A white paper from the IAB explaining the opportunities offered to brands by a range of digital audio services. Features contributions from MySpace, Spotify, We7 and Last fm who explain the different advertising opportunities available on each platform and show how bringing audio, video, display and sponsorship together can deliver powerful results.
For more information visit the IAB's website: http://www.iabuk.net
Follow us on Twitter @iabuk
The document discusses the history and future of the music industry. It covers the evolution of music from pre-historic instruments to modern digital formats like MP3s and the impact of technology like the CD, MP3 players, and internet downloading. The document also examines the debate around digital music piracy and arguments from both sides of the issue. It suggests the music industry needs to embrace new technology to adapt to changes in how consumers obtain and listen to music.
The document discusses a keynote speech given by Tomi Ahonen on how communities, culture, connectivity, and commerce are changing how we create culture, media, education and politics. It references how Generation C relies on its community and how media is experimenting with interactivity. It also discusses learning and education in the age of the 7th mass media, which it defines as mobile phones.
Innovation in the online music industryEirik Kvistad
The music industry has faced significant challenges due to technological innovations that have disrupted traditional business models. Napster and Limewire allowed widespread, free sharing of music, hurting sales. Streaming services like Spotify now dominate, paying artists based on their share of total streams rather than fixed prices. Live performances and alternative revenue streams have grown in importance. Looking ahead, streaming growth may continue though older users are slower to adopt it, and new technologies like VR concerts could emerge.
Beyonce is not only an artist & entertainer, she is also a strategist. Through analyzing business models in the music industry like iTunes, record company, piracy, spotify, artists we show how Beyonce re-introduced the business model of the classic album. A classic. Beyonce rocks.
The document discusses the impact of digital piracy on the music industry and how major labels are trying to combat it. It defines various terms related to piracy like streaming, downloading, and P2P file sharing. It provides examples of pre-release piracy damaging artists' sales. Sony has faced issues like Leona Lewis' album being hacked and leaked online pre-release. Sony is taking steps like 360-degree deals with artists and using sites like YouTube and Spotify to stream music legally.
The document discusses changes in the music industry over time as revenues have declined but music consumption has increased. It attributes the revenue decline to shifts in how people access and listen to music, from physical formats to digital. New services like Napster, iTunes, YouTube and Spotify provided convenient digital access to music for free or low cost, which impacted revenue streams. Streaming services in particular have grown rapidly and now drive most digital revenue, though artist royalties per stream are much lower than from other sources. Sustainable business models are needed that satisfy customers desire for easy, free access while also generating sufficient revenue to fairly compensate all industry stakeholders.
A white paper from the IAB explaining the opportunities offered to brands by a range of digital audio services. Features contributions from MySpace, Spotify, We7 and Last fm who explain the different advertising opportunities available on each platform and show how bringing audio, video, display and sponsorship together can deliver powerful results.
For more information visit the IAB's website: http://www.iabuk.net
Follow us on Twitter @iabuk
The document discusses the history and future of the music industry. It covers the evolution of music from pre-historic instruments to modern digital formats like MP3s and the impact of technology like the CD, MP3 players, and internet downloading. The document also examines the debate around digital music piracy and arguments from both sides of the issue. It suggests the music industry needs to embrace new technology to adapt to changes in how consumers obtain and listen to music.
The document discusses a keynote speech given by Tomi Ahonen on how communities, culture, connectivity, and commerce are changing how we create culture, media, education and politics. It references how Generation C relies on its community and how media is experimenting with interactivity. It also discusses learning and education in the age of the 7th mass media, which it defines as mobile phones.
Innovation in the online music industryEirik Kvistad
The music industry has faced significant challenges due to technological innovations that have disrupted traditional business models. Napster and Limewire allowed widespread, free sharing of music, hurting sales. Streaming services like Spotify now dominate, paying artists based on their share of total streams rather than fixed prices. Live performances and alternative revenue streams have grown in importance. Looking ahead, streaming growth may continue though older users are slower to adopt it, and new technologies like VR concerts could emerge.
Beyonce is not only an artist & entertainer, she is also a strategist. Through analyzing business models in the music industry like iTunes, record company, piracy, spotify, artists we show how Beyonce re-introduced the business model of the classic album. A classic. Beyonce rocks.
The document discusses the impact of digital piracy on the music industry and how major labels are trying to combat it. It defines various terms related to piracy like streaming, downloading, and P2P file sharing. It provides examples of pre-release piracy damaging artists' sales. Sony has faced issues like Leona Lewis' album being hacked and leaked online pre-release. Sony is taking steps like 360-degree deals with artists and using sites like YouTube and Spotify to stream music legally.
The document discusses changes in the music industry over time as revenues have declined but music consumption has increased. It attributes the revenue decline to shifts in how people access and listen to music, from physical formats to digital. New services like Napster, iTunes, YouTube and Spotify provided convenient digital access to music for free or low cost, which impacted revenue streams. Streaming services in particular have grown rapidly and now drive most digital revenue, though artist royalties per stream are much lower than from other sources. Sustainable business models are needed that satisfy customers desire for easy, free access while also generating sufficient revenue to fairly compensate all industry stakeholders.
