmMUelxZ/s0/UMG_Kim+Beauchamp.jpeg" width="228" /></span></a></div><p><span style="font-family: arial;"> Based in Los Angeles, Beauchamp oversees the Process Innovation, Advanced Operations, and Metadata Modeling and Standards areas for UMG.</span></p><div class="separator" style="clear: both; text-align: left;"><b><span style="font-family: arial;">Moving the music industry forward in the digital age</span></b></div><p><span style="font-family: arial;"> "The work of DDEX is absolutely critical in continuing to move the entire music industry forward in the digital age. I look forward to continuing to work with our member companies representing the entire music value chain, as well as our colleagues in adjacent industries such as film and podcasting, to continue to build a solid infrastructure that supports all uses of music, anywhere in the world," said Beauchamp.</span></p><p><span style="font-family: arial;"> The remainder of the DDEX Board is made up of executives from the 20 other Charter members of the organisation, which in addition to Beauchamp include: <b>Amazon</b> – <b>Jill Chapman</b>; <b>Apple Inc.</b> – <b>Nick</b> <b>Williamson</b> (Chair Emeritus); <b>ASCAP</b> – <b>Nick Lehman</b>;<b> Broadcast Music, Inc.</b> (BMI) – <b>Ed</b> <b>Oshanani</b>; <b>Downtown Music Holdings</b> – <b>Scott Williams</b>; <b>Facebook</b> – <b>Dan</b> <b>Simpson</b>; <b>GEMA</b> – <b>Till</b> <b>Evert</b>; <b>Google</b> – <b>Greg</b> <b>Quillard</b> (Executive Board); <b>Kobalt</b> <b>Music</b> – <b>Bob</b> <b>Bruderman</b>; <b>Pandora Media Inc.</b> – <b>Noel</b> <b>Morrison</b>; PPL – <b>Mark Douglas</b>; <b>PRS for Music</b> – <b>Keith</b> <b>Hill</b>; <b>SCPP</b> – <b>Laurent</b> <b>Fradin</b>; <b>SACEM</b> – <b>Paul</b> <b>Cohen</b> <b>Scali</b> (Executive Board); <b>Sony</b> <b>Music</b> <b>Entertainment</b> – <b>Kirit</b> <b>Joshi</b> (Executive Board); <b>SOCAN</b> – <b>Alan</b> <b>Triger</b>; <b>SoundExchange Inc. </b>– <b>Luis Bonilla</b>; <b>Spotify AB</b> – <b>Sung Kyu Choi</b>; <b>Tencent Music Entertainment Group</b> – <b>Roberta Fong</b>; and <b>Warner Music Group </b>– <b>Brigette Boyle</b>.</span></p><p><span style="font-family: arial;"> DDEX has developed eight families of standards that support the entire arc of digital music operations from initial recording through distribution and reporting as well as other types of business transactions in particular sectors of the industry. The standards are being used by all the major players in the digital music industry as well as most smaller organisations and start-ups.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-55019075656551650522021-08-16T15:40:00.001+01:002021-08-16T16:28:15.038+01:00Warner Music Group and Madonna agree to 'monumental' deal covering her complete recording career<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWy6cTGy9oOTJ90EzYFW3-o9cCQV9-flXKmY0xHMV2bOI73J8-hopzdgo73-r9FErzzvMLNTD7db73IEoqu3KQQCr85PWwyOQQpjeE72X__kcsVCpBC8FV4tmDCmhsi_Jl0dyHQMnduHSB/s581/Logo_Warner+Music+Group.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="255" data-original-width="581" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWy6cTGy9oOTJ90EzYFW3-o9cCQV9-flXKmY0xHMV2bOI73J8-hopzdgo73-r9FErzzvMLNTD7db73IEoqu3KQQCr85PWwyOQQpjeE72X__kcsVCpBC8FV4tmDCmhsi_Jl0dyHQMnduHSB/s320/Logo_Warner+Music+Group.png" width="320" /></a></b></div><b><span style="font-family: arial;">By Emmanuel Legrand</span></b><p></p><p><span style="font-family: arial;">US recording artist, songwriter and performer <b>Madonna</b> and <b>Warner Music Group</b> (WMG) have sealed career-spanning global partnership that includes a new agreement for her entire recorded music catalogue and well as her whole songwriting works. Terms of the deal, described as "monumental" by WMG, were not disclosed.</span></p><p><span style="font-family: arial;"> "Since the very beginning, Warner Music Group has helped bring my music and vision to all my fans around the world with the utmost care and consideration," said Madonna. "They have been amazing partners, and I am delighted to be embarking on this next chapter with them to celebrate my catalogue from the last 40 years."</span></p><p><span style="font-family: arial;"> The agreement was negotiated by by Madonna’s longtime manager<b> Guy Oseary</b> at <b>Maverick</b>, <b>Allen Grubman</b> of <b>Grubman Shire Meiselas & Sachs P.C.</b>, her business manager <b>Richard</b> <b>Feldstein</b> of <b>NKSFB</b>, and <b>Max</b> <b>Lousada</b>, CEO of WMG's Recorded Music division. </span></p><p><span style="font-family: arial;"><b>An incomparable superstar</b></span></p><p><span style="font-family: arial;"> "We’re honored to be forming a dynamic new partnership with an incomparable superstar whose influence on our musical and artistic landscape is immense and immutable," said Lousada. "Madonna has changed the course of pop and dance music, while taking live performance to new heights of drama and invention. At the same time, she uses her fame to amplify some of the most important social issues and movements of our time. Constantly and fearlessly challenging convention, her four decades of music are not only an extraordinary body of work, but a playbook for creative and cultural evolution."</span></p><p><span style="font-family: arial;"> WMG said the new partnership "marks the revitalisation of a decades-long relationship with Warner that began with the release of Madonna’s debut single in 1982." The deal encompasses her entire catalogue, released initially through <b>Sire Records</b>, her own Warner-backed label Maverick, and her Warner catalogue, such as 'Madonna', 'Like a Virgin', 'True Blue', 'Like a Prayer', and 'Ray of Light'. </span></p><p><span style="font-family: arial;"> The deal also includes Madonna's three most recent studio albums, 'MDNA', 'Rebel Heart', and 'Madame X' – released on<b> Boy Toy</b> as part of her deal with<b> Live Nation</b> and licensed through <b>Universal Music Group</b>'s<b> Interscope Records</b> – which will join the Warner catalogue beginning in 2025. All in all, the new agreement includes 17 studio albums plus singles, soundtrack recordings, live albums, and compilations.</span></p><p><span style="font-family: arial;"><b>Multi-year series of releases</b></span></p><p><span style="font-family: arial;"> In addition, MWG's music publishing division <b>Warner Chappell Music </b>will continue to globally administers all of Madonna’s songwriting work.</span></p><p><span style="font-family: arial;"> WMG said the new deal will see the launch next year of "an extensive, multi-year series of catalogue releases that will revisit the groundbreaking music that made her an international icon," overseen by Warner Music’s catalogue team, led by <b>Kevin Gore</b>, President of Global Catalogue, Recorded Music.</span></p><p><span style="font-family: arial;"> For the first time, Madonna will personally curate expansive deluxe editions for many of her albums, as well as introduce unique releases for special events, and more. 2022 will mark the 40th anniversary of Madonna’s recording debut.</span></p><p><span style="font-family: arial;"> On October 8, Madonna will be releasing her documentary film, 'Madame X', available exclusively on <b>Paramount+</b>, the streaming service from <b>ViacomCBS</b>, and<b> MTV Entertainment Studios</b> in the US, Latin America, Australia, the Nordics, and Canada. Outside these regions, the documentary will be available through ViacomCBS channel <b>MTV</b>.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-13225526958907212782021-08-15T17:49:00.001+01:002021-08-15T17:49:52.725+01:00Italy's Council of Ministers adopts the European Copyright Directive without major changes from the original text<p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;">The Italian government's Council of Ministers adopted the European Union's <b>Copyright Directive </b>with a text close to the original legislation. European Union member states were expected to transpose the Directive voted in 2019 before June 7, 2021, but so far only a handful have done so.</span></p><p><span style="font-family: arial;"> Enzo <b>Mazza</b>, CEO of Italy's record labels' trade group <b>FIMI</b>, said the adoption was "great news" for rights holders. Mazza praised the government for the adoption of a text in line with the EU Directive. "The new legislation will improve the digital transition and help the content industry to exploit the repertoire on online platforms," said Mazza (pictured, below).</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTG0wZJTDXKKYMaoFgxqFHae23637W8uV6EXFLq5odbhy6igkkbPz85gpZOZzD2JLhdx8qFDHxdTnPaFGUx0dlWEyDuUUsvlnFhmT9eb_3ZmiwVfWlWXT8af0k30qED5NyqR9m7eRbETE9/s1000/FIMI_enzo-mazza.