The document discusses plans by FatBeats Records Group to expand into vinyl record manufacturing with the acquisition of one of North America's largest vinyl pressing plants. This would allow them to keep up with growing demand for vinyl records as sales have increased over 17% annually in recent years. The new facility is planned to begin operations in fall 2013. The document also provides background on the resurgence of vinyl record sales in the US and globally in recent years, despite the continued growth of digital music formats.
The music industry is dominated by four major record labels: Universal, Sony BMG, Warner, and EMI. These labels have significant market share and benefit from economies of scale and vertical/horizontal integration. Music sales have been declining steadily since 1999 as CD sales fall but digital track sales rise. Piracy and CD burning cost the industry an estimated $4 billion annually in lost revenue. The industry focuses heavily on promotion to influence charts and radio play. Record labels are tied to other conglomerate businesses like film studios to promote artists across different media.
Real Groovy is a traditional brick and mortar music retailer in New Zealand that is facing challenges from decreasing CD sales and increased digital downloads. While CD sales are plummeting, Real Groovy has remained profitable through diversifying into niche markets like being a destination for insurance claims and operating a ticket booth. However, a new competitor, JB Hi-Fi, plans to open more stores in New Zealand, which could threaten Real Groovy's market share. The report recommends that Real Groovy expand into more New Zealand towns and increase advertising spending to grow its customer base and compete against JB Hi-Fi.
The document discusses how the music industry value chain has changed with the rise of digital music distribution. It analyzes pricing models of different digital music providers and how they compare to physical CDs. The traditional value chain involved record labels taking the largest profit share, but digital distribution cuts them out by allowing artists to directly connect with consumers. This shifts roles and incentives across the industry. The new digital value chain gathers, organizes, selects, synthesizes and distributes music information online rather than through physical manufacturing and retail channels.
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.
The music industry has an oligopoly market structure dominated by a few major record labels. Sales of CDs have been steadily declining since 1999 due to the rise of digital music from websites like Spotify and illegal pirating of music. Younger people between 15-29 are the most common buyers of CDs, with rock, country, and rap being the most popular genres purchased.
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.
Info Mgmt 191 Assignment 1 (Real Groovy)[1]shreyabakhshi
Real Groovy is a New Zealand retailer experiencing declining CD sales and market share due to the rise of digital music downloads and new competitors. Younger generations prefer downloading music digitally to purchasing CDs due to lower prices and convenience. As a result, Real Groovy has lost a whole generation of customers. To regain market share, Real Groovy needs to focus on lowering prices to compete with rivals like JB Hi-Fi, attracting younger customers through online music downloads, and increasing advertising to boost awareness among younger groups.
The Evolution Of The Music Industry The Effect Of Technology And Law On Stra...Ben Kilmer
This document provides an overview of the music industry and discusses key changes it has undergone in recent decades due to technological innovations. It begins with an introduction to the current state of the industry and outlines five competitive forces: new entrants have low barriers; buyers have high bargaining power; substitute products are a major threat; suppliers have relatively low power; and rivalry is high. The document then examines incremental innovations from within the industry, disruptive innovations from outside, and industry resistance to changes. It explores the adoption of new technologies by consumers and the industry. The future of the music industry and case studies on Apple and Grooveshark are also summarized.
The music industry is dominated by four major record labels: Universal, Sony BMG, Warner, and EMI. These labels have significant market share and benefit from economies of scale and vertical/horizontal integration. Music sales have been declining steadily since 1999 as CD sales fall but digital track sales rise. Piracy and CD burning cost the industry an estimated $4 billion annually in lost revenue. The industry focuses heavily on promotion to influence charts and radio play. Record labels are tied to other conglomerate businesses like film studios to promote artists across different media.
Real Groovy is a traditional brick and mortar music retailer in New Zealand that is facing challenges from decreasing CD sales and increased digital downloads. While CD sales are plummeting, Real Groovy has remained profitable through diversifying into niche markets like being a destination for insurance claims and operating a ticket booth. However, a new competitor, JB Hi-Fi, plans to open more stores in New Zealand, which could threaten Real Groovy's market share. The report recommends that Real Groovy expand into more New Zealand towns and increase advertising spending to grow its customer base and compete against JB Hi-Fi.
