2. Introduction:
Thisreportwill focusonthree International musicmarkets,UK,USA and Germany;lookingat their
significantfeaturesanddifferences. Factorsthat will be consideredwill include political,socio-
cultural,economic,social andlegal aspects.Followingthat,the marketswill be analysedinregards
to theirretail anddistributionandoffline/online promotions andthe live markets toestablishif and
whatimpedimentsthere are tothe promotionof UK musicinthose sectors.
Whenlookingatthe global musicmarket,itis evidentthatthe UnitedStates,UnitedKingdomand
Germanyare keyplayerswithinthe musicmarket.Consideringmarketshare of the global recorded
music,accordingto(IFPIandRIAJYearbook2011)USA was rankednumberone withamarketsize of
24.5% whichisworth4,562.0 milliondollars.Germanywasrankedthirdwithamarketshare of
10.5% and a value of 1,945.8 milliondollarsfollowedby the UK whichwasrankedfourthwitha
share of 9.3% and a value of 1,730.5 million dollarsinthe year2009.(Data available inappendix1)
Part 1, Political,Socio-Cultural,Economic,Social and Legal Factors:
Political Factors:
UK:
Firstof all,consideringUKand Europe,itis clearthat DavidCameronhasvetoedonan EU-wide
treatychange to tackle the euro zone crisis,(BBC2012) DavidCameronhas done thisas he believes
thisisnot in the UK’s bestinterests. Thismaybe agood thingas he istryingto protect our economy
fromthe threatsof Europe however there couldbe risktotrade in the future andloose influence in
Europe as mentionedbyLordHaseltine.(Telegraph2012)
There isalso an opportunityforlive asFeargl Sharkeymentionedthatthe governmenthas
confirmedtoexemptsmall venuesfromthe LicensingActwhichwill allow agreateramountof live
performances beingtakenoninsmall venuesaccordingtothe Live MusicBill (Total Politics2012)
Opportunitiestogetbusinessgrantsfornew startups and small businesses,thiscouldleadtonew
musiccompaniesbeingsetupinthe UK.
UK Music bringsforwardissuesconcerningthe industryto governingbodies.(UKMusic2012)
USA:
Obama’sadministration announcedin2010 that theywouldworkoncracking downon piracy;this
move bythe governmentcouldleadtoprosecutionof infringersandpossible increase of revenuesin
the future.(DailyTech2012)
The US alsosupportsIPand copyrightsthrougha listof policypriorities in2011 whichare aimedto
tackle illegal infringement andstrengthenandenforce the protectionof IP rights. (Us Chamberof
Commerce 2012) The priorities canbe seeninappendix 2. There is alsomonitoringonexplicit
contentinmusicthroughthe use of parental advisorylabel programme.(RIAA 2011)
Like UK Music, RIAA alsobringsconcernsto the governmentandworks toprotectIP rightsand
reviewingpoliciesandstate andfederal laws.(RIAA 2012)
3. Germany:
Germanycouldbe willingto offerUKthe protectiontheywanted inEurope,whichwas earlier,
refusedandledtoMr Cameron’sveto.(DailyMail 2012)
Socio-Cultural:
Each country will be analysedby agraph depictingtheirscore according to Hofstede. (Geert
Hofstede 2012)
UK:
- It isvisible thatUKhas a lowPDI meaningpeopleliketobe involvedindecision makingratherthan
everythingbeingcentralisedandrunby a minority. The high IDV showsthatpeople are more
individualinthe, whilstthe MASshowsthatmale dominance isnotas highand there isa level of
equalityandbothmale andfemininevaluesare present.The UKculture isalsomore likelytotake
risksand be acceptingto changeswhilsthavingafocusonshort-termtargetsunderLTO.
USA:
4. USA have a higherPDIbut theystill share a similarview asthe UKregardinghow organisationsare
run and whoisinvolvedindecision-making.TheirIDV isalsohighersotheyare more relianton
themselveswhenitcomestogettingthingsdone. ConsideringMAStheirscore islowerthanthat of
UK, thisshowsus thatthere is a sense of equalityinbothmasculineandfemininevaluesineveryday
life/operations.USA are lesslikelytotake riskthanUK, but theywill stillbe accustomed tochange
concerningtheirUAI,andtheyare are alsofocusedonshort-termtargets.
