Chez Nada, nous sommes particulièrement heureux de vous annoncer l’arrivée dans l’équipe de Max Meli et Anthony Consiglio, de Back In The Dayz, agence de productions de concerts, booking, et management.
Back In The Dayz a développé depuis quelques années un impressionnant catalogue HipHop & Electro. Qui compte des pépites comme Guts, La Smala, Hamza, Vald, ou les revenants de Sniper.
Max et Anthony agissent comme bookers, managers d’artistes, et producteurs de concerts et d’événements depuis près de 10 ans. En plus de la prod de concerts, en intégrant Nada, ils amènent également une dimension ‘communication’ très importante.
Amazon is going head-to-head with YouTube, launching a new online video platform which gives content owners a variety of distribution – and payment – options.
Amazon Video Direct (AVD) launches today as an enhancement to Amazon Video – the home of paid-for Netflix rival Amazon Prime Video.
We’re told that customers in the United States, United Kingdom, Germany, Austria and Japan ‘now have access to new movies, TV shows, docu-series and music videos from content creators’.
However, no recorded music companies have so far been named as official launch partners.
Alarm bells for the music business may already be going off: Amazon has given detail as to how content owners can upload videos onto AVD – but how they take them down in the case of copyright infringement is another matter.
The Independent Music Publishers Forum (IMPF) was officially founded at Midem two years ago, and now counts more than 50 rights-holders as members.
They include Bucks Music Group, Reservoir/Reverb Music, Sugarmusic, Budde Music, SONGS Music Publishing, Wixen Music Publishing, ABKCO, Bicycle Music Company and Downtown Music Publishing.
Pierre Mossiat, CEO at Strictly Confidential and another founder member, Annette Barrett of Reservoir/Reverb tell MBW that IMPF was partly created to ensure the independents had a voice on the board of the ICMP – the global trade body representing music publishers’ interests.
Says Mossiat: “We realised that the reaction to our creation may be: ‘Another trade association?!’ But we had the feeling that a few questions were not being answered for us [at ICMP].
“ICMP is doing important things that we don’t always understand or have input into. As independents, we have to have an eye on regulations, but that’s time-consuming and expensive – and ICMP is a perfect tool to manage it, so long as it’s not only in major interests.”
Pour les entreprises du monde entier, la transformation numérique de la Chine présente un intérêt non négligeable sur le plan financier. En théorie, du moins. Car si Internet est porteur d’opportunités considérables, les problèmes posés par la contrefaçon et la nécessaire protection de marques en ligne sont eux aussi significatifs.
Until AMRA took over last year, Kobalt’s collection responsibility in Europe fell to its partnership with Swedish CMO STIM – a venture which, after it was struck in 2013, resulted in its own significant uplift in collections.
Tomas Ericsson, CEO of AMRA said, “This uplift is exceptional both because it’s in Europe, one of the most mature markets in the world, and because it’s in addition to the already significant uplift from Kobalt’s previous partnership with STIM.
“To deliver a combined 28% uplift from Spotify and YouTube on top of what Kobalt has already achieved with STIM, is truly an amazing result. As well as a strong indicator of the tremendous uplift to come from the other major DSP’s and other markets around the world.”
No-one knows exactly what to expect from Vevo’s upcoming subscription tier – but now we have a better idea.
A new Vevo job ad spotted by MBW for a Head of Creative Commissioning & Acquisitions in New York gives us some clues about how the music video company is set to move far beyond standard promo media.
The role will see the successful candidate green-light, license or acquire programmes that fit with Vevo’s future direction.
In particular: “Diversifying Vevo’s content offer beyond the official music video into long form programming.”
Since the demise of the long-running-but-never-launched Global Repertoire Database (GRD) there has been a lot of debate over what comes next for digital rights reporting. The songwriter class action suits in the US against Spotify are the natural outcome of more than one and a half decades of failing to deal with the forsaken mess that is compositional rights in the digital era. The music industry needs a solution and now just like busses that never come, two arrive at once: Google’s Open Source Validation Tool for DDEX Standard (doesn’t sound too sexy I know, but bear with me on this one) and Canadian PRO (Performing Rights Organization) SOCAN has acquired Medianet essentially as a digital rights reporting play. So just what is going on in the world of digital rights reporting?
Que se passe-t-il dans le monde des droits digitaux et de leur reporting ? Intéressant point de vue.