Here are some recommendations for gathering market research to address the Sudkurier management team's questions:
1. Conduct a media usage survey of Sudkurier readers and non-readers to understand which other newspapers, magazines, radio stations, websites etc. they consume on a regular basis. This will identify the Sudkurier's main competitors.
2. Design and distribute a reader survey to collect demographic data on readers and understand which sections they find most/least interesting. Include questions about time spent reading different sections. Consider focus groups to get qualitative feedback.
3. Pilot test updated layout designs with readers and get feedback via surveys or focus groups. Assess comprehension, appeal and usability of different designs.
Brands in the alcohol industry face significant challenges from changing consumer behaviors and new technologies. Consumers are spending more time online than watching TV, developing more sophisticated tastes, and drinking more at home. To succeed, brands must engage customers through online communities, mobile apps, social media, and events to build relationships and stay relevant as trends evolve. The document provides examples of how Bacardi, Flying Dog, Diageo, Pabst Blue Ribbon, and Rock Art Brewery have adapted successfully to these new realities.
Changing African Youth Attitude to the legal Digital MusicBSP Media Group
This document discusses changing youth attitudes towards legal digital music in Africa. It outlines efforts by various organizations to curb music piracy, such as destroying over a million pirated discs in Algeria and police campaigns in South Africa that confiscated $50 million worth of pirated goods. However, some anti-piracy groups have also run into issues, such as one that pirated a song for its own campaign. The document advocates for teaching youth to be creative online and promoting legal options over simply prohibiting unauthorized behavior.
The document provides a history of how musical content has been distributed from the late 19th century to present day. It discusses the transition from physical formats like records, cassettes, and CDs to digital formats and online distribution. It outlines key developments like the mp3 format, Napster and file sharing in the late 1990s/early 2000s, the launch of the iTunes Music Store in 2003, and the rise of streaming services like Rhapsody, Spotify, and more recently Apple Music. The document suggests that streaming has become the dominant model and will continue to grow in the future, with Apple Music poised to overtake other leaders like Spotify.
This document discusses innovation in the music industry due to changing technology and consumer behavior. It outlines how technology has disrupted the industry through digitization, the internet, and mobile devices. Consumer expectations have also changed, desiring free, on-demand, mobile access to music. This has led music businesses to innovate, developing new digital music services like streaming platforms to meet these changing needs. The document concludes that an evolving transformation of the music industry through new business models and addressing technology and consumer trends can lead to a sustainable future for the industry.
The document discusses how digitization has disrupted the music industry by changing the value chain and business models. It led to declining revenues as piracy increased and consumption shifted from physical to digital formats. Record labels adapted by pursuing new pricing strategies like a la carte downloading, subscriptions, and partnerships for streaming services. Overall, digitization transformed the industry from physical to digital and changed the role of record labels.
analysis of personal music industry, looking at customer journey mapping, personas and industry standards, taking youtube and spotify as industry disruptors, and giving innovative ideas for future.
Major record labels like Sony Music Group, Universal Music Group, and Warner Music Group traditionally sell music through production, promotion, distribution to retail stores and radio, and consumption via album/single sales and concert tickets. However, with the rise of digital piracy accounting for 95% of online music downloads, these "Big 3" labels have had to adopt new strategies like Radiohead's "pay what you like" model or Beyoncé's surprise album release to generate interest while avoiding leaks. Still, alternative marketing has seen limited success in offsetting over £1 billion in annual losses to the UK music industry from continued widespread illegal downloading online.
The 20th Century was the century of broadcasting. In this century we as films, books, TV, long play records, cassettes, CDs, DVD etc. The all had few things in common: they were one-way medium, a broadcast from one to many. Producers were limited and became gatekeepers of content. Somebody selected the films to show in theaters, movies to watch on TV etc. The 20th century was the time of movie stars and pop stars.
It turns out all these mediums have one other thing in common: they are based on a model of scarcity, i.e. program directors have to choose the program for you, since there are only finite number of channels and screens. There are only finite space of shelfs for CDs in store. So we needed pop starts. The many consumers had to listen to the same few albums.
With the Internet in the 21st century this model breaks down. We move from the economic model of scarcity to the economic model of abundance. This changes the game completely. In this lecture we will explore this transformation.
Universal Music Group has adapted successfully to changes in the music industry driven by consumer behavior. It was an early adopter of digital music distribution and partnerships with digital retailers. It monitors trends like increased digital single sales and decreased album sales to inform strategies like offering singles and EP deals instead of just albums. Universal also partners with emerging technologies to satisfy consumer demand for music, such as offering free songs to streaming sites in exchange for revenue sharing. Through market monitoring, innovative strategies and partnerships, Universal has maintained its leadership in the industry.
The document summarizes the changes in the music business over recent years. It discusses the decline of record sales due to the rise of digital music and illegal downloading. While digital music sales are increasing, they have not offset the losses from physical sales. New business models like subscription services and live concerts/merchandise are emerging as artists seek ways to monetize their music. Overall, the traditional record industry is struggling to adapt to these changes and find an effective strategy to address illegal piracy and transform their business model for the digital age.
Apple Music is a growing streaming service, but it needs improvements to better compete with Spotify. While Apple Music has exclusive content through Apple Music 1 radio that draws subscribers, its marketing is lacking, especially for non-Apple users. It also falls behind Spotify in social media features like Wrapped, where Spotify provides more engaging, shareable summaries of users' listening habits. Apple Music would benefit from stronger branding separate from its parent Apple, improved marketing of its exclusive content, and more aesthetically pleasing social features on par with competitors.