Germany:
5. Germanyis similartoUK inregardsto PDI and decisionsare more decentralised.Onanindividual
scope theyseemprettyindividualbutalsorelyonothers.MASwise,itisseenthat masculine values
are more dominantbutthe feminineaspectsare still present.TheirUAIishigherthanthat of UK,
thisshowsthat theyare lesswelcome tochange andthat there issignificance attachedtorulesand
risksare avoidedandlike UKandUSA theyare focusedonshort-termtargets.
Economic:
UK:
It was mentionedinThe Guardianthatretailerswouldtake advantage of the VATrise to20% and
increase theirpricesin2011. (Guardian2012)
Interestrate iscurrentlyat 0.5%. (BankOf England2012) Thiscouldmeanlesspeople savinganda
possible chance of increasedrevenues.Howeverasthe inflationrate is4.8%,whichis2.8% above
the 2.0% target(BankOf England2011), thismightmeana reductioninrevenuesaspriceswould be
goingup andas wagesseemtobe stayingthe same (Guardian2011) and there islessdisposable
income.
Alsoconsideringunemploymentwhichisdisplayedinthe graphbelow,the amountof people
unemployedbyOctober2011 was 2.64m. (BBC 2012) This will affectsalesaspeopledonot have
moneydue tonot havingwork.
6. UK’s GDP was valued2.25 Trilliondollarsin2010 by (WorldBank2012). Thisdata can be seenin
Appendix 3.
There isalso a possibilityof 1.2millionjobsbeinglostinEurope due topiracyby 2015. (IFPIDigital
Music Report2011)
The graphs belowshowthe marketshare Major labelshave inthe UK musicMarketwithUniversal
leadingboththe digital andphysical market.(Phil Hardy,2011, Dire Straits)
(Take note EMI isnowowned bySonyand Universal)
USA:
7. The US alsohas problemswithunemployment.The graphbelow showsthatunemployment is
aroundthe 8.5m mark howeverthere are signsthatitis fallingwhichisbothvisible inthe graphand
chart. (BureauOf Labour Statistics2012)
The current interestrate inthe US is currentlyat0.25% whichhas beenlike thatsince December
2008. (TradingEconomics2012) Thiscouldbe a positive asmentionedbefore aspeopleare more
likelytospendratherthansave.
Anotherfactorwhichcouldaffectthe salesof musicinThe US is the inflationrate,lookingatthe
chart below,the ratesisat 3.4% thusthere will be increasesinprice of necessitiessuchasfoodetc.
(TradingEconomics2012)This meansthat there couldbe an opportunitycostof not gettingwants
8. such as music.
Consideringthe GDPaspectinthe UnitedStates,accordingto (WorldBank2012) the USA GDP was
worth14.5824 Trilliondollars bythe endof 2010. The table forthat can be seeninappendix 4.
Consideringthe graphbelow itisclearthatUniversal isthe marketleaderinthe US for bothdigitall
and physical sales.(Phil Hardy,2011 Dire Straits)
(Take note EMI isnowownedBy SonyandUniversal)
9. DifferentRevenuestreamsformusicinthe USA can be seeninthe chart below. (IFPILetsPlay)
Germany:
The unemploymentrate inGermanyiscurrently at 6.6 percentfollowingfallsandthenan increase.
Data shownbelow(TradingEconomics2012) That percentage indicatesthatapproximately
2.88millionare unemployedinGermany.(BBC2012)
Concerningthe interestrate,thatiscurrentlyat1% whichis higherthanbothUK and USA. (Trading
Economics2012)
10. Concerninginflations,the rate iscurrently at2.1 percent.(TradingEconomics2012) It is lowerthan
UK and USA thiscouldbe a positive forthe musicmarketaspeople mighthave more disposable
income topurchase music.(The chart for inflationcanbe seeninappendix5.)
In regardsto GDP (WorldBank 2012) indicatedthatGermanysGDP was3.31 trilliondollarsbythe
endof 2010, withsignsof a decline.(Chartavailableinappendix 6.)
Accordingto (GrabStats2012) The US Digital Music Revenuesare valued $5.3Billion.Withthe trend
showingarise each year.
Lookingat the graph belowitcan be seenthatUniversal isthe marketleaderwith35.7%share at the
endof 2009. (Phil Hardy,2011, Dire Straits)
(Take note EMI isnow owned by Universal and Sony)
11. Social:
UK:
Social factorscould be issuesinthe local communitiesandthe banningof eventsbypolice especially
if the area is knowforviolence orthe act has got a historyof violentfanse.g.artistslike Giggs.