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="1000" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTG0wZJTDXKKYMaoFgxqFHae23637W8uV6EXFLq5odbhy6igkkbPz85gpZOZzD2JLhdx8qFDHxdTnPaFGUx0dlWEyDuUUsvlnFhmT9eb_3ZmiwVfWlWXT8af0k30qED5NyqR9m7eRbETE9/s320/FIMI_enzo-mazza.jpg" width="320" /></a></div><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"> Mazza wrote in a long <a href="https://www.agendadigitale.eu/infrastrutture/futuro-dellalleanza-transatlantica-il-ruolo-del-digitale-nei-rapporti-usa-europa/">essay</a> that the new legislation will rebalance the relationship between online platforms and the music sector, with more adequate remuneration and a better definition of the responsibility of the platforms.</span></p><p><span style="font-family: arial;"><b>Adherence to the EU text</b></span></p><p><span style="font-family: arial;"> The text, approved by the Council of Ministers, will now be sent to Parliament for a vote. Mazza says the text "contains significant adjustments to the Italian legislation, which has already been the subject of significant updates in recent years, but never of this magnitude." </span></p><p><span style="font-family: arial;"> Mazza said the Italian Government has generally chosen "to follow the criterion of adherence to the EU text." On the controversial Article 17, which introduces the liability of internet service providers for the unlicensed content circulating on their platforms, Mazza writes that the Italian government has chosen to introduce a dedicated title in the law, defining the characteristics of the services and establishing their related responsibilities. </span></p><p><span style="font-family: arial;"> Notes Mazza: "In particular, according to the legislative decree, an online content sharing service provider is understood to be an information society service provider who cumulatively has the following requirements: a) it has as its main purpose, or among its main purposes, to store and give access to the public to large quantities of works or other materials protected by copyright; b) the works or other protected materials are uploaded by its users; c) the works or other protected materials are organised for the purpose of directly or indirectly benefiting from them."</span></p><p><span style="font-family: arial;"><b>Responsibility for content uploaded</b></span></p><p><span style="font-family: arial;"> These providers of online content are distinct from those that give access to non-profit online encyclopedias, non-profit educational or scientific repertoires, as well as open source software development and sharing platforms.</span></p><p><span style="font-family: arial;"> With regard to liability, in line with the EU regulation, Mazza explains that Italian law states that online platforms allowing for user-generated content, in the absence of authorisation from rights holders, are responsible for unauthorised communication to the public and making available to the public works and other materials protected by copyright, unless they can demonstrate that they have cumulatively satisfied the following conditions define by the law, in particular having made "best efforts" to identify rights holders and obtain licenses. </span></p><p><span style="font-family: arial;"> "In any case, the online content-sharing service provider who practices or facilitates copyright piracy is not exempt from liability," writes Mazza. </span></p><p><span style="font-family: arial;"><b>A new season for rights holders</b></span></p><p><span style="font-family: arial;"> The Italian transposition also establishes rules relating to the remuneration of authors and artists. The Directive establishes the notion of obligation of transparency from digital service providers, in particular providing authors, composers and performers with updated information on the exploitation of their works from licenses. The Italian law states that failure to notify can result in the application of a pecuniary administrative penalty of up to 1% of turnover. </span></p><p><span style="font-family: arial;"> Mazza concludes by analysing the impact the legislation is likely to have on the music sector. For him, the key point will be to see if the Directive will result in increasing revenues from UGC platforms, now that they have an obligation to licenses content. This should help rebalance the output from platforms like YouTube, which generated 22.5 million last year, compared to 104m from the streaming subscription sector. </span></p><p><span style="font-family: arial;"> "With the new legislation, a new season opens where a rebalancing is expected in the music sector, with adequate remuneration proportionate to the revenues of the high tech platforms and a more defined responsibility of them in fighting illegal content," writes Mazza.</span></p><p><br /></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-58230883406590729022021-08-15T17:37:00.000+01:002021-08-15T17:37:15.185+01:00SoundExchange strengthens its corporate affairs team in New York<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCFEAGOSKCdNpdM28YH3TeG17F_1wb60fvZFUw0N0mQl7CHyD7bQvS_Ip1ubljDI73MBhySFeJhSAMhhBHskFDj_QwgNcPzGyEvcXsX4jCFGfQUWHqPguXnDfn-JpfIb0ZnRFARIvpRpm6/s460/Logo_SoundExchange.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="177" data-original-width="460" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCFEAGOSKCdNpdM28YH3TeG17F_1wb60fvZFUw0N0mQl7CHyD7bQvS_Ip1ubljDI73MBhySFeJhSAMhhBHskFDj_QwgNcPzGyEvcXsX4jCFGfQUWHqPguXnDfn-JpfIb0ZnRFARIvpRpm6/s320/Logo_SoundExchange.png" width="320" /></a></b></div><b><span style="font-family: arial;">By Emmanuel Legrand</span></b><p></p><p><span style="font-family: arial;">US music rights management company <b>SoundExchange</b> has appointment of <b>Stephanie Werner </b></span><span style="font-family: arial;">(pictured, below) </span><span style="font-family: arial;">to Vice President, Brand Marketing and Industry Engagement and </span><b style="font-family: arial;">Barry LeVine</b><span style="font-family: arial;"> as Vice President, Marketing and Entertainment Partnerships. Both executives will form part of the company’s newly expanded corporate affairs group. </span></p><p><span style="font-family: arial;"> Based in New York, they both report to <b>Esther-Mireya Tejeda</b>, Chief Marketing and Communications Officer. The corporate affairs practice group encompasses brand strategy, industry engagement and partnerships, communications and PR, digital media and marketing, and government relations and public affairs.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizarh84G6Kxi3kZEmO3bvXPUvlbStdy905uU8TFbLtpJ7Mb_Vz4YbgjAwkKtEpBhP8B2VGCrQt_K9B3P9nPg5tS5-dCaq1Nfe66UNi6Z_NS5-n09UwbfZS1XCl2dxKAMRV6MgJWq_gMz-v/s590/SoundExchange_Stephanie+Werner.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="590" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizarh84G6Kxi3kZEmO3bvXPUvlbStdy905uU8TFbLtpJ7Mb_Vz4YbgjAwkKtEpBhP8B2VGCrQt_K9B3P9nPg5tS5-dCaq1Nfe66UNi6Z_NS5-n09UwbfZS1XCl2dxKAMRV6MgJWq_gMz-v/s320/SoundExchange_Stephanie+Werner.png" width="320" /></a></div><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"> Werner was most recently Vice President, Head of Global Marketing at <b>Global</b> <b>Citizen</b>, Executive Director for <b>VH1 Save The Music Foundation</b> and Vice President of Consumer Marketing and Music Marketing for <b>VH1</b> and <b>LOGO</b>. </span></p><p><b><span style="font-family: arial;">Best-in-class industry leaders</span></b></p><p><span style="font-family: arial;"> LeVine (pictured, below) was Vice President, Industry Relations at SoundExchange and will transition from his current post into his new role "building strategic brand relationships and fostering alliances that strengthen SoundExchange’s suite of offerings for creators and that advance SoundExchange brand initiatives and impact across tech, music, and entertainment." </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnt2fjAjJa29sOWCWlsM4LIAWTe1IhqkaSaWztqf6V5noka0Gs_hPsNPeafvXXnz8VjdWoBMYOmSw1F7ranEvEgBgWawQ_HQJK8WvT1ZQ9MYma-Vg9EwAeng6hQKUoBNPR0ATQHHkeRvC5/s944/SoundExchange_Barry+LeVine.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="944" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnt2fjAjJa29sOWCWlsM4LIAWTe1IhqkaSaWztqf6V5noka0Gs_hPsNPeafvXXnz8VjdWoBMYOmSw1F7ranEvEgBgWawQ_HQJK8WvT1ZQ9MYma-Vg9EwAeng6hQKUoBNPR0ATQHHkeRvC5/s320/SoundExchange_Barry+LeVine.png" width="320" /></a></div><p></p><p><span style="font-family: arial;"> “SoundExchange is hard at work building innovative technology systems, growing our suite of fintech services and expanding our data capabilities to make the business of music more simple, efficient, and fair,” explained Tejeda. “It’s an exciting time to redefine our corporate affairs group with best-in-class industry leaders as we level-up to meet and surpass the demands of a digital-first ecosystem.” </span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-12679180904151352632021-08-14T18:00:00.001+01:002021-08-30T21:25:48.615+01:00US consumers spent $15.7 billion on movies and television shows in the first half of 2021<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW2CH9iRml4XZ3yaM3q0n4zN74QojKn5tjx6too4R7FFiq7jPrLz0zRFnNbRyaRtV7A13J5BC4H2RyodHgSwmShLMFqsOiuhMfXWsPa9vcJL7BSgkkCnx8xW98XD4BgJn4lxz9G7BV3Yki/s498/Logo_Digital+Entertainment+Group.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="498" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW2CH9iRml4XZ3yaM3q0n4zN74QojKn5tjx6too4R7FFiq7jPrLz0zRFnNbRyaRtV7A13J5BC4H2RyodHgSwmShLMFqsOiuhMfXWsPa9vcJL7BSgkkCnx8xW98XD4BgJn4lxz9G7BV3Yki/s320/Logo_Digital+Entertainment+Group.png" width="320" /></a></b></div><b><span style="font-family: arial;">By Emmanuel Legrand</span><span style="font-family: arial;"> </span></b><p></p><p><span style="font-family: arial;"><span>US consumers spent $15.7 billion on movies and television shows consumed at home and on the go in the first six months of 2021, up </span>5% from the $14.9bn consumers spent in the first six months of 2020, <span>according to latest figures <a href="https://www.degonline.org/wp-content/uploads/2021/08/DEG-Expo-The-State-of-the-Digital-Media-Industry-08-10-21-FINAL.2.pdf">published</a> by the Digital Entertainment Group (</span><span>DEG) in its Mid-Year 2021 Report</span><span>. </span><span> </span></span></p><p><span style="font-family: arial;"><span> </span></span><span style="font-family: arial;">Second quarter growth year-over-year was 1%, for a total of $7.9bn. </span><span style="font-family: arial;">The performance in the first half of 2021 is significant since it is an improvement over what DEG described as "</span><span style="font-family: arial;">a record-breaking period for home viewing as consumers limited out-of-home activity in response to the spread of the novel coronavirus."</span></p><p><span style="font-family: arial;"><span> However, the results could have been even better but "factors limiting 2021 growth" included a dearth of theatrical new releases, which are "historically a key driver of home entertainment spending." B</span>ox-office performance for the films released during the period was down nearly 88%.</span></p><p><span style="font-family: arial;"><b>Few new releases made their way to market</b> </span></p><p><span style="font-family: arial;"><span> "</span>Due to theater closures during the Covid-19 pandemic, few new releases made their way to market in the first half of the year, and those that did were often released initially for rental or sale in a premium window, the spending on which was not reported by any major studio in the first six months of 2021," reads the report.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdqkORFYhbFvxcQ1UQ3FS8KuzEYWKMLZalEQ0DlX2wlHQdA6Nm4ckT0sL8fw5O6qW0Fcd581NgPw3kX0STtDHwqZaGLcpslxDgyzijfL3SUMl4-f-UoUEM0owfCNDNNeMrbRC61l74XF97/s1039/DGE+Digital+Media+Report.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="1039" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdqkORFYhbFvxcQ1UQ3FS8KuzEYWKMLZalEQ0DlX2wlHQdA6Nm4ckT0sL8fw5O6qW0Fcd581NgPw3kX0STtDHwqZaGLcpslxDgyzijfL3SUMl4-f-UoUEM0owfCNDNNeMrbRC61l74XF97/w400-h211/DGE+Digital+Media+Report.png" width="400" /></a></div><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"> DEG identified the following trends during the first half of 2021:</span></p><p><span style="font-family: arial;"> • <b>Consumer spending on subscription streaming </b>rose by 21% to $12.2bn in in the first six months of 2021, fuelled according to DEG, by "consumer interest in multiple major services launched in the past 18 months" and the availability of new titles made immediately available on streaming services simultaneous with, or in place of, a theatrical release. </span></p><p><span style="font-family: arial;"> • The <b>top titles rented and purchased</b> by consumers in the second quarter 2021 "demonstrated viewers’ appetite for a variety of content." </span></p><p><span style="font-family: arial;"> • <b>Spending on library titles</b> has been "notably strong" during the period, due to a lack of new releases. DEG noted that since second quarter 2019, digital catalogue sales have increased at an annualised rate of 17%, compared, for example, from a 4% growth in fourth quarter 2019, just before the pandemic.</span></p><p><span style="font-family: arial;"> • Consumers spent more than $2bn on <b>Electronic Sell-through (EST) and VoD transactions</b> in the full first-half of 2021.</span></p><p><span style="font-family: arial;"><b>Strong engagement with content</b></span></p><p><span style="font-family: arial;"> "When compared against the comparable pre-pandemic period in 2019, however, total US home entertainment spending in 2021 shows growth of more than 35% for the second quarter and 32% for the first half, demonstrating consumers’ continued strong engagement with content. Internet-delivered video-on-demand (VoD) rentals grew 24 percent in the first half of 2021, compared to the same period in 2019," reads the report.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-67044754487459695522021-08-14T17:01:00.000+01:002021-08-14T17:01:46.388+01:00Revelator launches decentralised blockchain-powered Artist Wallet for rights holders<p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg4Sn4L3HEFsxBkjYxZuZmCtCwdohBHhzdEkQPyRNla9_HzkZey12O2_bi-LUi8m-Tuu4mFlz8sCPz3mT25idcEsTchuYY-27ewVqUIM60H6d288qRCo_dp85NyoGgCRRfIPpG9wfbaTO3/s849/Revelator_Wallet+App.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="849" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg4Sn4L3HEFsxBkjYxZuZmCtCwdohBHhzdEkQPyRNla9_HzkZey12O2_bi-LUi8m-Tuu4mFlz8sCPz3mT25idcEsTchuYY-27ewVqUIM60H6d288qRCo_dp85NyoGgCRRfIPpG9wfbaTO3/s320/Revelator_Wallet+App.png" width="320" /></a></span></div><span style="font-family: arial;"><b><br /></b></span><p></p><p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;">Rights management company <b>Revelator</b> has launched its <b>Artist</b> <b>Wallet</b>, a new web app for music distribution and royalties, powered by its new decentralised <b>Original</b> <b>Works</b> platform. </span></p><p><span style="font-family: arial;"> The system is described as "the most advanced B2B layer of its kind for music and will enable millions of dollars to flow directly to rights holders’ non-custodial wallets."</span></p><p><span style="font-family: arial;"> The Wallet will allow for direct payout between creators and right holders, and the benefits for artists are multiple, according to Revelator's CEO <b>Bruno</b> <b>Guez</b>: daily payments; control and transparency; income tracking with an estimated pipeline; and assets and royalties management.</span></p><p><span style="font-family: arial;"><b>An easy experience for users</b></span></p><p><span style="font-family: arial;"> "The Wallet has been designed to make it easy for users," says Guez, speaking from Israel where he is based.</span></p><p><span style="font-family: arial;"> Central to the system is blockchain-powered <span style="caret-color: rgb(34, 34, 34); color: #222222;">Original Works platform. Guez explains that it operates as a distributed ledger solution for digital asset management, copyright administration and royalty distribution to automate, streamline and standardise the process of creating fungible and non-fungible assets, managing IP rights, distributing NFTs, collecting royalties, and financing music royalties and creative assets. </span></span></p><p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ7-kJaIWYa-SU-W7QBasRNbaPel3wU0ZXS5oSOEfvI_ktJkQzn89H0BbwJD-20iN6NMpk97Uv4bskFvvwghW_zyXID50JD8bJoGQwUx2woolDMsCD2NqA5orEFzmJtpEJSoDglcu9kdRR/s890/Revelator_Wallet.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="890" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ7-kJaIWYa-SU-W7QBasRNbaPel3wU0ZXS5oSOEfvI_ktJkQzn89H0BbwJD-20iN6NMpk97Uv4bskFvvwghW_zyXID50JD8bJoGQwUx2woolDMsCD2NqA5orEFzmJtpEJSoDglcu9kdRR/s320/Revelator_Wallet.png" width="320" /></a></span></div><span style="font-family: arial;"><span style="caret-color: rgb(34, 34, 34); color: #222222;"><br /></span></span><p></p><p><span style="font-family: arial;"><span style="caret-color: rgb(34, 34, 34); color: #222222;"> </span>Original Works also allows rights holders to register and tokenise their creative intellectual property and then use the Wallet to manage metadata, assign splits, request or send payments, and collect daily on royalty streams. </span></p><p><span style="font-family: arial;"><b>Access to real-time financing</b></span></p><p><span style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: arial;"> For Guez, the Wallet will change the relationship that rights holders have with streams of revenues. Through the use of data from the source – the DSPs – each usage of music is identified and generates royalties. Normally, the systems used by most rights management companies still take into account the time difference between the moment content is used and the moment money is effectively paid to rights holders.</span></span></p><p><span style="caret-color: rgb(34, 34, 34); color: #222222;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="caret-color: rgb(34, 34, 34); color: #222222;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmzwzI8AhTEZamPjfCqH2FVnVs7QTAgIxk0BXwyMvEvWjIH7lpv-XGamVdQFFPGRnbnTMuy3vdv-K3Ol_z21ibfg9Gb2BlkuwfwxZkZuJ9c_D0uStrCHW-VHSr_RT6x0zaq5WsAPzLmT3/s2048/Revelator_Guez_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2048" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmzwzI8AhTEZamPjfCqH2FVnVs7QTAgIxk0BXwyMvEvWjIH7lpv-XGamVdQFFPGRnbnTMuy3vdv-K3Ol_z21ibfg9Gb2BlkuwfwxZkZuJ9c_D0uStrCHW-VHSr_RT6x0zaq5WsAPzLmT3/s320/Revelator_Guez_1.jpg" width="320" /></a></span></div><p></p><p><span style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: arial;"> Through the Wallet, Revelator allows users to track their revenues and request advances. If, for example, a song has been played 50,000 times in one day, the Wallet will calculate the estimated revenues that these plays generate and make that money available to the rights holders through advances. </span></span></p><p><span style="font-family: arial;"><span style="caret-color: rgb(34, 34, 34); color: #222222;"> "</span>What we are saying is there's money that is waiting for you. You can take it now," says Guez, adding that by speeding up the payment process, the Wallet will be a real game changer in the rights management business. Guez says that 50,000 artist clients of Revelator will start receiving royalties directly through the Wallet, and will have access to real-time financing.</span></p><p><span style="font-family: arial;"><b>Transaction verified on the Ethereum blockchain</b></span></p><p><span style="font-family: arial;"> Guez explains that <span style="caret-color: rgb(34, 34, 34); color: #222222;">Revelator holds funds in FDIC-insured bank accounts while tokenising those funds into a proprietary stablecoin, called the OWN Token. "This allows money to move between users 24/7 without the need to interact with a bank — all transactions are confirmed and verified on the Ethereum blockchain," says the company.</span></span></p><p><span style="font-family: arial;"> In a presentation for potential users, Revelator claims that <span style="caret-color: rgb(34, 34, 34); color: #222222;">Original Works "is the only smart contract solution on the market to offer a turnkey micro-lending protocol for music royalties, accelerating the settlement and distribution of royalties to real-time for all rights holders." </span></span></p><p><span style="font-family: arial;"><span style="caret-color: rgb(34, 34, 34); color: #222222;"> For Guez, the key to the system is to make it simple for users. </span>“Most musicians and labels aren’t crypto purists and they aren’t about to go deep into the tech. They just want things to work so they can make music,” he says.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-54755090100305077552021-08-13T04:11:00.001+01:002021-08-13T15:17:31.189+01:00CCS' Daytripper Music Publishing partners with radio host and music supervisor Chris Douridas<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fL88GFO7JaRhDaf9bmwhzhnAOskjkZ58fVhNUn7_yL3Q_bI5n0KljjEMSzkp3h1P4GmF0gqXD5ysPVydldd4GQVbS_H9tK3Psgv0DXdK6Mi2OkBV6qonLXwrRkadRXNpKw6wlck8c69N/s801/Logo_Daytripper+BW.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="403" data-original-width="801" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fL88GFO7JaRhDaf9bmwhzhnAOskjkZ58fVhNUn7_yL3Q_bI5n0KljjEMSzkp3h1P4GmF0gqXD5ysPVydldd4GQVbS_H9tK3Psgv0DXdK6Mi2OkBV6qonLXwrRkadRXNpKw6wlck8c69N/s320/Logo_Daytripper+BW.png" width="320" /></span></a></div><p></p><p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b></p><p><span style="font-family: arial;"><b>Chris</b> <b>Douridas</b>, a Grammy-winning music supervisor and former radio host at influential Los Angeles public broadcaster <b>KCRW</b>, has entered into a partnership with <b>Daytripper Music Publishing</b>, the newly-created talent-driven division of Canada's music rights management and music publishing company <b>CCS</b> <b>Rights Management</b> (CCS). </span></p><p><span style="font-family: arial;"> Douridas will help Daytripper build and develop its talent roster as it expands further into the US market. Douridas and Daytripper have a joint commitment to "discovering and nurturing artists and songwriters at all levels and stages in careers, providing personalised and curated global creative opportunities, while enhancing, capitalising, and promoting their works," according to CCS. </span></p><p><span style="font-family: arial;"> “As we expand into the US, I couldn’t be more pleased to be partnering with Chris, who embodies everything we envisioned as the philosophy behind CCS’ new Daytripper Music Publishing division. The company is centered around discovering and fostering great artists and songwriters, and Chris is unequivocally one of the best in the world at doing it,” said <b>Jodie</b> <b>Ferneyhough</b>, CCS Rights Management Founder and President. </span></p><p><span style="font-family: arial;"><b>Spotting talent and break new artists</b></span></p><p><span style="font-family: arial;"> Douridas is described as someone with "exceptional ability to spot talent and break new artists" throughout his career. At KCRW-FM, he served as the music programming director and host of 'Morning Becomes Eclectic' for most of the 90s, and later launched the station’s 24-hour online music channel <b>Eclectic24</b>, which he still programs. </span></p><p><span style="font-family: arial;"> Douridas also worked at <b>Geffen</b> and <b>Dreamworks</b> <b>Records</b> in A&R capacities. In 2010, Douridas founded the now long-running bi-coastal, weekly live music series School Night, showcasing new and up-and-coming talent. </span></p><p><span style="font-family: arial;"> As a music supervisor he worked on movies such as 'American Beauty', 'Shrek 2', 'Heat', 'As Good as It Gets', 'Austin Powers', among others. </span></p><p><span style="font-family: arial;"><b>Passionate about songwriters</b></span></p><p><span style="font-family: arial;"> “Identifying great artistry and helping it find its way out into the world is at the heart of everything I do," said Douridas. "An alliance with Jodie is an obvious fit. He is extremely passionate about nurturing and developing great songwriters. More than that, he has a clear vision of what he wants Daytripper to become, and I am very excited about helping him and Jordan build it.”</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_G9PUAu_uNTD2QsFOzgKv0VXiZfpNdUxMEkM2Fn1yoVqgSZo_96BOryVjEfwqVUBt8d_GZnLJU4s6NRR1RUVfbEsUHuZSoG1VE7Uw7Wy-CG47OF5LJgvHD4NATA5hw3PfLSs7gIDg3Z6/s831/Daytripper_Chris+Douridas.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="831" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_G9PUAu_uNTD2QsFOzgKv0VXiZfpNdUxMEkM2Fn1yoVqgSZo_96BOryVjEfwqVUBt8d_GZnLJU4s6NRR1RUVfbEsUHuZSoG1VE7Uw7Wy-CG47OF5LJgvHD4NATA5hw3PfLSs7gIDg3Z6/w400-h255/Daytripper_Chris+Douridas.png" width="400" /></a></div><span style="font-family: arial;"><p><span style="font-family: arial;"><br /></span></p> Daytripper Music Publishing was launched in 2021 by CCS as a stand-alone brand dedicated to creative development and support of established and up-and-coming artists and songwriters. Songwriters, artists, musicians and producers signed to the company include: </span><b style="font-family: arial;">Hill</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Kourkoutis</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Tribe</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Friday</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Featurette</b><span style="font-family: arial;">, </span><b style="font-family: arial;">POESY</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Nuela</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Charles</b><span style="font-family: arial;">,</span><span style="font-family: arial;"> </span><b style="font-family: arial;">CARYS</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Yukon</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Blonde</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Laurent</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Bourque</b><span style="font-family: arial;">, and Mikhail </span><b style="font-family: arial;">Laxton</b><span style="font-family: arial;">, among others. </span><p></p><p><span style="font-family: arial;"> CCS Rights Management administers over 150,000 copyrights and specialises in publishing administration, royalty collection, creative services, neighbouring rights administration, and music licensing for film, TV advertising, games and other media.