PG&E has spent $44.2 million to support Proposition 16, a ballot initiative that would make it more difficult for municipalities to establish public power alternatives to PG&E's electricity monopoly. At the same time, PG&E is requesting a $4 billion rate hike from the California Public Utilities Commission. Opponents of Proposition 16 have raised far less money and are turning to creative grassroots tactics like parody songs to get their message out. If passed, Proposition 16 could allow PG&E to raise rates further in the future without competition from public power programs.
Intro. communication tech final project 2014alvinsims005
This document discusses emerging technologies and communication trends. It provides background on how communication has evolved from non-electronic methods to today's digital landscape. Several theories are examined, including Diffusion of Innovations theory, Long Tail theory, and Social Learning theory. These theories help explain how new technologies spread and are adopted by society. Examples are given of Apple and Microsoft innovating products and how their innovations diffuse according to these theories. The document also discusses how online shopping and social media have changed communication and access to information, goods, and services. The future is predicted to involve more wireless and on-the-go access to technology through mobile devices.
This document discusses how technological advancements have impacted consumer behavior. It notes that consumers are now constantly connected via internet-enabled smartphones and tablets, shifting their desires and preferences for new communication channels. As a result, companies now face the challenge of meeting evolving customer expectations. Some key trends discussed include the massive growth in internet users, time spent online, rise of e-commerce, and shift to virtual services during the COVID-19 pandemic. The document emphasizes that in this new era, consumer behavior is increasingly driven by digital technologies and connectivity.
The document discusses 11 ways that digital technologies will shape the music industry in 2013, including: 1) Copyright laws being challenged by digital copying abilities; 2) Niche music genres and artists finding new audiences through the "Long Tail" effect; and 3) Artists needing to engage and brand themselves to build loyal fanbases across multiple digital channels like social media, mobile apps, and streaming services.
The internet has evolved greatly since its inception and now plays an integral role in consumers' everyday lives. It has given both consumers and businesses more freedom to access and share products and information. While there are some negatives like privacy and security concerns, the benefits of the internet outweigh these, as it allows easy research, communication, and online shopping. As technology continues advancing, the internet will likely influence consumers and businesses even more in the future.
The document discusses how the internet has impacted the music video industry. MTV shifted away from solely playing music videos and now videos are often consumed online. Viral videos have become more creative as production costs have decreased, allowing artists more freedom to experiment. Examples are given of viral music videos that helped promote albums through their popularity and innovative filming techniques, showing how the internet can help rather than hurt the music industry.
The document discusses how the music industry produces and distributes media products and has been significantly impacted by technological changes. It describes how music downloading, both legal and illegal, has replaced physical purchases and hurt music shops. While major labels mass produce unoriginal music, independent labels work closely with artists but have less financial resources. Technological advances both help unknown artists gain exposure but also threaten the decline of physical media and disenfranchise those who don't adopt new technologies. The music industry must adapt to these changes while preserving traditional aspects.
The document discusses how the music industry has changed in recent decades due to digitalization and the rise of downloading/file sharing. It notes that major labels have struggled to adapt while independent labels have seen opportunities. Live music remains important for promotion and revenue. Digital sales now account for 29% of industry revenue, with streaming and downloads replacing physical formats. Issues around piracy and its impact on sales continue to challenge the industry's business model. The future will rely on new approaches and artists having more control over their careers.
EMI is a major British music company founded in 1931. It has struggled financially in recent years due to declining music sales and high debt levels. EMI owns several record labels and publishes music from major artists like the Beatles, but relies heavily on a few top acts for revenue. It uses social media and new technologies to market and distribute music in an attempt to adapt to the digital music age.
Here are some recommendations for gathering market research to address the Sudkurier management team's questions:
1. Conduct a media usage survey of Sudkurier readers and non-readers to understand which other newspapers, magazines, radio stations, websites etc. they consume on a regular basis. This will identify the Sudkurier's main competitors.
2. Design and distribute a reader survey to collect demographic data on readers and understand which sections they find most/least interesting. Include questions about time spent reading different sections. Consider focus groups to get qualitative feedback.
3. Pilot test updated layout designs with readers and get feedback via surveys or focus groups. Assess comprehension, appeal and usability of different designs.
Brands in the alcohol industry face significant challenges from changing consumer behaviors and new technologies. Consumers are spending more time online than watching TV, developing more sophisticated tastes, and drinking more at home. To succeed, brands must engage customers through online communities, mobile apps, social media, and events to build relationships and stay relevant as trends evolve. The document provides examples of how Bacardi, Flying Dog, Diageo, Pabst Blue Ribbon, and Rock Art Brewery have adapted successfully to these new realities.
Changing African Youth Attitude to the legal Digital MusicBSP Media Group
This document discusses changing youth attitudes towards legal digital music in Africa. It outlines efforts by various organizations to curb music piracy, such as destroying over a million pirated discs in Algeria and police campaigns in South Africa that confiscated $50 million worth of pirated goods. However, some anti-piracy groups have also run into issues, such as one that pirated a song for its own campaign. The document advocates for teaching youth to be creative online and promoting legal options over simply prohibiting unauthorized behavior.