(Guardian2012) Alsoaccordingto the (Guardian2012) police are accusedof discriminatingagainst
the urban musicscene,andcarryingout riskassessmentsbasedonethnicityandcancancel showsat
short notice.
UK populationiscurrentlyageingwiththe predictionof 1 infour beingover65 by 2050. (Parliament
UK) Thiscouldleadto musicthat isbeingmarketedatyoungpeople see afall inrevenuesinthe
future.
USA:
The US alsohas an ageingpopulation,with65+ being19% of the US populationby2030.
(AdministrationonAging2012)
Nearly40% of 45 yearoldswere buying albumsinAmerica.(MusicIndustryBlog2012) There could
be potential inexploitingthatmarket.
40% of top20 acts have a singerof 60 yearsand older.(MarketingCharts2012)
Germany:
Germanywas the largestonline audiencesin2009. (ComScore 2012) This meansthatthere is
potential togrowrevenuesinthe digital musicmarket.
Germanyalsohas an ageingpopulation,whichispredictedtocause a of 5 millionworkersinthe
nextdecade anda half.(Guardian2012)
Germanmusic salesare alsoon the rise, whichcouldbe problematictopromotingUKmusicinthat
region.
Legal:
UK:
Legal factors suchas licensinglawsforvenuescouldaffectanevent.The licensingActof 2003 makes
it easiertogetall licencesfromone place.(Culture.gov 2012)
1988 Copyright,DesignAndPatentsAct1988 has beenusedinthe highcourt to getBT to block
Newzbin 2for copyrightinfringement.(Independent2012) Thiscouldopenup doorsto force
internetproviderstobe forcedto blockinfringingcontentinthe future.(MusicLaw Updates2012)
Law may be relaxedoncopyingyourownCD’sto your mp3 playerwhichisillegal inthe UK.These
recommendationswere mentionedinthe HargreavesReview,andthere wasalsomentionof
relaxationonlawsregardingcomical parodieswhichare alsoillegal.Thesenew lawscouldleadto
more newtechnologiesthrivingandapossible £8bnbenefittothe economy.(BBCNewsbeat2012)
12. DEA 3 strikeswarninglettersare likelytostartgoingout in2013. (MusicLaw Updates 2012) So
infringersmaynotbe affecteduntil then.
USA:
Rightnowthere is a case betweenUniversalandseveral artistswhichfocusesonroyaltiesdealing
withdigital,currentlylabelslike tocalculate digital royaltiesatthe same level asphysical sales.
Howeverasthere isno financial inputintodigital,artistsdeemitfairtohave a higherroyaltyrate,
thiscase couldleadtodifferentcalculationsbeingusedfordigitalroyalties inthe future andmaking
it fairerforthe artists.(MusicLaw Updates 2012)
Supreme Courtconfirmsthatdownloadisnota publicperformance underfederal copyrightlaw.
(MusicLaw Updates2012)
StopOnline PiracyActcouldbe droppedafterObamasaid he wouldnotsupportit due to it
threateningthe opennessof the internet.(Guardian2012)
Germany:
GEMA has beencalculatingthe royaltiesitcollectsbasedonthe size of the space where the musicis
played.Some eventorganiserswereunhappywiththisastheymentionedsome partsof outdoor
eventswill notbe accessible topeople due tostandsetc.beingthere andthatthe musicmay notbe
heardfrom furtherpoints. Howeverthe courtand court of appeal decidedthatGEMA isentitledto
calculate throughthose means,asthere will be new listenerswalkinginandoutof the areaswhere
musicis heard.(Music Law Updates2012)
The German Associationof ConcertPromotershasappliedtosetupa new collectionsocietywhich
will focusonneighbouringrightsandcollectingroyaltiesforexploitationsof recordedliveeventsin
Germanyevenif theywere recordedanywhere else inthe world.(MusicLaw Updates2012)
-ConsideringbothGermanyandUK, the committee inBrusselshave agreedtoextendcopyright
across Europe by 20 years.Thiswill allow the copyrightholdersanextra20 yearsof financial gain
throughroyaltiesfromthose works.(Financial Times2012)
Part 2, Retail & Distribution System,Online & Offline Promotion/TV/Radioand Live MusicMarket:
Consideringthatthe firsthalf of thisreporthascovered political,socio-cultural,economical, social
and legal factorsthe secondpart will lookatthe retail & distributionsystem,online andoffline
promotion/radio/tv andthe live musicmarketandwhatthe impedimentsthere couldbe to
promotingUK musicinthose countries.