The document discusses how the music industry value chain has changed with the rise of digital music distribution. It analyzes pricing models of different digital music providers and how they compare to physical CDs. The traditional value chain involved record labels taking the largest profit share, but digital distribution cuts them out by allowing artists to directly connect with consumers. This shifts roles and incentives across the industry. The new digital value chain gathers, organizes, selects, synthesizes and distributes music information online rather than through physical manufacturing and retail channels.
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.
The music industry has an oligopoly market structure dominated by a few major record labels. Sales of CDs have been steadily declining since 1999 due to the rise of digital music from websites like Spotify and illegal pirating of music. Younger people between 15-29 are the most common buyers of CDs, with rock, country, and rap being the most popular genres purchased.
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.
Info Mgmt 191 Assignment 1 (Real Groovy)[1]shreyabakhshi
Real Groovy is a New Zealand retailer experiencing declining CD sales and market share due to the rise of digital music downloads and new competitors. Younger generations prefer downloading music digitally to purchasing CDs due to lower prices and convenience. As a result, Real Groovy has lost a whole generation of customers. To regain market share, Real Groovy needs to focus on lowering prices to compete with rivals like JB Hi-Fi, attracting younger customers through online music downloads, and increasing advertising to boost awareness among younger groups.
The Evolution Of The Music Industry The Effect Of Technology And Law On Stra...Ben Kilmer
This document provides an overview of the music industry and discusses key changes it has undergone in recent decades due to technological innovations. It begins with an introduction to the current state of the industry and outlines five competitive forces: new entrants have low barriers; buyers have high bargaining power; substitute products are a major threat; suppliers have relatively low power; and rivalry is high. The document then examines incremental innovations from within the industry, disruptive innovations from outside, and industry resistance to changes. It explores the adoption of new technologies by consumers and the industry. The future of the music industry and case studies on Apple and Grooveshark are also summarized.
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.
Real Groovy is a New Zealand music retailer originating in the 20th century with 4 store locations. It primarily sells CDs and vinyls but also other products. However, CD sales are declining as music shifts to digital formats like MP3s. This poses a major problem for Real Groovy as CD sales make up most of its business. It is recommended that Real Groovy redesign its website to sell digital music and close its store locations over 12 months to transition its business model before declining CD sales force it to liquidate.
The digital music business is expanding globally as streaming and subscription services surge in popularity. Streaming and subscription revenues grew by over 50% in 2013, exceeding $1 billion for the first time. The number of paying subscribers to subscription services rose to 28 million, up from only 8 million in 2010. Downloads still account for about two-thirds of digital revenues but this is declining slightly as streaming grows. Physical formats still generate over half of global revenues. The music industry market varies globally, with some countries favoring downloads and others streaming, leading to a mixed economy of revenue streams.
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.
How The Love of Music has changed our Business WorldThorsten Faltings
Over the last decade, there was a Giant Refresh in the Business World:
- Many destroyed value chains,
- Business Innovation everywhere,
- Various new markets with new leaders,
- Empowered & emancipated Consumers.
This is the story about how the love of music laid the Foundation for many Innovations in the past 12 years, turning the Business World upside down.
This document discusses the rapid changes in media and technology over the past decade. It notes that traditional print media like newspapers have seen declines while digital media like websites, apps and social media have grown dramatically. New technologies like smartphones, tablets and high-speed internet have also transformed how people consume and share information. The document concludes by emphasizing how quickly the media landscape continues to evolve and change.
This document discusses the rapid changes in media and technology over the past decade. It notes that while print media circulation is down, online readers are up significantly. Traditional advertising is in decline while digital advertising is growing. Mobile devices are increasingly the primary internet access point. Social media has also grown exponentially and played a major role in recent global events. The pace of technological change continues to accelerate.
The Current Situation Facing Real Groovy 1sangjin LIM
The document discusses trends in the music industry and strategies for Real Groovy, a music retailer. It notes that album sales have declined significantly as digital music downloads have increased greatly. Younger people prefer downloading songs instead of buying full albums. The New Zealand music market is challenging with competitors lowering prices and increasing their catalogs. Real Groovy's future strategy should target customers, lower costs, maintain competitive prices while reinforcing customer service to increase sales volumes despite challenges in the industry.
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.
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.
The document discusses how globalization has impacted the music industry. It provides pros and cons of globalization for businesses and consumers. New technologies like streaming apps and devices have allowed music to be shared globally, helping artists find success in countries they previously may not have reached. This has benefited both the music industry and consumers by exposing people to new artists from around the world.