The document provides a history of how musical content has been distributed from the late 19th century to present day. It discusses the transition from physical formats like records, cassettes, and CDs to digital formats and online distribution. It outlines key developments like the mp3 format, Napster and file sharing in the late 1990s/early 2000s, the launch of the iTunes Music Store in 2003, and the rise of streaming services like Rhapsody, Spotify, and more recently Apple Music. The document suggests that streaming has become the dominant model and will continue to grow in the future, with Apple Music poised to overtake other leaders like Spotify.
This document discusses innovation in the music industry due to changing technology and consumer behavior. It outlines how technology has disrupted the industry through digitization, the internet, and mobile devices. Consumer expectations have also changed, desiring free, on-demand, mobile access to music. This has led music businesses to innovate, developing new digital music services like streaming platforms to meet these changing needs. The document concludes that an evolving transformation of the music industry through new business models and addressing technology and consumer trends can lead to a sustainable future for the industry.
The document discusses how digitization has disrupted the music industry by changing the value chain and business models. It led to declining revenues as piracy increased and consumption shifted from physical to digital formats. Record labels adapted by pursuing new pricing strategies like a la carte downloading, subscriptions, and partnerships for streaming services. Overall, digitization transformed the industry from physical to digital and changed the role of record labels.
analysis of personal music industry, looking at customer journey mapping, personas and industry standards, taking youtube and spotify as industry disruptors, and giving innovative ideas for future.
Major record labels like Sony Music Group, Universal Music Group, and Warner Music Group traditionally sell music through production, promotion, distribution to retail stores and radio, and consumption via album/single sales and concert tickets. However, with the rise of digital piracy accounting for 95% of online music downloads, these "Big 3" labels have had to adopt new strategies like Radiohead's "pay what you like" model or Beyoncé's surprise album release to generate interest while avoiding leaks. Still, alternative marketing has seen limited success in offsetting over £1 billion in annual losses to the UK music industry from continued widespread illegal downloading online.
The 20th Century was the century of broadcasting. In this century we as films, books, TV, long play records, cassettes, CDs, DVD etc. The all had few things in common: they were one-way medium, a broadcast from one to many. Producers were limited and became gatekeepers of content. Somebody selected the films to show in theaters, movies to watch on TV etc. The 20th century was the time of movie stars and pop stars.
It turns out all these mediums have one other thing in common: they are based on a model of scarcity, i.e. program directors have to choose the program for you, since there are only finite number of channels and screens. There are only finite space of shelfs for CDs in store. So we needed pop starts. The many consumers had to listen to the same few albums.
With the Internet in the 21st century this model breaks down. We move from the economic model of scarcity to the economic model of abundance. This changes the game completely. In this lecture we will explore this transformation.
Universal Music Group has adapted successfully to changes in the music industry driven by consumer behavior. It was an early adopter of digital music distribution and partnerships with digital retailers. It monitors trends like increased digital single sales and decreased album sales to inform strategies like offering singles and EP deals instead of just albums. Universal also partners with emerging technologies to satisfy consumer demand for music, such as offering free songs to streaming sites in exchange for revenue sharing. Through market monitoring, innovative strategies and partnerships, Universal has maintained its leadership in the industry.
The document summarizes the changes in the music business over recent years. It discusses the decline of record sales due to the rise of digital music and illegal downloading. While digital music sales are increasing, they have not offset the losses from physical sales. New business models like subscription services and live concerts/merchandise are emerging as artists seek ways to monetize their music. Overall, the traditional record industry is struggling to adapt to these changes and find an effective strategy to address illegal piracy and transform their business model for the digital age.
Apple Music is a growing streaming service, but it needs improvements to better compete with Spotify. While Apple Music has exclusive content through Apple Music 1 radio that draws subscribers, its marketing is lacking, especially for non-Apple users. It also falls behind Spotify in social media features like Wrapped, where Spotify provides more engaging, shareable summaries of users' listening habits. Apple Music would benefit from stronger branding separate from its parent Apple, improved marketing of its exclusive content, and more aesthetically pleasing social features on par with competitors.
PG&E has spent $44.2 million to support Proposition 16, a ballot initiative that would make it more difficult for municipalities to establish public power alternatives to PG&E's electricity monopoly. At the same time, PG&E is requesting a $4 billion rate hike from the California Public Utilities Commission. Opponents of Proposition 16 have raised far less money and are turning to creative grassroots tactics like parody songs to get their message out. If passed, Proposition 16 could allow PG&E to raise rates further in the future without competition from public power programs.
Intro. communication tech final project 2014alvinsims005
This document discusses emerging technologies and communication trends. It provides background on how communication has evolved from non-electronic methods to today's digital landscape. Several theories are examined, including Diffusion of Innovations theory, Long Tail theory, and Social Learning theory. These theories help explain how new technologies spread and are adopted by society. Examples are given of Apple and Microsoft innovating products and how their innovations diffuse according to these theories. The document also discusses how online shopping and social media have changed communication and access to information, goods, and services. The future is predicted to involve more wireless and on-the-go access to technology through mobile devices.