Retail and DistributionSystem:
UK:
HMV is UK’s biggestmediaretailer;their salesduringthe Christmasperiodwere8.2% lowerthanthe
previousyear.(BloombergBusinessWeek2012) Thiscouldbe a potential forecastforthe following
yearsalesconsideringgrowthwillbe flat.(Guardian2012) HMV were alsoclosing60 storesin2011,
13. thiswill affectmusicretailingastheyare the onlymajormusicretailerinthe UK, (BBC2012) and the
amountof independentstoreshasshrunk.(MusicWeek2012)
Supermarketsinthe UK such as Tesco & Asdadominate theirmarket’s(Guardian2012),thisgives
thembargainingpowerandthe amountof customerstheycan reach. Throughthat theycan
undercutcompetitorsbysellingbelowRRP’sthushavingthe powerof suppliersunderPortersFive
Forces.
Cd albumsare still the mostprofitable productinthe UKmusicmarket as theyhad76% of sales,
(MusicIndustryBlog2012) whilstApple hasbecome UK’s2nd
largestonline retailerwith iTunes
havingapproximately70%share of the download market.(MusicWeek2012)
USA:
iTunesdominatesthe USdigital marketwith66.2% share of the market.(The NextWeb2012) CD’s
rose to 82% of albumsales,considering3quarter of albumsalesinthe Statesare made offline.
(MusicIndustryBlog2012) Whichis done throughmajorretailerssuchasBestBuy and Walmart who
can affordto sell musicbelowrrp’s due totheirpurchasingpowerandsize.
Germany:
Germanyhas a strongermusicretail sectorthan UK, as ithas two electronicsretailers;MediaMarkt
and Saturnwho are similartoHMV. WithSaturn having144 retail stores,includingMusicDome
whichwonthe Echo Award forbestmusicretailerandmediaMarkt having237 stores.They
accountedfora thirdof the Germanphysical musicmarket,(MusicWeek2012) whichisstill quiet
strongas itonlysawa fall insalesbyonly2.2%. (musikindustrie.de2012)
Germanmusic consumptionhasalsohadan increase inthe amountof German musicbought,this
showsthat Germanmusicis startingto dominate the Germanmarketandcharts. (Billboard2012)
Thiscouldbe a keyimpedimenttopromotingUKmusicas the majorityof musicboughinGermany is
nowbecomingGerman.
Online & Offline Promotion/TV/Radio:
UK:
Currentlyalot of artist andlabelstake advantage of social networkstodoonline promotionof their
musicand shows. Some promotionisdone inmagazines,TV andradioplay-listsdependingonthe
stature of the artistand whomtheyare signedto.
Music awards on TV such as Britsleadto majorUS acts winningawards, actssuchas JustinBieber.
(stv2012) Thispromotesartistona national anda global scale.
Music magazinesalsoprovide information,onartistsandhelppromote shows,magazinessuch
Music Week,Kerrang,posterandBillboardsignsadvertisingaswell asonthe bus andin the tube.
14. USA:
Spotifywill have limitationsonthe amountof musictheycan listentoas free subscribersafterthe
first6 months.(Hyperbot2012) Thiscouldlimitthe possibilityof UKacts beingheardinthe US.
Pandorais alsounavailablein the UKdue to licensingconstraints.(Pandora2012) Thiscan work as a
threatof substitutesunderPortersanalysisasconsumerswill lookforadifferentservice.
There are alsoissues of radioplaylistsjustlike inthe UK,thismakesitharder fornew UK acts to be
heardin the USA and the past controversiesof payolastill have aneffectonradiosinthe states.
Online promotionalsohassome difficultiesas MTV regionrestrictionsmake some UScontent
unavailable inothercountries. Onlinehas alsomade itharderfor UK acts to breakAmerica,
accordingto Californian bookingagentFrankRiley.(NME2012) Howevershowssuchas WWE
promote musicbyhavingsongsbe theme tunesforspecial PPV’s.Forexample Tinie’sWrittenInThe
Stars wasthe theme songforWrestlemania2011. (923 Radio2012) These eventsare a great
promotiontool forUK acts as it can showcase talenttothe whole world.Anotherpossible wayof
promotingUK talentwouldbe tosecure synchronizationrightsforuse of musicinAmericanshows
and commercials.
Magazinesand billboardscanalsoprovide promotionforshowsandartists,withnumerous
magazinesforeachspecificgenre.
