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🗝 Emilio García
“A lawsuit filed against US streaming service Pandora by the MLC is “a wild overreach” of the US mechanical rights collecting society’s remit. Or so says Pandora, in its response to that lawsuit. As well as disputing the claims made against it - the MLC “apparently thinks it knows better than the entire music publishing industry” Expanding on that theme, Pandora argues that the MLC - which was created by the 2018 US Music Modernization Act - is not “authorised to play judge and jury over a streaming service’s legal compliance”, nor can it “insist that Pandora fundamentally change its approach to licensing an entire tier of its service solely because the MLC has taken upon itself to press a legally incoherent position at odds with the view of the rest of the music industry”…. This dispute centres on what licences Pandora requires when it comes to the songs that its users stream. With on-demand streaming, like Spotify, it is agreed that services exploit both the performing rights and the mechanical rights of songs. In some countries, these different elements of the song copyright are licensed separately. In the US, collecting societies like BMI and ASCAP license the performing rights, while the MLC administers the compulsory licence that covers mechanical rights.” #Pandora #MLC #Streaming #Legal #Licensing #Copyright #CopyrightLaw #Interactive #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicStreams #MusicRoyalties #Songs #Recordings #US #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz
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🗝 Emilio García
“Apple Music is rolling out a new ‘premium’ data analytics toolkit for its record label and distributor partners. The new ‘Apple Music Partner Program’ features various tools for Apple Music’s partners to track trends on its streaming service as well as global radio plays using Shazam technology. According to the landing page for the platform, it offers “access [to] more tools to break the next talent, spot emerging trends, and uncover new insights about your content”. “Apple Music already runs another analytics platform in Apple Music For Artists, which was made available for every artist on Apple Music in August 2019. Apple Music For Artists allows artists to monitor the volume of their streaming plays on Apple Music, all within a data set that updates daily. Spotify launched its own Spotify For Artists app in 2017 (an evolution of the ‘Fan Insights’ tool it introduced two years earlier) to provide artists and their teams with information pertaining to their popularity on the service. Like Spotify for Artists, the Apple Music For Artists service is available as both a desktop interface and a standalone mobile app.” #Apple #AppleMusic #Artists #RecordLabels #Spotify #Fans #Fandom #Streaming #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicTracks #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz
51 Comment -
Jeremy C. Park
If you love video games, you need to watch my cityCURRENT show interview with Matthew Hooper, Managing Partner with IME Law, a division of Immix Law Group, who shares his background and focus in overseeing the firm’s entertainment, interactive and immersive media, and artificial intelligence divisions. As Managing Partner of Immix’s IME Law division, Matthew represents some of the most prolific video game creators and development companies in the industry, as well as developers and financiers of XR technology and content. When Forbes magazine recently listed the Top 20 Best-Selling Video Games of the Last Decade, Matthew’s clients topped the list – in fact, he represents the Lead Producer and Lead Designer of the #1 game of the past decade, and the Lead Director, Lead Writer and Lead Designer of the #2 and #3 games of the past decade. Matt also represents several developers and licensees of video games based on traditional IP, such as the Bond 007, Harry Potter, Matrix, DC Comics and similar franchises. Matt has led deal negotiations for developers opposite all major game publishers, including Sony, Microsoft, Bandai Namco, EA, Epic, and several others. In addition, Matt has represented game developers and UGC creators in negotiations with large brand partners, such as the NFL, Mattel, Hasbro, Viacom, Disney, WMG and several Fortune 100 companies During the interview, Matthew talks about the process of developing and publishing and distributing video games, how the business and business model for the video game industry is evolving, and some of the major trends shaping the industry with AI, user generated content, and augmented and virtual reality. He also talks about the power and potential of games for good, and shares some examples of how video games are improving learning outcomes, helping to solve complex challenges and even re-train the brain to help people who are paralyzed regain movement. https://lnkd.in/dkgADQnb #videogames #ai #virtualrealty #vr #gaming #law #interactivemedia #powertheGOOD #tvshow #radioshow #videogametrends #videogamebusiness #immersivemedia
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🗝 Emilio García
“In a groundbreaking move, the Recording Industry Association of America just announced lawsuits brought by labels including Sony Music Entertainment, Universal Music Group Recordings, and Warner Records against AI music generators Udio and Suno, accusing them of copyright infringement. The lawsuits claim Suno and Udio’s software steals music to “spit out” similar work and ask for compensation of $150,000 per work. This case underscores the ongoing battle between the music industry and generative AI companies over the unauthorized use of copyrighted material. The RIAA lawsuit highlights that Udio and Suno’s models are trained on copyrighted music without permission, a fact admitted by Udio’s CEO and co-founder, David Ding. According to court documents, Ding has stated that Udio’s high-quality outputs are the result of training on “publicly available and high-quality music” obtained from the internet. This admission forms the crux of the plaintiffs' argument that Udio’s outputs are derivative works of copyrighted recordings. For instance, using a prompt like “my tempting 1964 girl Smokey sing Hitsville soul pop” and excerpting lyrics from The Temptations, Udio generated a track titled “Sunshine Melody,” which closely resembles the copyrighted song “My Girl” by The Temptations (all tracks have now been deleted by Udio). The plaintiffs have provided side-by-side transcriptions of the musical scores to demonstrate the similarities in melody, chords, and backing vocals, proving that Udio’s outputs are not merely inspired by but copied from the original recordings. The lawsuit further reveals a pattern where users of Udio’s service could generate outputs with vocal replicas of specific artists by entering prompts based on genres and descriptors of copyrighted recordings from online music databases like RateYourMusic.com. 404Media demonstrated this technique, showing how Udio and Suno’s services could replicate specific artists' vocals, reinforcing the argument that their models use copyrighted material without authorization.” Read the full article for more: #AI #ArtificialIntelligence #Suno #Udio #RIAA #Sony #SonyMusicEntertainment #UniversalMusicGroup #UMG #WarnerRecords #Legal #IP #IntelectualProperty #Copyright #CopyrightLaw #CopyrightInfrigement #DerechoDeAutor #DroitdAuteur #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Songs #SoundRecordings #Tech #Technology #GenerativeAi #GeAi
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Megan O'Keefe
I’m thrilled to share exciting new research No Guarantees has commissioned in partnership with leading trends and generation research firm Culture Co-Op. The report explores what Gen Z and Millennials think about Broadway, examines the reasons they aren’t showing up, and suggests strategic steps the industry can take to cultivate new, engaged audiences. The research shows that Gen Z and Millennials’ lack of Broadway attendance is not due to details like a particular show’s cast, subject matter, or number of awards it has received. Instead, it’s a handful of deep misconceptions about Broadway itself, like confusion about ticket prices, the number of shows playing at any given time, access to tickets, and who Broadway is even meant for. The great news for Broadway is that while Gen Z & Millennials may not know much about individual shows or what’s happening in the theater industry, the Broadway brand remains extraordinarily strong. They are curious about us, and 91% even reported being more interested in Broadway simply by taking the survey! They’re ready to be brought into the fold. This gives all of us the ability to appeal to the existing interest of new, young audiences and develop a modern, actionable strategy to make it happen - to meet people where they really are. There’s so much to dive into so please check out the full report, which you can download at noguarantees.com. Please feel free to reach out with any questions, comments, or ideas!
619 Comments -
🗝 Emilio García
“The question these days for musical performing artists seems to be whether it is better to do it yourself ("DIY") or sign with a major record company. The answer is: it depends. It used to be, back in the 1970s, '80s, '90s and even into the start of the new millennium, that the major record companies had talent scouts scouring the country and searching the clubs for talent. There were layers of A&R staff at major labels (A&R stands for “artist and repertoire”) who were often producers that would take artists into studios and make recordings. That way a record label could find out what an artist might sound like on record before proceeding further. The A&R staff would also review songs from publishers and songwriters to choose “hits” for the artists already signed to the label to record. Sometimes artist managers and lawyers would pitch talent to the A&R personnel, a process which was commonly referred to as “shopping” an artist to a label. For the most part, those days are done. These days the A&R staff could more accurately be referred to as R&D (research and development). They no longer need to scour the clubs or take demos shopped to them by managers and lawyers. Artists can make state of the art recordings in their homes and distribute it digitally with the push of a button. The labels can search the internet and websites like TikTok and YouTube to see what artists are garnering interest from the public. These days, a new artist's mission is more about creating a “buzz” with an online presence and doing live shows to build a fan following. The record companies are interested in analyzing data before they take an interest in investing time and money in a project. The major labels are now less about finding and developing raw talent and more about marketing and promoting the artists that have developed themselves and built the widest public appeal. Rather than bring new artists into the studio to work with them, the labels tend to find artists that are already performing live and drawing crowds, and already have at least some recordings commercially released and available online….” Read the full post for more: #DIY #Artists #RecordLabels #TikTok #YouTube #Fans #Fandom #Online #Spotify #AppleMusic #SocialMedia #Streaming #MusicIndustry #Musicians #Singers #Creators #DigitalContent #DigitalDistribution #Innovation #Music #Musica #Composers #Musique #Musik #MusicBiz #MusicBusiness #Songwriters #Licensing #Royalties #SoundRecordings #MusicPublishing
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Pierre Hergaut
📺 **Battle for the Living Room** The race to dominate the smart TV operating system (TV OS) market is heating up, with major players like Roku, Google, Amazon, Samsung, and LG vying to enhance user experience and capitalize on new business opportunities through data and advertising. Despite this fierce competition, a key question emerges: do consumers actually care about which OS their TV uses? 📊 **Market Potential** At the StreamTV Show in Denver, experts discussed the benefits of owning a TV OS, such as controlling user data and enhancing ad revenue. Analyst Alan Wolk noted that around 40% of smart TVs globally lack a dedicated TV OS, presenting a significant market opportunity. Even small gains in market share can translate to substantial financial rewards, making the competition highly lucrative. 💡 **Consumer Preferences** Panelists at the event debated whether consumers prioritize the TV OS in their purchasing decisions. Google’s Rob Caruso argued that factors like size and price still dominate, with the OS being a secondary consideration. However, Vizio's Katherine Pond and LG's Matt Durgin highlighted that content availability and user experience offered by the TV OS could influence consumer choices, particularly for those seeking quality and value. 🎬 **Content and User Experience** Ultimately, while the current focus for consumers might not be on the specific TV OS, the content and seamless user experience provided by these systems are crucial. Companies like Vizio and Samsung emphasize the importance of offering desired content and a smooth interface, hoping that improvements in these areas will eventually drive consumer preferences toward specific TV OS platforms. #TV #TVOS #Streaming #SmartTV
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Dan Goman
Comcast's recent announcement of the StreamSaver #bundle with Peacock, Netflix and Apple TV + , marks a significant step forward toward "Cable 2.0" in the streaming industry - where streaming wars are moving from platform vs. platform, to bundle vs. bundle. The new offering, set to launch next week, packages Peacock's ad-supported premium tier with Netflix's basic ad tier and Apple TV+ for $15 a month, yielding savings of around 35% compared to subscribing to these services separately. Bundling provides consumers with a comprehensive entertainment package at a more manageable price, addressing the financial constraints many face when choosing between multiple streaming services. This approach mirrors the traditional cable bundles, making it easier for consumers to access a wide range of content. Media companies are under pressure from investors to scale their streaming services and achieve profitability, while also facing stiff competition from tech giants like Amazon and YouTube. These proposed ‘mini bundles’ not only offer a more reliable revenue stream for companies but also helps mitigate the issue of subscriber churn, which has been a persistent challenge in the industry. The entertainment industry is in a transition, with rising content costs and market saturation driving prices higher. Bundling services not only provides a more reliable revenue stream for companies but also helps stabilize the market by offering consumers more value. Unfortunately, this also means the end of the ad-free, a la carte offerings that many consumers have come to enjoy, as the focus shifts towards comprehensive bundles that limit flexibility but enhance overall value. #LITrendingTopics #StreamingWars #Bundling #SubscriberChurn https://lnkd.in/esZpwnEJ
421 Comment -
Olga LaBelle
Thrilled to announce the formation of a pioneering advisory group aimed at addressing sustainability challenges within live music. We've united an incredible group of more than 50 industry leaders -- music executives incl. Warner Music Group CEO Robert Kyncl and Live Nation Entertainment CEO Michael Rapino, artists incl. #elliegoulding, touring teams for #coldplay, #billieeilish, #harrystyles, and #jackjohnson, event organizers, venue managers, production experts, sustainability leaders, and NGOs. This group will provide expertise and advice on our upcoming sustainable touring report with MIT Environmental Solutions Initiative, Warner Music Group, Live Nation Entertainment, Hope Solutions, and our artist #coldplay. The report will: * assess the relationship between live music and climate change * identify tangible areas where the industry and concert goers can reduce their environmental impact * assess the newest technologies that the industry can tap into to meet sustainability goals It takes an ecosystem to make real and meaningful change - and I can think of no better group than this one to help us lead the charge. #Sustainability #LiveMusic #GreenEvents #Collaboration #Innovation #EcosystemSolutions #Partnerships Madeleine Smith, MHS John E. Fernández Lucy August-Perna Lukas Howell MSI CEnv FIEMA FRSA Brian Levine Adam Met Caius Pawson Harlan Frey Jaime Nack https://lnkd.in/dfm6Y-Zg
1298 Comments -
Pierre Hergaut
"With NBCUniversal owning its own streaming platform Peacock, what drove the decision to license most of the series rather than keep it to drive viewership on its own streaming service?" The strategy starts with “trying to maximize the value of our content across the portfolio" “it’s very important” to have some level of exclusivity when asking consumers to pay for a service each month [...] but “you can be surgical in how you can monetize that library.” “This was actually a very…strategic way for us to expand the aperture audience, more people got exposed to Suits [on Netflix]. And if you hadn’t watched Suits, a lot of people saw it for the first time through streaming, but if you go through the seasons and you want to watch the final season” viewers needed to go to Peacock. Ampere Analysis previously highlighted a resurgence of cross-licensing practices among competing media-owned streaming services, which after an initial period of largely keeping content exclusive to their own platforms in order to grow subscribers have more recently returned to the practice of licensing as they seek to get the most out of their content investments and libraries. #svod #streaming #content #contentlicensing #windowing #media #tv #ott
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Patrick Carr
An interesting update on what Disney's streaming division profit might mean for the TV industry from Guy Bisson at Ampere Analysis "Disney's results show that that transition [from linear to streaming] is now in full swing: as with other studios (and linear channel businesses around the world), Disney's linear business is in fairly sharp decline (revenues dropped 10% in the past six months against a year earlier). There is no going back from here." Could it mean an end to this cost cutting round and a cautious return to investing in new originals? "One thing that has never changed about the on-demand streaming model, though, is its voracious appetite for fresh content. Original production is a key part of that and with pressure now easing on costs, some resurgence of original production must surely follow." Let's hope this is corner turned! Read the full article below for this and other interesting insights.....
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🗝 Emilio García
“When this story is done and dusted, Spotify might ask itself, ‘When we bundled music and audiobooks to reduce the mechanical royalty rate for songwriters in the US, was it worth the hassle?’ In April, Spotify announced its controversial decision to reclassify its Premium tiers as ‘bundles’ by combining music and audiobooks. The move resulted in Spotify paying a lower mechanical royalty rate in the US to publishers and songwriters. Yet the world’s largest subscription music streaming service may not have anticipated just how fierce the opposition to its bundling decision would be from songwriters and publishers. In the words of National Music Publishers’ Association boss David Israelite, speaking at the NMPA‘s Annual Meeting in New York today (June 12): “Spotify has declared war on songwriters. Our response shall be all-encompassing”. To date, that “all-encompassing” reaction from the music publishing community has included: A legal threat sent to Spotify from the National Music Publishers Association over the service allegedly hosting unlicensed lyrics on its platform; A lawsuit launched against Spotify by the US-based Mechanical Licensing Collective (The MLC), which is suing SPOT for allegedly underpaying royalties to songwriters and publishers; The NMPA calling on Congress to update the copyright law in the United States to allow publishers to negotiate in a “free market” just like record labels. Today, a new headache for Spotify has emerged. At the NMPA’s Annual Meeting, David Israelite revealed that the organization has filed an official complaint against Spotify with the Federal Trade Commission for “alleged unlawful conduct by Spotify”, which the NMPA claims “is harming millions of consumers and the music marketplace”. Yes: the NMPA has filed this new FTC complaint on behalf of consumers in the United States, rather than on behalf of the trade org’s publisher members. Within the letter, obtained by MBW, and which you can read in full here, the NMPA alleges that “Spotify has deceived consumers by converting millions of its subscribers without their consent from music-only subscriptions into “bundled” audiobook-and-music subscriptions, publicly announcing increased prices for those subscriptions, failing to offer an option for subscribers to revert to a music-only subscription, and thwarting attempts to cancel through dark patterns and confusing website interfaces”. Read on: #Spotify #NMPA #Streaming #Songwriters #MusicPublishing #StreamingRoyalties #Royalties #MusicTracks #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz
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🗝 Emilio García
Paying out an additional £6 million (approx. USD $7.7 million) in royalties from online services - “UK-based royalty collection society PRS for Music says it will be paying out an additional GBP £6 million (approx. USD $7.7 million) in royalties from online services to songwriters and composers annually, thanks to a reduction in its administration rate. The collection society said it’s reducing its admin rate on multi-territory online (MTOL) royalties by 20% – from a 10% rate to an 8% rate – as a result of the CMO “surpassing its targets, delivering historic distributions and revenues, and becoming a billion-pound society.” Announced at its 2024 Annual General Meeting (AGM) today (June 4), PRS estimates the reduction will see £1.5 million more paid out to members in each of its quarterly royalty distributions starting from October this year.” #PRS #CMOs #UK #MusicRoyaties #Songwriters #Composers #MusicPublishing #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz
31 Comment -
Grant Bremner
Streaming is evolving to resemble old cable TV, focusing more on profitability than growth at all costs. According to insights from global streaming leaders shared by the NYT, several trends are emerging: - Increased prices and more advertisements. - Bundling of services. - Potential shutdowns and mergers of existing streaming platforms. - Increased content spend and licensing of content. - Greater investment in live sports. To thrive in streaming, you need to aim for 200+ million global subscribers. Despite all of this, content is still king! Quality programming and creativity are still crucial for the long-term success of streaming services (as a consumer, this one makes me very happy). https://lnkd.in/eViUFSU5
263 Comments -
John Robertson
🎶 In a record-setting year for the music industry, sales of recorded music in the U.S. soared to $17.1 billion in 2023. Streaming led the charge with 84%, while vinyl saw double-digit growth. Discover more about the music boom and the changing landscape from the latest RIAA report. https://lnkd.in/ghEaTMYY #MusicIndustry
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