This document discusses how technological advancements have impacted consumer behavior. It notes that consumers are now constantly connected via internet-enabled smartphones and tablets, shifting their desires and preferences for new communication channels. As a result, companies now face the challenge of meeting evolving customer expectations. Some key trends discussed include the massive growth in internet users, time spent online, rise of e-commerce, and shift to virtual services during the COVID-19 pandemic. The document emphasizes that in this new era, consumer behavior is increasingly driven by digital technologies and connectivity.
The document discusses 11 ways that digital technologies will shape the music industry in 2013, including: 1) Copyright laws being challenged by digital copying abilities; 2) Niche music genres and artists finding new audiences through the "Long Tail" effect; and 3) Artists needing to engage and brand themselves to build loyal fanbases across multiple digital channels like social media, mobile apps, and streaming services.
The internet has evolved greatly since its inception and now plays an integral role in consumers' everyday lives. It has given both consumers and businesses more freedom to access and share products and information. While there are some negatives like privacy and security concerns, the benefits of the internet outweigh these, as it allows easy research, communication, and online shopping. As technology continues advancing, the internet will likely influence consumers and businesses even more in the future.
The document discusses how the internet has impacted the music video industry. MTV shifted away from solely playing music videos and now videos are often consumed online. Viral videos have become more creative as production costs have decreased, allowing artists more freedom to experiment. Examples are given of viral music videos that helped promote albums through their popularity and innovative filming techniques, showing how the internet can help rather than hurt the music industry.
The document discusses how the music industry produces and distributes media products and has been significantly impacted by technological changes. It describes how music downloading, both legal and illegal, has replaced physical purchases and hurt music shops. While major labels mass produce unoriginal music, independent labels work closely with artists but have less financial resources. Technological advances both help unknown artists gain exposure but also threaten the decline of physical media and disenfranchise those who don't adopt new technologies. The music industry must adapt to these changes while preserving traditional aspects.
The document discusses how the music industry has changed in recent decades due to digitalization and the rise of downloading/file sharing. It notes that major labels have struggled to adapt while independent labels have seen opportunities. Live music remains important for promotion and revenue. Digital sales now account for 29% of industry revenue, with streaming and downloads replacing physical formats. Issues around piracy and its impact on sales continue to challenge the industry's business model. The future will rely on new approaches and artists having more control over their careers.
EMI is a major British music company founded in 1931. It has struggled financially in recent years due to declining music sales and high debt levels. EMI owns several record labels and publishes music from major artists like the Beatles, but relies heavily on a few top acts for revenue. It uses social media and new technologies to market and distribute music in an attempt to adapt to the digital music age.
The document discusses the effects of the internet on the music industry. It has caused both positive and negative impacts. Negatively, it has led to the decline of music channels like MTV which used to play music videos 24/7, and the closure of many record stores as people can now download music online. However, the internet has also allowed unsigned artists to gain popularity through uploading songs on sites like YouTube and MySpace, helping them get record deals. Overall, while the internet has disrupted the industry, it has also created new opportunities for artists.
Sony husic Entertainment and theEvolution of the Music Indu.docxwhitneyleman54422
Sony h/usic Entertainment and the
Evolution of the Music Industry
A. J. Strickland
The Ilniversitg of Alabama
Andrew Pharaoh
2015 Undergraduate,
The Universitg of Alabama
d d A t such a pivotal time for music, it's more
ffi imRortant than ever to develop a fertile,d \ creative environment that generates the
highest quality of artists and music, while seeking to
fully exploit the many opportunities that new digital
services and products provide in reaching audiences
around the world."r
The remarks of Sony Music Entertainment CEO
Doug Morris in 2011 illustrated an accurate under-
standing of the environment of music sales. Morris,
a globally influential executive and music innovator,
agreed to join Sony Music Entertainment as chief
executive officer effective July 1, 201l. In a time of
great change in the music marketplace, it was abso-
lutely necessary that Sony take active steps to remain
competitive. Morris took the job graciously, but he
placed himself into a business whose margins were
becoming thinner and thinner. With a declining
industry that had been made less lucrative by the
wide availability of substitutes, Morris was forced to
develop a strategy to contend with industry change
and unfavorable competitive forces in 2014.
F"$$ST#ffiV #ffi S#NY f'1U$$*
ffiNTKreT&!Iq P--$ffiNY
American Record Company, the company that would
laterbecome Sony Music Entertainment, was founded
in 1929 and then acquired by Columbia Broadcasting
Company in 1938. In March 1968, Sony, at that rime
Seth Kennedg
2014 Llndergraduate,
The Universitg of Alabama
a Japanese company, began a joint venture with the
American company CBS to form CBS/Sony Records
Inc. In September 1976, Sony introduced the optical
digital audio disc, now known as the compact disc
(CD). In 1983, CBS Inc., as an American company,
allowed introduction of the CD to American markets.
In January 1988, CBS Records Inc. was absorbed,
and in January 1991, the new company was renamed
Sony Music Entertainment Inc.
In August 2004, Sony BMG Music Entertain-
ment was established as a new joint venture with Ber-
telsmann AG. Later, in August 2008, Sony acquired
BMG's 50 percent stake in Sony Music Entertain-
ment and began operation once again as Sony Music
Entertainment, a wholly owned subsidiary of Sony
Corporation. In July 2012, Sony/AIV Music Publish-
ing, a joint venture between Sony and the Michael
Jackson Family Trust, along with a consortium of
other investment firms, bought the publishing arm of
the EMI Group, which solidified Sony's position as
the world's largest music publisher.