Germany:
Deezerentersthe GermanmarketbeatingSpotify,by reachinganagreementwith Bitkomto
transfer6eurocents to9 centsper songto Gema. (Bloomberg2012) This couldbe a benefittoUK
musicians, astheywill be reimbursedfortheirmusicbeingstreamedinGermany. MTV Europe also
ensuresthatmusicispromotedthroughitschannels inplaceslike the UKand Germany.Social
networkswouldalsoplayavital part inpromotingmusic,howeverthe language barrierswill have to
be overcome. Theywill alsopromote musicintermsof magazinesandposters,radioadvertsetc.
Live Music Market:
UK:
HMV are consideringthe sale of theirlive MAMA groupdue tochallengingfinancial results.(Music
Week2012) Thiscouldleadto more marketshare forAEG andLiveNation (MusicWeek2012) who
are alreadythe 2 keyplayersinthe live industry,theyorganise keylive eventslike Glastonburyas
well asshowsbyfamousbandsand artists. Bigshowsfail to sell outarenasas live industrystuttered
in2010 according to analysts,andlive revenuesfor2010 fell by6.7%. (Guardian2012) This fall could
be due to a lackof investmentandnewbandsmakingitintothe charts. Howeverlive musichasa big
impacton the UK economyasit isclaimedthatit contributes£1bnto the economyeachyear.(BBC
2012)
A majorevent,Glastonburyhasbeencancelledthisyear(Telegraph2012) thiswill undoubtedly
reduce the revenue expectedforlive musicthisyear.
15. USA:
Live NationandAEG are alsokeyplayersinAmerica Oldermusicactsdrive the US touringrevenue
numbers. (MarketingCharts2012) The pie chart (Appendix 7) showsthe age percentage of top20
acts. Animpedimentof thistobreakinga UK act in Americaisthat,these olderactshave an
establishedfanbase anditcouldprove difficulttotryand breaktheirmarketwithyoungerUKacts.
The Top 100 NorthAmericanshowshave grossed3.7% more in revenuescomparedtolastyear,
howeverattendancesfell,possiblydue toanaverage price of $67.36 amongthe top 100 North
Americantours.(Forbes2012) Thiscouldprove problematictopromotingaUK artistas consumers
may notwant to spendthatkindof moneyona new act from the UK.
Germany:
AEG ownsGermanys mostprestigiousarena,O2World (Phil Hardy,2011,Dire Straits).Accordingto
Phil;Live Nationenteredthe Germanmarketin2008 to compete withAEG. Phil alsomentionsthat
the German Live Industrywasworth$3.78bn in2008 aftera fall of 9% and a similaramountin2009.
Consideringlive musicinGermany,the sell outtourscame fromacts suchas Rihanna,Coldplayand
Metallica.(Phil Hardy,2011,Dire Straits)
GEMA has alsoincreasedit’slive performance rate forconcertswithan attendance of 15,000 andup
to 7.65% of gross takings,upfromthe previous3.58%.(Phil Hardy,2011,Dire Straits)
Conclusion:
Whenlookingatthese three markets,the have some majorsimilaritiesanddifferences.After
analysingeachmarket,itcan be seenthat there are impedimentsforpromotingUKmusicregarding
the sheersize of Americaanditsdifferent time zone’stothe language barriersinGermany.Also
consideringthe average age of performersinAmerica,itisevidentthatthe establishedbandsare
the more successful,andthe amountof 45 year oldsbuyingmusicisalsoincreasing.Thismeansthat
the Americanconsumerismore likelytobuymusicfroman act theyknow rather than an unknown
artistfrom the UK. Consideringthatradiopromotionmaybe difficultthe actsfrommajorlabelsget
airplay.There are obviouslyopportunitiestogetmusicsyncedincommercialsorTV shows,or
promotedonkeyTV events,whichhasbeendone withTinie Tempa’sWrittenInThe Starsand
Wrestlemania.’
RegardingimpedimentstopromotingUKmusicinGermany,data suggeststhatGerman acts are
becomingpore popularasGermanmusicsalesare now startingto dominate the Germanmusic
market.This showsthat theyare more likelytolistensomething homegrown ratherthanan act from
abroad. Alsothe Live performance rate will have anadverse effectonthe amountof moneyUK
artistsmake in Germany as the rate hasalmostdoubled.
Alsoaccordingto the statisticsregardingmarketshare byeachcountry,it wouldbe a loteasierto
promote a UK act if theywere signedtoUniversal astheycan use theirinfluence topromote and
artistin a givenmarket witheachcountry’ssubsidiary.