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-33989461182506812732021-08-12T23:10:00.001+01:002021-08-29T23:50:45.201+01:00New US legislation targets Apple's App and Google's Play stores with 'fair, clear, and enforceable rules'<p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b></p><p><span style="font-family: arial;">US Senators <b>Richard</b> <b>Blumenthal</b> (D-CT), <b>Marsha</b> <b>Blackburn</b> (R-TN), and <b>Amy</b> <b>Klobuchar</b> (D-MN) have <a href="https://www.blumenthal.senate.gov/imo/media/doc/8.11.21%20-%20Open%20App%20Markets%20Act%20-%20Bill%20Text.pdf">introduced</a> a bill, the <b>Open App Markets Act</b>, which seeks to "promote competition and reduce gatekeeper power in the app economy, increase choice, improve quality, and reduce costs for consumers."</span></p><p><span style="font-family: arial;"> The Open App Markets Act is targeted at <b>Google</b> and <b>Apple</b>, whose respective app stores are the market leaders in the <b>Android</b> and <b>iOS</b> eco-systems. </span></p><p><span style="font-family: arial;"> The two companies are described as having "gatekeeper control of the two dominant mobile operating systems and their app stores that allow them to exclusively dictate the terms of the app market, inhibiting competition and restricting consumer choice."</span></p><p><span style="font-family: arial;"><b>Break tech giant's grip on the app economy</b></span></p><p><span style="font-family: arial;"> Blumenthal said that the bipartisan bill "will help break these tech giants’ ironclad grip, open the app economy to new competitors, and give mobile users more control over their own devices.” </span></p><p><span style="font-family: arial;"> In a statement, Apple said it would continue to focus on connecting developers with consumers: "Since our founding, we’ve always put our users at the center of everything we do, and the App Store is the cornerstone of our work to connect developers and customers in a way that is safe and trustworthy. The result has been an unprecedented engine of economic growth and innovation, one that now supports more than 2.1 million jobs across all 50 states. At Apple, our focus is on maintaining an App Store where people can have confidence that every app must meet our rigorous guidelines and their privacy and security is protected."</span></p><p><span style="font-family: arial;"> The new law – which would only apply to "any person that owns or controls an App Store for which users in the United States exceed 50,000,000" – has the ambition to set "fair, clear, and enforceable rules" that will "protect competition and strengthen consumer protections within the app market," according to a joint statement by the three Senators.</span></p><p><span style="font-family: arial;"><b>Provide guidelines for app tores</b></span></p><p><span style="font-family: arial;"> According to the law, an app store, described in the bill as a "Covered Company," will not be able to:</span></p><p><span style="font-family: arial;"> (1) Require developers to use an In-App Payment System owned or controlled by the Covered Company or any of its business partners as a condition of being distributed on an App Store or accessible on an operating system; </span></p><p><span style="font-family: arial;"> (2) Require as a term of distribution on an App Store that pricing terms or conditions of sale be equal to or more favorable on its App Store than the terms or conditions under another App Store; or </span></p><p><span style="font-family: arial;"> (3) Take punitive action or otherwise impose less favorable terms and conditions against a devel- oper for using or offering different pricing terms or conditions of sale through another In-App Payment System or on another App Store.</span></p><p><span style="font-family: arial;"><b>Tear down anticompetitive walls</b></span></p><p><span style="font-family: arial;"> “This legislation will tear down coercive anticompetitive walls in the app economy, giving consumers more choices and smaller startup tech companies a fighting chance,” said Blumenthal. “For years, Apple and Google have squashed competitors and kept consumers in the dark—pocketing hefty windfalls while acting as supposedly benevolent gatekeepers of this multi-billion dollar market. I’m proud to partner with Senators Blackburn and Klobuchar in this breakthrough blow against Big Tech bullying."</span></p><p><span style="font-family: arial;"> Added Blackburn: “Big Tech giants are forcing their own app stores on users at the expense of innovative start-ups. Apple and Google want to prevent developers and consumers from using third-party app stores that would threaten their bottom line. Their anticompetitive conduct is a direct affront to a free and fair marketplace. Senator Blumenthal, Klobuchar, I are committed to ensuring US consumers and small businesses are not punished by Big Tech dominance.” </span></p><p><span style="font-family: arial;"> Klobuchar said that “a few gatekeepers control the app marketplace, wielding incredible power over which apps consumers can access," and that this situation "raises serious competition concerns.” She added: “By establishing new rules for app stores, this legislation levels the playing field and is an important step forward in ensuring an innovative and competitive app marketplace.” </span></p><p><span style="font-family: arial;"><b>Protect developers' rights</b></span></p><p><span style="font-family: arial;"> The co-sponsors of the Bill explain that the Open App Markets Act would:</span></p><p><span style="font-family: arial;"> > protect developers’ rights to tell consumers about lower prices and offer competitive pricing; protect side-loading of apps; </span></p><p><span style="font-family: arial;"> > open up competitive avenues for startup apps, third party app stores, and payment services; </span></p><p><span style="font-family: arial;"> > make it possible for developers to offer new experiences that take advantage of consumer device features; give consumers more control over their devices; prevent app stores from disadvantaging developers; </span></p><p><span style="font-family: arial;"> > and set safeguards to continue to protect privacy, security, and safety of consumers. </span></p><p><span style="font-family: arial;"><b>Greater consumer choices</b></span></p><p><span style="font-family: arial;"> The Open App Markets Act has been endorsed by a number of technology and consumer groups, including <b>Consumer Reports</b>, <b>Internet Accountability Project</b>, <b>Public</b> <b>Citizen</b>, <b>Coalition for App Fairness</b>,<b> Color Of Change</b>, <b>News Media Alliance</b>, <b>Public</b> <b>Knowledge</b>, <b>Lincoln</b> <b>Network</b>, <b>Consumer Action for a Strong Economy </b>(CASE), <b>Digital Progress Institute</b>, <b>Electronic Frontier Foundation</b>, <b>American Principles Project</b>, and the <b>American Economic Liberties Project</b>.</span></p><p><span style="font-family: arial;"> “The Open App Markets Act will ensure fairness for both users and developers without forcing security or privacy compromises, resulting in greater consumer choices and lower prices in the app ecosystem,” said <b>John</b> <b>Bergmayer</b>, Legal Director at Public Knowledge. </span></p><p><span style="font-family: arial;"> In an interview with <b>Reuters</b>, Blumenthal said that he expected a companion legislation to be introduced in the House of Representatives "very soon."</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-70408993316451001392021-08-12T21:20:00.002+01:002021-08-12T22:02:17.882+01:00President Joe Biden names Chris Wilson as Chief Innovation and Intellectual Property Negotiator at the Office of the USTR<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmtQDWOrve1n_-Jj61mTqjsNfLNz0tUF3vLQ8gWo6tGt9KPdrrfHJbJ6YmiDd5hmjxmZQU6gFjMtsRTCm-muC7Y8YOF1t0ZoT3TO8OIyODMUwoBbfacsTUNzRYrvNzPlGY72_ZsUTz3vf/s640/Office+of+the+USTR.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="585" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmtQDWOrve1n_-Jj61mTqjsNfLNz0tUF3vLQ8gWo6tGt9KPdrrfHJbJ6YmiDd5hmjxmZQU6gFjMtsRTCm-muC7Y8YOF1t0ZoT3TO8OIyODMUwoBbfacsTUNzRYrvNzPlGY72_ZsUTz3vf/s320/Office+of+the+USTR.png" width="293" /></a></b></div><p></p><p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b></p><p><span style="font-family: arial;">US President<b> Joe Biden</b> has announced his intent to nominate </span><span style="font-family: arial;"><b>Christopher</b></span><span style="font-family: arial;"><b> Wilson</b> to the position of Chief Innovation and Intellectual Property Negotiator at the Office of the <b>United States Trade Representative </b>(USTR). The position has been vacant since it was created in 2015. </span></p><p><span style="font-family: arial;"> In addition, President Biden also announced his intent to nominate <b>María L. Pagán</b> as Deputy United States Trade Representative, in charge of the Geneva Office of the organisation. She is currently the Deputy General Counsel at the Office of the USTR.</span></p><p><span style="font-family: arial;"> In that role, she provides legal advice to senior USTR officials on all legal aspects regarding trade negotiations, implementation of trade agreements, and trade related legislation and regulations. </span></p><p><span style="font-family: arial;"><b>Leading the Administration's policy on trade-related IP rights</b></span></p><p><span style="font-family: arial;"> Wilson is a 20-year veteran of the Office of the United States Trade Representative, where he has served in a variety of trade policy leadership roles, including Deputy Assistant US Trade Representative for Innovation and Intellectual Property (2006-2008) and several Assistant US Trade Representative positions.</span></p><p><span style="font-family: arial;"> The role of Chief Innovation and Intellectual Property Negotiator was created via a provision in the Trade Facilitation and Trade Enforcement Act of 2015 with the task “to conduct trade negotiations and to enforce trade agreements relating to United States intellectual property and to take appropriate actions to address acts, policies, and practices of foreign governments that have a significant adverse impact on the value of United States innovation.” </span></p><p><span style="font-family: arial;"> For Washington, DC-based trade body representing record labels, the <b>RIAA</b>, has welcomed the appointment of Wilson as the Chief IP Negotiator, noting that he will be responsible "for helping lead the new Administration’s policy on trade-related intellectual property rights." </span></p><p><span style="font-family: arial;"><b>Promote smart pro-growth policies</b></span></p><p><span style="font-family: arial;"> RIAA’s Senior Vice President, International Policy <b>George</b> <b>York</b> commented: “RIAA applauds President Biden’s choice of Chris Wilson as the nominee for Chief Innovation and Intellectual Property Negotiator. As a career trade professional with deep experience in the field, Chris is supremely qualified to take on this vital leadership role at USTR. President Biden’s announcement is especially welcome since this statutorily mandated position has not been filled since it was created in 2015. We thank President Biden for taking this historic and pivotal step to strengthen the US economy by selecting such an exceptional nominee to advocate for smart pro-growth trade policies that hold up American creators and protect the copyright on which they rely.” </span></p><p><span style="font-family: arial;"> He added: “Chris is deeply knowledgeable on trade and intellectual property rights issues, and brings an unmatched wealth of experience in critical regions from Europe and the Middle East, to Latin America and Central Asia. He is a much welcome addition to USTR’s Innovation and Intellectual Property Office that is already extremely strong and has always been an incredible champion of American creators and their contributions to US jobs and growth through US trade policy engagement.”</span></p><p><span style="font-family: arial;"><b>Uniquely qualified for the role</b></span></p><p><span style="font-family: arial;"> Ambassador <b>Katherine Tai</b>, President Biden's appointee as USTR, said Pagán and Wilson "have valuable experience that is needed at USTR during a critical moment for the country, and the world." </span></p><p><span style="font-family: arial;"> She said Wilson’s experience "shaping trade policy for more than two decades in a variety of critical regional and policy leadership roles at USTR makes him uniquely qualified to fill this important new position as the Chief Innovation and Intellectual Property Negotiator."</span></p><p><span style="font-family: arial;"> The two appointees need now to be confirmed by the US Senate.</span></p><p><span style="font-family: arial;"> The Office of the US Trade Representative (USTR) is responsible for developing and coordinating US international trade, commodity, and direct investment policy, and overseeing negotiations with other countries. </span></p><p><span style="font-family: arial;"> The head of USTR is the US Trade Representative, a Cabinet member who serves as the president’s principal trade advisor, negotiator, and spokesperson on trade issues. USTR is part of the Executive Office of the President.</span></p><p><br /></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-12805718996136785592021-08-11T20:25:00.002+01:002021-08-12T22:10:35.682+01:00Recording Academy brings back advocacy event Grammys on the Hill to Washington, DC on Sept. 22 to honour Jam & Lewis, Reps. Ted Dutch and Michael McCaul<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcaJvsMSd3zFuIg3NglkMP2YfSDNyOhnibUK05uhyphenhyphenB60zYnrPQJ90x0hMS3YsScp3JfAPBpeLLdB9MRx83Iqgik8uHJyn11EQCy3sbdolmORGf5CcmmZj_9mbsWhxEOHSjluH3z-lOUiq/s559/Logo_Recording+Academy.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="144" data-original-width="559" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcaJvsMSd3zFuIg3NglkMP2YfSDNyOhnibUK05uhyphenhyphenB60zYnrPQJ90x0hMS3YsScp3JfAPBpeLLdB9MRx83Iqgik8uHJyn11EQCy3sbdolmORGf5CcmmZj_9mbsWhxEOHSjluH3z-lOUiq/s320/Logo_Recording+Academy.png" width="320" /></a></b></div><p></p><p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b></p><p><span style="font-family: arial;">The <b>Recording Academy</b>, which organises the<b> Grammy Awards</b>, is bringing back its advocacy event <b>Grammys on the Hill </b>to Washington, DC as an in-person event to be held on September 22, 2021. </span></p><p><span style="font-family: arial;"> The event gathers congressional leaders and music makers and through its awards, it recognises those who have led the fight for creators' rights. This year's honourees include songwriters and producers <b>Jimmy Jam</b> and <b>Terry Lewis</b>, as well as Rep.<b> Ted Deutch</b> (D-Fla.) and Rep. <b>Michael McCaul</b> (R-Texas).</span></p><p><span style="font-family: arial;"> "The pandemic has shown us just how crucial it is for the Academy and Congress to work together to find equitable solutions that protect the music community," said <b>Harvey Mason jr. </b>(pictured, below), CEO of the Recording Academy. "We're thrilled to celebrate the legislators and artists who have improved the environment for creators with the return of Grammys on the Hill — a celebration of the music community and Congress coming together to achieve policy advancements in the name of music."</span></p><p><b><span style="font-family: arial;">Contributions to creators' rights</span></b></p><p><span style="font-family: arial;"> Added Mason: "To have Jimmy Jam and Terry Lewis and Representatives Deutch and McCaul join us at the 20th anniversary of the event is truly an honour, and we're looking forward to recognising their invaluable contributions made toward the fight for creators' rights."</span></p><p><span style="font-family: arial;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEica24OPhZ9j8_kGABRUlDUJoTyNLfpQHGkv9jJtEao4Z2xyu0Bun1j4ADEkdZMpUwoUZep2CKq8GDEHZDC9u4O9zLvddjUbYIpg-S7TGuVgZX2CooGEN5QHj96cO8EA-ZlXe9tfcJ3Xlik/s751/Recording+Academy_Harvey+Mason.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="389" data-original-width="751" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEica24OPhZ9j8_kGABRUlDUJoTyNLfpQHGkv9jJtEao4Z2xyu0Bun1j4ADEkdZMpUwoUZep2CKq8GDEHZDC9u4O9zLvddjUbYIpg-S7TGuVgZX2CooGEN5QHj96cO8EA-ZlXe9tfcJ3Xlik/s320/Recording+Academy_Harvey+Mason.png" width="320" /></a></span></div><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"> </span><span style="font-family: arial;">Deutch and McCaul are recognised "for their stalwart support of creators, especially in the past year when many in the industry lost income and needed help." </span><span style="font-family: arial;">Jam & Lewis – who have worked with such artists as </span><b style="font-family: arial;">Janet</b><span style="font-family: arial;"> </span><b style="font-family: arial;">Jackson</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Mary J. Blige</b><span style="font-family: arial;">, </span><b style="font-family: arial;">Mariah Carey</b><span style="font-family: arial;">, and </span><b style="font-family: arial;">Boyz II Men</b><span style="font-family: arial;"> – will be celebrated for they 40-year career. </span></p><p><span style="font-family: arial;"> Deutch is lead Democratic sponsor for the<b> American Music Fairness Act</b>, which introduces performance royalties on sound recordings when played by radio stations, while McCaul has co-sponsored legislation like the <b>Help Independent Tracks Succeed Act</b> (HITS Act), which updates the federal tax code to bring in line music production with other industries and create parity. </span></p><p><b><span style="font-family: arial;">Honouring creators and policy-makers</span></b></p><p><span style="font-family: arial;"> Sponsored by <b>City National Bank</b>, this year's awards will take place at the Hamilton, with live performances from the musical honorees and additional special guests. </span></p><p><span style="font-family: arial;"> Previous honourees include artists such as <b>Quincy</b> <b>Jones</b>, <b>John</b> <b>Mayer</b>, <b>Yolanda</b> <b>Adams</b>, <b>Garth Brooks</b>, <b>Missy</b> <b>Elliott</b>, among others, as well as policy -makers such as then Vice President <b>Joe</b> <b>Biden</b>, former United States Secretary of State and Sen. <b>Hillary Rodham Clinton</b> (D-NY), former Sen. <b>Orrin</b> <b>Hatch</b> (R-Utah), former Sen. <b>John McCain </b>(R-Ariz.), and Speaker of the United States House of Representatives <b>Nancy</b> <b>Pelosi</b> (D-Calif.), and more. </span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-69634611687141460142021-08-11T19:12:00.003+01:002021-08-12T22:16:34.162+01:00Australia's Copyright Agency CEO Adam Suckling to step down in February 2022<p><b><span style="font-family: arial;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEg9eTWyBJkFTqTSF8X1Jlc3mOOHg1tVLVcVZQsPxhWsme0GSVwk3O5z5A7MtHGdxuQdsNTRyegSNEszUm0DmSe02nQsmJhmdgN4jxcSuS6c_z58S5LvGRzJGC1hOlRjD5ARhpIOGPScJc/s546/Logo_Copyright+Agency+.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="70" data-original-width="546" height="51" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEg9eTWyBJkFTqTSF8X1Jlc3mOOHg1tVLVcVZQsPxhWsme0GSVwk3O5z5A7MtHGdxuQdsNTRyegSNEszUm0DmSe02nQsmJhmdgN4jxcSuS6c_z58S5LvGRzJGC1hOlRjD5ARhpIOGPScJc/w400-h51/Logo_Copyright+Agency+.png" width="400" /></a></span></b></div><b><span style="font-family: arial;"><br />By Emmanuel Legrand</span></b><p></p><p><span style="font-family: arial;">Australia's <b>Copyright</b> <b>Agency</b> CEO <b>Adam Suckling</b> (pictured, below) will be <a href="https://www.copyright.com.au/2021/08/adam-suckling-steps-down-as-ceo/">stepping</a> down from his role in February 2022, following his decision to not renew his contract for another three-year term after already six years in the job. </span></p><p><span style="font-family: arial;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSy5osHTfZpfw-Z5cl1pfV9mHQR-1UAaeEJy0Wdh3kGJ8OD3KLyj5Gnw2VBLd37PDX2PiahI1eQyLPC2wzaYRug-FxcUJqAp54xODgjThVyGvQ59tQKzdAaShbGe7e_1rr34Itm5y_XBXe/s464/Copyright+Agency_Adam+Suckling.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="250" data-original-width="464" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSy5osHTfZpfw-Z5cl1pfV9mHQR-1UAaeEJy0Wdh3kGJ8OD3KLyj5Gnw2VBLd37PDX2PiahI1eQyLPC2wzaYRug-FxcUJqAp54xODgjThVyGvQ59tQKzdAaShbGe7e_1rr34Itm5y_XBXe/s320/Copyright+Agency_Adam+Suckling.png" width="320" /></span></a></div><span style="font-family: arial;"><b><p><b><br /></b></p> Kate</b> <b>Harrison</b>, Chair of the board of the Copyright Agency board, said the search for a replacement in ongoing. </span><p></p><p><span style="font-family: arial;"> “The Board thank Adam for his dedication and commitment to the Agency, and for the strong leadership he has shown over his six years as CEO. He has very successfully managed the organisation in every way, enhancing the work of the Agency and its delivery of value to members," said Harrison. </span></p><p><span style="font-family: arial;"><b>Helping make big things happen</b></span></p><p><span style="font-family: arial;"> Said Suckling: "I love this role, copyright and Copyright Agency, are so critical to helping make the big things happen: facilitating access to the world’s content, supporting journalism, helping our talented writers create great novels or inspiring education works, helping publishers invest and employ Australians, and contributing to the practice of Australia’s extraordinary visual artists."</span></p><p><span style="font-family: arial;"> Added Suckling: "I would like to thank the senior management team and everyone in the agency for their support, dedication and hard work. I would also like to thank licensees, who pay for the use of content, as well as our 37,000 members who create such great material. It is an honour to represent them." </span></p><p><span style="font-family: arial;"> Copyright Agency provides licenses for the use of copyright material such as text, images and art and manages the educational and government licenses for the use of text and images, as well as the resale royalty scheme for artists. Members include authors, poets and playwrights, journalists, publishers, visual artists, photographers, cartoonists and illustrators and surveyors.</span></p><p><span style="font-family: arial;"> In June 2021, Copyright Agency distributed more than A$70 million of payments from ten different license sources, making it its biggest payment month of the year.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-4544444602218621852021-08-10T23:02:00.001+01:002021-08-12T22:38:07.581+01:00Pershing Square Holdings buys 7.1% of Vivendi's Universal Music Group for $2.8 billion<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HPpB9Kr-dVvaavRNT_eK5e6picQGXSJOyteMK9tcqT1UlvPvXyMCfEeXW-ECk7XJHXNRf40lJ10iQnX27YqHe9IS6f74Tg0_kTl0juB9K0qZWJHdW6Z-2BLfnqIL29fvunVqO9GsK20Y/s441/Logo_Vivendi.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="134" data-original-width="441" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HPpB9Kr-dVvaavRNT_eK5e6picQGXSJOyteMK9tcqT1UlvPvXyMCfEeXW-ECk7XJHXNRf40lJ10iQnX27YqHe9IS6f74Tg0_kTl0juB9K0qZWJHdW6Z-2BLfnqIL29fvunVqO9GsK20Y/s320/Logo_Vivendi.png" width="320" /></a></b></div><p></p><p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b></p><p><span style="font-family: arial;">French media and entertainment conglomerate <b>Vivendi</b> has <a href="https://www.vivendi.com/en/press-release/vivendi-sells-7-1-of-umgs-share-capital-to-pershing-square-holdings-managed-by-william-ackman-with-the-possibility-to-sell-him-a-further-2-9-by-september-9-2021/">sold</a> for the price of $2.8 million 7.1% of its music division <b>Universal Music Group </b>(UMG) to <b>Pershing Square Holdings</b>, the investment holding company of US businessman <b>William</b> <b>Ackman</b>, and its affiliates.</span></p><p><span style="font-family: arial;"> Vivendi and Pershing entered into discussions on June 4, 2021, for the acquisition of 10% of UMG’s share capital owned by Vivendi, ahead of the listing of the company scheduled for September 21 on the Amsterdam Stock Exchange. </span></p><p><span style="font-family: arial;"> Pershing acquired 128,555,017 Ordinary Shares of UMG at approximately $21.78 per share. </span><span style="font-family: arial;">The transaction with Pershing Square Holdings and its affiliates values the company at €35bn for 100% of UMG’s share capital.</span></p><p><span style="font-family: arial;"><b>Evidence of UMG's attractiveness</b></span></p><p><span style="font-family: arial;"> Ackman had initially planned to acquire 10% of UMG through a special purpose acquisition company (SPAC), but was forced to change his plans following reservations expressed by the USA's <strong>Securities and Exchange Commission</strong>.</span></p><p><span style="font-family: arial;"> Vivendi said Ackman "has the right to acquire, by September 9, 2021, up to an additional 2.9% of UMG’s share capital through funds which he manages or in which he holds the majority of economic interest, based on the same valuation." </span></p><p><span style="font-family: arial;"> In a statement, Vivendi said it was "very satisfied with the arrival at UMG of Mr. Ackman, a major American investor, providing once again evidence of the music company’s global success and attractiveness."</span></p><p><span style="font-family: arial;"> Vivendi has already sold 20% of UMG to a group of investors led by China's <b>Tencent</b>. A total of 60% of UMG’s share capital will be made available to Vivendi’s shareholders at the time of the IPO.</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-87761880907311026192021-08-10T17:32:00.001+01:002021-08-10T17:32:20.728+01:00German music market up 12.4% in the first half of the year thanks to digital sales<p><b><span style="font-family: arial;"></span></b></p><p><b><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxGPG0mp7K3djcxrF7WQHlTQrVwp_raI0teND_fyW9NvFHx_u9g20O9FKOwzczPpc9C4ZchqlS0CWijWajd0Ek8hVR2cjn7RU3dpAwic8lumvHl00zHBsHaRk8WDdFtspxpOKBh1whV6z/s631/BVMI_German+figures+H1+2021.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="515" data-original-width="631" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxGPG0mp7K3djcxrF7WQHlTQrVwp_raI0teND_fyW9NvFHx_u9g20O9FKOwzczPpc9C4ZchqlS0CWijWajd0Ek8hVR2cjn7RU3dpAwic8lumvHl00zHBsHaRk8WDdFtspxpOKBh1whV6z/w400-h326/BVMI_German+figures+H1+2021.png" width="400" /></a></span></b></p><b><span style="font-family: arial;">By Emmanuel Legrand</span></b><p></p><p><span style="font-family: arial;">The German recorded music sector posted revenues of €903.8 million euros for the first six months of this year, up 12.4% over the same period of last year, according to trade body <b>Bundesverband Musikindustrie e. V. </b>(BVMI). </span></p><p><span style="font-family: arial;"> Germany – which for a long time remained one of the strongest CD markets in Europe – has fully made the transition to digital. Digital revenues accounted for almost 80% of the total, with streaming capturing 70.6% of the total. Downloads represented a mere 3.3% of the market, while other digital modes of consumption, including video streaming, accounting for 4.7%.</span></p><p><span style="font-family: arial;"> The physical business still generated 21.4% of total sales, but was down overall by 16.4 % year-on-year. The CD market continued to decline and accounted for 14.5% of the total, while vinyl experienced a strong first six months of 2021, with sales up 49.5% year-on-year, accounting for 5.9% of the total. </span></p><p><b><span style="font-family: arial;">A new peak for digital</span></b></p><p><span style="font-family: arial;"> "In the first half of 2021, the industry's turnover grew by a significant 12.4 percent," commented BVMI Chairman & CEO Dr. <b>Florian</b> <b>Drücke </b>(pictured, below), noting that the share of digital in the total rose to almost 80%, which he described as "a new peak."</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS4STMKvdXQz4uVuYDscA6uZpZI3kFZ5PjJijx47h5y89W10mbvnBYqc9sC7uCxvlKcws3juKoQT5q32ulm2HtI6DweGvjXrKfNBNFNPWX2j51Ld9c7OQnR3Na0GnvdwQn9zLiBmzyWe9Q/s703/BVMI_+Florian+Dru%25CC%2588cke.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="472" data-original-width="703" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS4STMKvdXQz4uVuYDscA6uZpZI3kFZ5PjJijx47h5y89W10mbvnBYqc9sC7uCxvlKcws3juKoQT5q32ulm2HtI6DweGvjXrKfNBNFNPWX2j51Ld9c7OQnR3Na0GnvdwQn9zLiBmzyWe9Q/s320/BVMI_+Florian+Dru%25CC%2588cke.png" width="320" /></span></a></div><p><span style="font-family: arial;"> Drücke also sees some positive in the fact that in the analogue segment, vinyl has "even grown by around 50 percent in the last six months [which] shows a special facet of our market."</span></p><p><span style="font-family: arial;"> He added: "The half-year figures once again demonstrate the innovative strength of the industry and the strategic foresight of our members, who, as partners of the artists, are continuously expanding the digital value-added possibilities. The dramatic impact of the Corona pandemic on the entire live sector once again illustrates the importance of digital business to many, but also shows how deeply certain sub-sectors of the music industry are currently affected by the pandemic."</span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0tag:blogger.com,1999:blog-5527201696562574191.post-60689320663043204862021-08-10T04:54:00.000+01:002021-08-10T04:54:20.185+01:00Autralian government adds an extra A$35 million to support creators and art companies<p><span style="font-family: arial;"><b>By Emmanuel Legrand</b></span></p><p><span style="font-family: arial;">The Australian Government has <a href="https://minister.infrastructure.gov.au/fletcher/media-release/35-million-additional-support-arts-workers-and-companies">pledged</a> to provide an extra A$35 in funding to two proven Covid-19 support measures for arts workers and arts companies.</span></p><p><span style="font-family: arial;"> An additional budget allocation of A$20m will go to <b>Support</b> <b>Act</b> while an additional $15m will go to the <b>Sustainability</b> <b>Fund</b>, bringing its total funding to A$50m. Through <span style="background-color: white; color: #0a1633; orphans: 2; widows: 2;">Support Act musicians, touring crew and workers in the music industry can receive up to A$2,700 in grants.</span></span></p><p><span style="font-family: arial;"> The government said this additional funding "will enable Support Act to broaden beyond its current support of the music sector: it will now offer support to artists, creatives, production and technical crew across the arts sector." </span></p><p><span style="font-family: arial;"><b>Help arts organisations continue to operate</b></span></p><p><span style="font-family: arial;"> To the start of August, Support Act had provided 4,506 grants totalling $10.94m. They have also supported the sector through more than 1,700 counselling hours through the Wellbeing Helpline and provided other mental health support programs to industry.</span></p><p><span style="font-family: arial;"> The extra funding for the Sustainability Fund will help support Australian arts organisations "to continue operating during this period of severe disruption." To date, the Sustainability Fund has delivered support to ten leading arts organisations including Opera Australia, the Queensland Ballet and NIDA, to continue their activities and provide a pathway to their ongoing viability. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpylM7h2Z2pLPcMcDVN232V4DhQ2rKkNk2Yx2WTvteHsMnr5M86fdfk-pVNDrIZ2gm66v-MRIOZ1O6n0mWqhiDO_rgsu5be1pXsSj11NVIMX7Uw7Ov-zKklGplSDKFYU0FBuFEq8uc0lv7/s633/Paul+Fletcher.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="350" data-original-width="633" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpylM7h2Z2pLPcMcDVN232V4DhQ2rKkNk2Yx2WTvteHsMnr5M86fdfk-pVNDrIZ2gm66v-MRIOZ1O6n0mWqhiDO_rgsu5be1pXsSj11NVIMX7Uw7Ov-zKklGplSDKFYU0FBuFEq8uc0lv7/s320/Paul+Fletcher.png" width="320" /></span></a></div><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"> <b>Paul</b> <b>Fletcher</b> (pictured, above), the Minister for Communications, Urban Infrastructure, Cities and the Arts said this funding comes during a particularly difficult period for the sector. “The challenges faced by those in the arts and entertainment sector are affecting the mental health of many in the industry. That’s why charities like Support Act are crucial at this time,” said Fletcher. </span></p><p><span style="font-family: arial;"><b>Respond to the needs of artists and crew</b></span></p><p><span style="font-family: arial;"> He added: “This latest commitment brings our total funding provided to Support Act to $40 million, to allow them to respond quickly and effectively to the continuing needs of live performance artists, crew and music workers including sound and lighting technicians, managers, booking agents, promoters, venue workers and roadies still affected by Covid-19.” </span></p><p><span style="font-family: arial;"> With this additional budget allocation, the Creative Economy Covid support package has increased to A$475m, from an original A$250m in 2020. </span></p><div class="blogger-post-footer">© Emmanuel Legrand. Cannot be reproduced without the prior approval of the author.</div>Emmanuel Legrandhttp://www.blogger.com/profile/04561113796068395606noreply@blogger.com0