The document discusses leadership in the music industry and how it has changed with new technology. It provides examples of leaders who have adapted successfully to these changes. Specifically, it discusses how streaming has replaced CDs and MP3 downloads, and that leaders must change with technology or risk being left behind. They must embrace disruption as an opportunity and be willing to cannibalize their own business models. Good leaders profiled include Jay-Z, Diplo, Quincy Jones, and Rick Ross who have started labels, adapted to streaming, and helped develop other artists' careers.
1) Real Groovy has adapted to changes in the music industry by offering additional services like insurance and loyalty programs. They have also capitalized on increased demand for vinyl records.
2) While they do not directly compete with other stores on all products, Real Groovy attracts specialist customers by offering a wide range of goods beyond just music.
3) The report recommends that Real Groovy advertise their large vinyl selection and open a new store in Taupo to attract more customers.
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 provides an overview of the 2013 New Music Seminar (NMS) conference. It summarizes keynotes on the state of the music industry and panels on topics such as crowdfunding, music subscriptions, YouTube, digital radio, and the evolving roles of managers and producers. The Executive Director of NMS and CEO of Tommy Boy Records, Tom Silverman, emphasizes that technology should improve the environment for music miracles rather than be the focus. He predicts digital music sales in the US will continue declining and that subscription and streaming revenues will double in three years. The schedule and participants for NMS panels and workshops are provided.
Technological convergence in the music industry has impacted both production and consumption. On the production side, unsigned artists can now independently produce and distribute their own music using online platforms without a record label. Consumers also have greater flexibility in how they access and experience music through devices like the iPhone and services like YouTube that allow music to be consumed anywhere. However, piracy through sites like Napster significantly impacted industry revenue streams and forced major labels to transform how they distribute music online through stores like iTunes. Overall, technological changes have given more power to both artists and consumers but also introduced new challenges for the traditional music industry business model.
1) Vinyl records continue to have popularity as a cheap source of music. Used vinyl can provide many songs for only a few dollars.
2) While vinyl sales are increasing, they still represent a small portion of overall music sales. Estimates of used vinyl sales are difficult since they are not well tracked.
3) As the generations that grew up with vinyl get older and downsize, a huge wave of used vinyl is expected to hit the market over the next decade, far more than the current population of vinyl listeners can handle.
The music industry in Britain has seen significant changes over the past two decades. Recording artists now rely primarily on live performances and merchandise for income rather than recorded music sales. Record companies have introduced "360 deals" where they take a percentage of artists' revenues from all sources in order to benefit from their entire income stream. While digital singles sales are rising, digital and physical album sales continue to decline in the UK due to high levels of illegal downloading. More than three-quarters of downloaded music in Britain is obtained illegally, costing the music industry over £1 billion since 2007.
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.
Real Groovy is a New Zealand music retailer originating in the 20th century with 4 store locations. It primarily sells CDs and vinyls but also other products. However, CD sales are declining as music shifts to digital formats like MP3s. This poses a major problem for Real Groovy as CD sales make up most of its business. It is recommended that Real Groovy redesign its website to sell digital music and close its store locations over 12 months to transition its business model before declining CD sales force it to liquidate.
The digital music business is expanding globally as streaming and subscription services surge in popularity. Streaming and subscription revenues grew by over 50% in 2013, exceeding $1 billion for the first time. The number of paying subscribers to subscription services rose to 28 million, up from only 8 million in 2010. Downloads still account for about two-thirds of digital revenues but this is declining slightly as streaming grows. Physical formats still generate over half of global revenues. The music industry market varies globally, with some countries favoring downloads and others streaming, leading to a mixed economy of revenue streams.
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.
How The Love of Music has changed our Business WorldThorsten Faltings
Over the last decade, there was a Giant Refresh in the Business World:
- Many destroyed value chains,
- Business Innovation everywhere,
- Various new markets with new leaders,
- Empowered & emancipated Consumers.
This is the story about how the love of music laid the Foundation for many Innovations in the past 12 years, turning the Business World upside down.
This document discusses the rapid changes in media and technology over the past decade. It notes that traditional print media like newspapers have seen declines while digital media like websites, apps and social media have grown dramatically. New technologies like smartphones, tablets and high-speed internet have also transformed how people consume and share information. The document concludes by emphasizing how quickly the media landscape continues to evolve and change.
This document discusses the rapid changes in media and technology over the past decade. It notes that while print media circulation is down, online readers are up significantly. Traditional advertising is in decline while digital advertising is growing. Mobile devices are increasingly the primary internet access point. Social media has also grown exponentially and played a major role in recent global events. The pace of technological change continues to accelerate.
The Current Situation Facing Real Groovy 1sangjin LIM
The document discusses trends in the music industry and strategies for Real Groovy, a music retailer. It notes that album sales have declined significantly as digital music downloads have increased greatly. Younger people prefer downloading songs instead of buying full albums. The New Zealand music market is challenging with competitors lowering prices and increasing their catalogs. Real Groovy's future strategy should target customers, lower costs, maintain competitive prices while reinforcing customer service to increase sales volumes despite challenges in the industry.
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.
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.
The document discusses how globalization has impacted the music industry. It provides pros and cons of globalization for businesses and consumers. New technologies like streaming apps and devices have allowed music to be shared globally, helping artists find success in countries they previously may not have reached. This has benefited both the music industry and consumers by exposing people to new artists from around the world.
The document discusses leadership in the music industry and how it has changed with new technology. It provides examples of leaders who have adapted successfully to these changes. Specifically, it discusses how streaming has replaced CDs and MP3 downloads, and that leaders must change with technology or risk being left behind. They must embrace disruption as an opportunity and be willing to cannibalize their own business models. Good leaders profiled include Jay-Z, Diplo, Quincy Jones, and Rick Ross who have started labels, adapted to streaming, and helped develop other artists' careers.
1) Real Groovy has adapted to changes in the music industry by offering additional services like insurance and loyalty programs. They have also capitalized on increased demand for vinyl records.
2) While they do not directly compete with other stores on all products, Real Groovy attracts specialist customers by offering a wide range of goods beyond just music.
3) The report recommends that Real Groovy advertise their large vinyl selection and open a new store in Taupo to attract more customers.
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 provides an overview of the 2013 New Music Seminar (NMS) conference. It summarizes keynotes on the state of the music industry and panels on topics such as crowdfunding, music subscriptions, YouTube, digital radio, and the evolving roles of managers and producers. The Executive Director of NMS and CEO of Tommy Boy Records, Tom Silverman, emphasizes that technology should improve the environment for music miracles rather than be the focus. He predicts digital music sales in the US will continue declining and that subscription and streaming revenues will double in three years. The schedule and participants for NMS panels and workshops are provided.
Technological convergence in the music industry has impacted both production and consumption. On the production side, unsigned artists can now independently produce and distribute their own music using online platforms without a record label. Consumers also have greater flexibility in how they access and experience music through devices like the iPhone and services like YouTube that allow music to be consumed anywhere. However, piracy through sites like Napster significantly impacted industry revenue streams and forced major labels to transform how they distribute music online through stores like iTunes. Overall, technological changes have given more power to both artists and consumers but also introduced new challenges for the traditional music industry business model.
1) Vinyl records continue to have popularity as a cheap source of music. Used vinyl can provide many songs for only a few dollars.
2) While vinyl sales are increasing, they still represent a small portion of overall music sales. Estimates of used vinyl sales are difficult since they are not well tracked.
3) As the generations that grew up with vinyl get older and downsize, a huge wave of used vinyl is expected to hit the market over the next decade, far more than the current population of vinyl listeners can handle.
The music industry in Britain has seen significant changes over the past two decades. Recording artists now rely primarily on live performances and merchandise for income rather than recorded music sales. Record companies have introduced "360 deals" where they take a percentage of artists' revenues from all sources in order to benefit from their entire income stream. While digital singles sales are rising, digital and physical album sales continue to decline in the UK due to high levels of illegal downloading. More than three-quarters of downloaded music in Britain is obtained illegally, costing the music industry over £1 billion since 2007.
Real Groovy, a New Zealand music retailer, is facing challenges due to declining CD and DVD sales as digital music downloads increase globally. While competitors are also struggling in this market, Real Groovy's strength is that it has the largest supply of vinyl records in NZ, a market that is growing significantly. To prepare for the future as CDs and DVDs become obsolete, Real Groovy should shift resources away from these products and focus more on vinyl records, its website, and used goods where it can fill a niche market and differentiate itself from larger competitors.
Real Groovy, a New Zealand music retailer, is facing challenges due to declining CD and DVD sales as digital music downloads increase globally. While competitors are also struggling in this market, Real Groovy's strength is that it has the largest supply of vinyl records in NZ, a market that is growing significantly. To prepare for the future as CDs and DVDs become obsolete, Real Groovy should shift resources away from these products and focus more on vinyl records, its website, and used goods where it can fill a niche and differentiate from larger competitors.