16. In regardsto Hofstedesanalysis,the differencesbetweenthese threemarketshave beenidentified.
USA and UK are prettymuchsimilaronthe Socio-Cultural aspect,butGermanyissomewhat
different.Theyare lesslikelytotake risksandare more unwelcome tochange unlike their
counterpartsUK and USA.This unwelcomeattitude tochange andriskswill be amajor impediment
to tryingto bringa newartist fromthe UK into theirmarketas there maybe a risktheywontadopt
to the newact.
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21. Hardy, P (2011). Dire Straits:A territorial surveyof the MusicBusiness.
theviewfromtheboundary.com:theviewfromtheboundary.
Appendix:
23. (Riaj Yearbok2011)
2: Policy Priorities for 2011
Strengthen the protection and enforcement of IP rights in the United States and abroad.
Shut down the top illegal websites globallythat are willfully selling counterfeitgoods and facilitating digital
theft, beginning with the passage oflegislation similar to S. 3804–Combating Online Infringementand
CounterfeitAct.
Reduce the sale ofcounterfeit goods and the piracy of copyrighted works online through an appropriate
combination ofimproved tools and enforcementefforts,both domesticallyand internationally,and through
engagementwith online strategic partners.
Ensure that the Intellectual Property EnforcementCoordinator has sufficientstaff,budget, and authority to
fulfill the obligations and achieve the goals outlined in the PRO-IP Act and the National IP Strategy.
Secure enactmentof Customs and Border Protection (CBP) reauthorization legislation with strong IP
enforcementprovisions.
Secure continued funding for dedicated resources to strengthen IP enforcementat Justice,the FBI, and the
Intellectual Property Rights Center.
Secure enactmentof legislation to postIP attaché at key U.S. embassies abroad to monitor priority
countries and assistU.S.businesses with protecting their IP rights in those countries.
Improve Special 301 enforcementby enhancing the tools available to the administration to engage more
effectively with countries that fail to respectand enforce the rights of American innovators and/or live up to
their international IP obligations.
Secure enactmentof enhanced criminal penalties for illegallystreaming copyrighted content.
Promote and defend strong IP protection and enforcement regimes in the United States, key countries,
and multilateral fora.
Advance robustIP protection and enforcementprovisions in trade agreements and their implementation,
including in negotiations on the Trans-Pacific Partnership Agreement(TPP).
Counter the anti-IP rhetoric and policies ofChina,India,Brazil, and other countries in key capitals,
multilateral fora,and the media by building alliances and recruiting new voices,including among developing
countries,to promote pro-IP policies.
In China,work to
o reduce enterprise software piracy,
o reduce piracy and counterfeiting on the Internet, and
o enhance regulatorydata protection,patent linkage,and patent term restoration.
In India, work to
o refine and continue to implementan advocacy campaign thatuses largelylocal voices to promote
innovation,
o continue to expand our direct engagementwith the governmentof India at the central and state levels
to encourage the adoption of innovation friendly policies,and
o highlightthe contrastbetween India’s rhetoric on IP issues in multilateral fora versus commercial reality
in Delhi.
24. Defend trademark rights by opposing plain packaging proposals in key countries and by educating key
governments in advance of the negative consequences ofsuch proposals.
Promote the use of only authorized copyrighted works by governmentagencies,contractors,and employees
and the adoption of bestpractices and benchmarks to preventinfringementand ensure and measure
compliance.
Advocate for Congress to give the U.S. Patent and Trademark Office the ability to fully utilize the fees paid
by patent applicants to reduce the backlog of pending applications and shorten pendencytimes.
Raise awareness and increase support among key audiences for the value of strong IP rights as drivers
of innovation and creativity.
Build alliances to create and deliver pro-IP messages to Congress,the administration,state-level officials
and organizations,academics,and other stakeholders as partofa national echo chamber.
Produce rationale,fact-based,and actionable research reports and white papers thatsupportour work
plans and messages.
Maximize earned media exposure ofachievements,research,issues,and messages through press
conferences,statements,blogs,Facebook,Twitter, videos,and other forms of media to help drive policy
and the Chamber’s role as a leader on IP.
Develop a first-class website thatserves as the go-to site for the latestnews,information,and research on
IP, innovation,and creativity.
Build relationships with national and international media,including specialized trade and industry
publications.
Appendix 3:
Appendix 4:
