This month marks the one year anniversary of Vivendi’s acquisition of Dailymotion for over $272 million, but, as often happens in acquisitions, the companies have struggled to integrate.
The result — Dailymotion will shutter its Palo Alto office and is hemorraging employees faster than they can replace them including its senior team.
Source: www.thevideoink.com
Chicago-based licensing and distribution digital music firm Music Dealers is heading into liquidation.
Founded in 2008, Music Dealers was created to license and distribute digital music, largely from unsigned artists, to the advertising, TV, film and gaming industries.
In a letter sent to its its clients/creditors and obtained by MBW, the company said it’s closing operations as a result of “significant startup costs and several years of operating losses.”
Source: www.musicbusinessworldwide.com
Les Francofolies de Spa au travers du prisme de la radio allemande.
Source: www.sr.de
Live Nation delivered accelerated growth in the second quarter, with revenue up 23%, operating income up 76%, adjusted operating income (AOI) up 28%, and free cash flow up 22%.
Each of its core divisions – concerts, advertising and ticketing – contributed to the performance, with revenue and AOI up double digits in each business.
Through mid-July the company sold more than 50 million tickets for concerts that take place this year, 17% ahead of this point last year.
Source: www.musicweek.com
Petite relance avant les vacances pour les appels à candidatures festival au Théâtre des Doms, dans le cadre de Têtes de Jazz à l’AJMi.
FORMULAIRE DE CANDIDATURE AU FESTIVAL D’AVIGNON 2017
La ligne de programmation :
Le projet candidat doit consister en un travail artistique contemporain et récent, privilégiant une démarche créatrice et novatrice.
La sélection se veut le reflet de la diversité des expressions de Wallonie et de Bruxelles et témoigne de l’exigence qui caractérises ses artistes.
Le projet doit allier musique jazz et théâtre.
La programmation sera rendue publique fin février 2017.
Dépôt et validation des candidatures avant le 15 janvier 2017.
Source: www.lesdoms.be
David Brun-Lambert Codes. Dans un marché musical bouleversé, les festivals vivent de profonds changements, suscité
Source: www.hebdo.ch
Le budget propre du Service des Musiques non classiques pour l’année 2015 s’est élevé à 2.879.000 euros, soit une augmentation de 1,73 % par rapport à 2014. Ce montant n’inclut pas les subventions imputées à d’autres articles budgétaires (voir tableau 2), ni celles aux Jeunesses Musicales et à l’asbl Conseil de la Musique dont une partie significative des actions est consacrée aux musiques non classiques.
Source: drive.google.com
Les différentes radios publiques francophones (RSR) totalisent 57% de l’écoute. Les radios privées suisses romandes 23,4%, les radios étrangères (française essentiellement) 10,4%.
Source: drive.google.com
“THE CHANGES WE IMPLEMENTED HAVE LAID A STRONG FOUNDATION FOR BEATPORT THAT HAVE DRAMATICALLY IMPROVED ITS PROFITABILITY.”
So what changes, exactly, could have lead to Beatport ‘dramatically improving its profitability’?
Simple: the company quit music streaming two months ago, reverting to becoming a download-only store.
Source: www.musicbusinessworldwide.com
Instagram vient d’annoncer le lancement d’un flux de curation vidéo sur l’onglet « Explore ». Face à la multiplication de ces contenus, Instagram les a donc
Source: www.blogdumoderateur.com
Guide complet (en anglais) sur la manière pour les artistes étrangers de récupérer les taxes perçues au Canada sur vos prestations artistiques. (par Robert Baird)
Source: drive.google.com
Guide complet (en anglais) pour récupérer les taxes retenues aux Etats-Unis lors de vous prestations artistiques. (Par Robert Baird)
Source: drive.google.com
Just two months after it swooped for B2B music tech provider Medianet, Canadian collection society SOCAN has acquired Jeff Price’s Audiam.
The move sees SOCAN expand into the collection of mechanical rights in the US and Canada, as well as associated licensing and royalty distribution.
Audiam locates metadata for every sound recording of a specific composition, recovering due mechanical rights revenue for songwriters, composers and music publishers.
Source: www.musicbusinessworldwide.com
The recorded music industry gets radio, and it is beginning to get streaming. Both are all about plays. Each play has, or should have, an intrinsic value. They are models with some degree of predictability. But YouTube does not work that way, which is why the whole per stream comparison thing just does not add up. In MIDiA’s latest report ‘The State Of The YouTube Music Economy’ we revealed that YouTube’s effective per stream rates (that is rights holder revenue divided by streams) halved from $0.0020 in 2014 to $0.0010 in 2015.
Source: musicindustryblog.wordpress.com
The MBW Review gives our take on some of the music biz’s biggest recent goings-on. This week, we ponder some new revenue numbers from eBay and subsidiary StubHub, and question whether all of the music industry’s ire is pointed in the right direction.
Source: www.musicbusinessworldwide.com
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