#VffiRV!HW ffiT THffi ML,}$$T
il N,EM M$TruV
Before the 1900s, music and entertainment media had
a strong emphasis on performance. If theater, magic,
or music was wanted in a certain venue, individuals
Copyright O 2014 by A. J. Strickland. All rights reserved.
who could perform the arl personally were found and
paid to do so. At the beginning of the 20th century,
music began to become ownership-driven. .
Universal Music Group owns many record labels and music companies. It uses various techniques to market, distribute, and profit from its artists. Media convergence and new technologies have radically changed the music industry by allowing free streaming and easier discovery of music online, though this has negatively impacted sales of CDs and digital downloads for major labels.
There is an oligopoly in the music industry, with the top four record labels (Universal Music Group, Sony Music Entertainment, Warner Music Group, and Independent Labels) controlling around 88% of the market. The internet has transformed music production by enabling easy importing and exporting of music and sounds online, though some aspects like magazines and TV music channels remain popular. While the internet makes illegal music downloads easy, encouraging unlawful behavior, sites like YouTube pay artists for streams. Younger audiences are becoming "prosumers" by both consuming and producing their own music. Media convergence affects the music industry through shared ownership of media companies, production that considers other mediums, and wider audiences through cross-promotion.
Universal Music Group owns various record labels and media companies involved in the production, marketing, distribution, and sale of music. It represents many popular artists that appear on radio playlists like AFI, Blink-182, Lady Gaga, and Rise Against. UMG uses various online and social media platforms to promote its artists, find new talent, and distribute music in both physical and digital formats through various retailers and online stores. Media convergence across different channels has been important for increasing music sales and exposure for UMG's artists.
The document discusses Spotify's "freemium" business model. It summarizes that Spotify aggregates music content from rights holders and distributes it to consumers for free with ads or through a subscription without ads. Spotify's model has generated billions in revenue and disrupted the traditional music industry model. It provides value to both music listeners and advertisers through its multi-sided platform approach.
The document discusses Universal Music Group and key aspects of the music industry including ownership, production, marketing, distribution and exchange. It provides examples of Universal Music Group's artists like Lady Gaga and Blink-182. It also discusses how technology has impacted finding and promoting artists, and how digital distribution and streaming have radically changed how fans access music.
The document discusses how Web 2.0 technologies have impacted the music industry. It describes how people now use sites like YouTube, MySpace, and peer-to-peer file sharing to access music for free. Artists can use social media to promote themselves, like The Arctic Monkeys did on MySpace. Record labels now scout talent online. The music industry has adapted by offering digital downloads on stores like iTunes to compete with illegal file sharing and reflect changing consumer preferences. Overall, Web 2.0 has shifted the industry from physical to digital music distribution and changed the relationship between artists, labels, and consumers.
Sony Corporation owns 33% of the global music market and various music labels, giving it ownership over much of the music it represents. As a large conglomerate, Sony has the financial backing to profit greatly from popular artists but pays those artists a smaller percentage than smaller independent labels. Independent label A Wolf at Your Door, which owns only a small portion of the global market, struggles due to widespread illegal downloading eroding its profits, forcing it to rely on concerts and merchandise for revenue. It was even forced to sell ownership of one of its most profitable bands to Sony. While digital technologies have benefited independent labels by allowing them to reach global audiences more affordably, widespread illegal downloading has also blurred ownership of music in ways that damage
EMI is a major record label that produces a wide variety of music genres and has signed many famous artists over the years. It aims to appeal to all types of audiences. EMI was founded in Britain in 1931 and has a typical record label job structure including executives, A&R managers, producers, distributors, promoters, and interns. In the future, EMI may face challenges from illegal downloading cutting into profits, so it will need to address this issue to remain profitable.
The document discusses different types of independent artists in the music industry, asking who they are, what they have in common, and who the odd one out is. It suggests that they have all found global success despite not being signed to a major record label. However, it does not provide enough information to determine who specifically the people are or who would be considered the odd one out.
The document discusses how media technology has affected different areas of the music industry, including production, marketing, distribution, and exchange. It notes that while the internet and digital formats have made it easier to produce, distribute, and access music, illegal downloading poses a major financial problem for record labels. New media also enables various marketing strategies like YouTube, social networking, and music festivals to promote artists.
MySpace is launching a new music service called MySpace Music in partnership with the major music labels. MySpace Music will allow users to stream full songs and create playlists for free, supported by advertising. It aims to compete with iTunes and recapture lost music industry revenue. Music labels hope it can weaken Apple's dominance in digital music and generate profits through advertising, downloads, and artist services. MySpace Music is set to launch by the end of September with millions of songs available.
The document discusses how the love of music and the development of MP3 technology changed the business world over the last two decades. It describes how Napster provided a frictionless way for people to share music files, which disrupted the music industry but also laid the foundation for technological innovations like high-speed internet access, social networks, and new business models. This empowered consumers and stimulated innovation from companies like Apple. Overall, it outlines how the sharing of digital music transformed the marketing and media landscape, with impacts still being felt today through new forms of content distribution and more empowered customers.
The document discusses the impact of digital piracy on the music industry. It defines various forms of piracy like pre-release piracy, downloading, and P2P file sharing. Major record labels like Sony have faced issues with pre-release piracy where whole albums are leaked online before release. Sony has taken steps to combat piracy through partnerships with streaming services and using 360-degree artist deals. The continuing development of digital media technology has significant impacts for both major labels and independent labels in terms of distribution and promotion, though piracy presents challenges, especially for independent labels. Audiences also benefit from more access and choice of music through digital formats and services.
There are 4 main types of relationships between shots in video editing:
1) Spatial relationships reveal more of the cinematic space or focus on a specific part of the space. This includes reaction shots, over the shoulder shots, and dialogue coverage.
2) Temporal relationships present events in the order they occur, though can be manipulated with flashbacks and flashforwards.
3) Rhythmic relationships use editing to reinforce the rhythm, pace, or mood of the action or music.
4) Graphic relationships concern similarities and contrasts in color, light, shape, volume, and depth between shots to create meaning and mark changes in atmosphere. The document provides examples of how different shot relationships can be used in video editing
The document provides a grid for listing and explaining different types of edits that can be used in filmmaking. It gives an example of a cut as the most common form of edit, likening its effect to refocusing after blinking. The grid is meant to be filled out with pictorial examples and explanations for each type of edit listed, including wipes, fades, cross fades, dissolves, jump cuts, freeze frames, changes in motion like slow motion and fast motion, shot/reverse shot editing, bridging shots, cutaways, juxtaposition, and montages.
This document discusses theories of how people look at and construct their identities from others, including Freud and Lacan's ideas of scopophilia and understanding oneself through mirrors. It then summarizes Laura Mulvey's 1975 feminist film theory about how mainstream cinema positions women as passive objects for the male gaze through identifying with the male protagonist and desiring the female love interest. Mulvey argued this limits women's roles to narrow and two-dimensional types like the Madonna and the whore. The document asks how looking is happening in the pictured scene and evaluates if narrow roles for women still exist in media today.
The document discusses semiotics and media language. It explains that language is constructed by people to produce meanings within their culture. Signs have three parts - the signifier, which is the physical form; the signified, which is the concept or idea; and the referent, which is the real thing. Films use signs and signifiers to communicate meanings and elicit emotional responses from audiences. Different elements in films like music, lighting, and mise-en-scene can take on intended or personal connotations. Effective analysis of media requires understanding how signs and signifiers are used to construct meanings.
The document discusses several theories of how audiences interact with and are influenced by mass media:
- The Frankfurt School was concerned with propaganda and developed one of the earliest effects theories, which argued media had direct effects on audiences.
- Later studies found audiences to be more active and that media use satisfied needs like entertainment, information, and identity formation.
- More recent models view audiences as actively decoding messages in dominant, negotiated, or oppositional ways and engaging with media in social and cultural contexts.
- The role of gender, technologies, genres, and domestic environments are now recognized as shaping audience relationships with media.
Genre refers to patterns, forms, styles and structures that transcend individual artistic works and provide frameworks that guide both the creation of works by artists and their interpretation by audiences. These genres are made up of recurring elements that provide expectations for a given type of work within a medium.
Karl Marx was a 19th century German philosopher and economist who is famous for his theories about capitalism and communism. Some key points about Marx include that he was born in 1818 in Germany, studied philosophy and economics, and wrote extensively about his communist and socialist ideas, most notably in The Communist Manifesto co-authored with Friedrich Engels. Marx predicted that capitalism would inevitably give way to socialism and communism due to internal contradictions, and that there would be a worldwide proletarian revolution that would create a classless society. Though his specific predictions did not come to pass, Marx's philosophical and economic theories formed the basis for the political ideology of Marxism and informed socialist movements.
EMI was one of the largest record labels and music publishers, owning the rights to artists like the Beatles, David Bowie, and Coldplay. In the 2000s, digital downloads grew rapidly but physical sales declined, leading to losses. EMI was sold to private equity firm Terra Firma in 2007. However, poor management, loss of top artists, and failure to adapt to changes in the industry continued to hurt EMI.
The group White Lies formed in 2004 under a different name and released some neo-Brit-pop singles. They later changed their name and musical style to create darker material. When they launched on MySpace with just one song, the music industry took great interest in them. After playing their first show, all the major A&R representatives were there and signed them to a major label a month later. They made their television debut on Later with Jools Holland after releasing their first single, and recorded their debut album with major producers.
The document discusses the key aspects of the music industry, including the roles of audiences, record labels, artists, and distribution deals. It focuses on the major parts of record deals:
1) Royalties are the percentage of sales revenue that artists receive, typically around 10% of the wholesale price per record sold.
2) Advances are upfront payments from the label to fund album recording and signing, which must be recouped from future royalties earned.
3) A reserve percentage of royalties is held back initially until sales are proven, to offset the risk of returns from unsold records. The deal terms must specify these percentages.
Unlocking the Secrets of IPTV App Development_ A Comprehensive Guide.pdfWHMCS Smarters
With IPTV apps, you can access and stream live TV, on-demand movies, series, and other content you like online. Viewers have more flexibility and customization of content to watch. To develop the best IPTV app that functions, you must combine creative problem-solving skills and technical knowledge. This post will look into the details of IPTV app development, so keep reading to learn more.
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The city of Ravens burg was known for its gothic architecture, fog-covered streets, and an eerie silence that seemed to hang over the town like a shroud.
The Evolution and Impact of Tom Cruise Long Hairgreendigital
Tom Cruise is one of Hollywood's most iconic figures, known for his versatility, charisma, and dedication to his craft. Over the decades, his appearance has been almost as dynamic as his filmography, with one aspect often drawing significant attention: his hair. In particular, Tom Cruise long hair has become a defining feature in various phases of his career. symbolizing different roles and adding layers to his on-screen characters. This article delves into the evolution of Tom Cruise long hair, its impact on his roles. and its influence on popular culture.
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
In "Risky Business" (1983). Tom Cruise's hair was short but longer than the clean-cut styles dominant at the time. This look complemented his role as a high school student stepping into adulthood. embodying a sense of youthful freedom and experimentation. It was a precursor to the more dramatic hair transformations in his career.
The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
How OTT Players Are Transforming Our TV Viewing Experience.pdfGenny Knight
The advent of Over-The-Top (OTT) players has brought a seismic shift in the television industry, transforming how we consume media. These digital platforms, which deliver content directly over the internet, have outpaced traditional cable and satellite television, offering unparalleled convenience, variety, and personalization. Here’s an in-depth look at how OTT players are revolutionizing the TV viewing experience.
Enhance Your Viewing Experience with Gold IPTV- Tips and Tricks for 2024.pdfXtreame HDTV
In the ever-evolving landscape of digital entertainment, IPTV (Internet Protocol Television) has emerged as a popular alternative to traditional cable and satellite TV services. Offering unparalleled flexibility, a vast selection of channels, and affordability, IPTV services like Gold IPTV have revolutionized the way we consume television content. This comprehensive guide will delve into everything you need to know about Gold IPTV, its features, benefits, setup process, and how it can enhance your viewing experience.
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1. In recent years, how has media ownership changed in one industry that you have studied?
In the past, the music industry dictated distribution and consumption habits to the audience.
You had to go to a shop to buy your CDs, and the industry controlled how much you paid, the
availability of the CD and how you listened to it. But recent technological developments have
meant that the audience now have much more choice over how they purchase and consume
music. This is a result of the internet.
An example of this switch to digital distribution is the collapse of pinnacle, an independent
distribution company who distributed CDs for over 400 independent labels. The increase in
digital downloading and sites such as myspace meant music fans could get this music easier
online so stopped buying it in the shops. This led to the company going into administration.
Matthew Tait said the collapse was due to “the sudden and steep downturn in the
economy.”
In 2003, Eric Nicoli, then head of EMI records, stated that ‘digital [music] is the way forward
for industry growth.” Over the past 6 years, the record industry has seen a 940% rise In
income from digital sources. However, software like bearshare and frostwire don’t make it
easy. It is estimated that 95% of music downloaded is downloaded illegally, representing a
potential loss of $30bn a year for the industry.
Consumers don’t see anything wrong with this, according to a 2009 ‘youth and music’ survey
in which 70% of 15-24 year olds said they don’t feel guilty about illegal downloading. So how
can the industry deal with this problem?
EMI started by going online; to the place where the audience were. They needed to interact
with their audience who were already taking ownership of the music away from them; an
idea suggested by Avril Lavigne manager Terry McBride when he said ‘what the industry
need to do is monetise the behaviour of that fan.’ Parolophone, an imprint of EMI created a
website for Lily Allen, using synergy to sell the artist. Lily Allen already had a large Myspace
following, and kept in close contact with her fans through this and her blog. Parlophone
therefore included lots of interactive elements, allowing the fan to remix some of her tracks
for a personal touch, or to play a game to win a free sample of her music. This game could
be emailed to a friend, and spread around the web. EMI were using Lily Allen fan’s social
networks to do the marketing for them; an example of viral marketing. After the radio,
youtibe is now the most popular way for young people to find new music. Lily Allen now has
her own youtube channel along with links to her videos on the site. The audience have taken
the power away from the record labels, and this website gave the fans more of what they
wanted; close contact with the artist and ownership of her music.
EMI also noticed that convergent technologies such as mobile phones were allowing their
audience to listen to more music on portable devices. As part of a £40 million deal with
2. Robbie Williams, they released a memory card for mobile phones that contained some of his
music. 1 in every $10 spent by young people globally is spent on mobile technology. That’s
eight times more than is spent on music. EMI needed to access this market. More recently,
mobile devices can download songs directly from iTunes and Amazon, and phone packages
come bundled with free downloads, so the need to connect with these technologies is clearly
being addressed
Since the internet has caused a widening of choice about where and how the audience listen
to their music, the music industry has had to work harder than ever to keep consumers
happy, especially when 61% of young people think a fair price for music is zero (Youth and
music survey). Fan loyalty and contact with artists, as well as keeping up with new
technology have become the main concerns for major labels such as EMI . They have had to
start listening to their consumers more, and no long have such power as the consumers will
go elsewhere for their product if they can find it cheaper and more conveniently. Perhaps
major labels like EMI will have to accept that they no longer have a place in the music
industry. With websites such as Myspace allowing the Arctic Monkeys chart-topping success
without any label support in 2005, the power is now truly with the people.