How To Market Your MP3 Downloads…Press A Vinyl RecordBuzzsonic.com
There is a massive renaissance in interest (and sales) in vinyl records, a format virtually killed off by major record labels in their crude attempts to get us to buy everything again on CD. Now that we’re swamped by a billion and one MP3 downloads from a bazillion bands, there’s a absence of scarcity, fans with musical ADD and bands are having to get increasingly creative to even get five minutes of attention (let alone that Warholian 15!).
- Real Groovy is an established music retailer with over 60,000 customers but only 4 stores nationwide and limited online services.
- The music industry is rapidly changing as digital downloads increase and physical CD sales decrease.
- To survive in this changing industry, Real Groovy needs to strengthen its online offerings and associate more closely with the growing digital music market.
The document discusses various ways that music and media products could be distributed as physical and digital products. It outlines that physical media like CDs and vinyl have declined due to digital disruption from platforms like Spotify and YouTube. However, vinyl sales are increasing due to retro popularity. The summary then proposes distributing the artist's album through CDs, special edition digipaks, vinyl records, VIP tickets, meet and greets, signed merchandise, brand collaborations, and digital platforms like YouTube, Spotify and SoundCloud to engage audiences and generate multiple revenue streams.
This document provides background information on Octone Records LLC, an independent record label co-founded by Howie Lipson and James Diener. It summarizes Octone's strategic approach of signing and developing artists with mainstream commercial potential before partnering with a major label to further promote successful acts. It details Octone's unique partnership structure with J Records, a division of BMG, which allowed Octone to maintain partial ownership of artists it developed and transitioned to the joint venture. The partnership was designed to give Octone ongoing involvement in artist careers and avoid being acquired by the major label if successful.
The document discusses the concept of the "Long Tail" in media and entertainment. It describes how traditional retail and distribution is limited by physical constraints like shelf space, but digital distribution through services like Amazon and Netflix allow access to a vast "Long Tail" of less popular content. This Long Tail content collectively makes up a market that is larger than just the hits. The document argues that embracing and making all content available is a new rule for digital media companies as aggregation allows even niche audiences to be profitable.
Real Groovy is a New Zealand-based music retailer with 4 stores located in areas with young music fans. To remain loyal, the company started a club and magazine for customers. Staff knowledge is important, but some leave for overseas opportunities. The company stocks up to 500,000 items and tracks inventory with an in-house system. While vinyl sales remain strong, overall album sales are decreasing due to piracy and new technologies. Real Groovy does not compete on price with big retailers. To stay in business, it could open a cafe or affiliate with music blogs to increase publicity and sales.
Real Groovy is a music retailer facing competition from large companies like JB Hi-Fi and digital music downloads. It has strengths in its extensive back catalogue and vinyl records, which are increasing in popularity. Real Groovy should focus on selling items like vinyl records and second-hand DVDs that its larger competitors do not offer, using its knowledgeable staff and strong stock control system.
The music industry is dominated by four major record labels: Sony Music Entertainment, EMI, Warner, and Universal. The document also discusses how smaller conglomerate companies own niche parts of the market, while sales of CDs are falling by 9% annually as digital music sales rise 7%. Piracy is estimated to cost the music industry over 4 billion pounds per year in lost revenue.
- The document analyzes the current market condition of Warner Music Group (WMG) and the music industry, which has been negatively impacted by COVID-19 with projected earnings down 29% for 2020.
- WMG relies heavily on touring and live music income, which has been halted by the pandemic, limiting sources of income to mainly streaming sales. However, vinyl record sales have increased in recent years and could provide an opportunity for additional profits.
- Recommendations include increasing marketing of vinyl record releases from WMG artists to target audiences aged 18-25 to help offset losses from the pandemic's impact on the music industry.
The digital music business saw significant growth in 2008, with digital platforms accounting for 20% of recorded music sales. MP3 files allow for small, high-quality music files and their popularity has risen greatly since the late 1990s. However, unauthorized torrent downloading, which accounts for 95% of music downloads, has hurt the music industry's profits. The US leads in digital music sales, while Japan's strong mobile music market has also seen growth in digital revenues. Artists are now performing more concerts to make up for declines in album sales. Online promotion through sites like MySpace has given artists new ways to reach audiences without record label support.
This article provides an overview of BigChampagne and its attempts to create an alternative music chart called the Ultimate Chart that aims to more accurately track an artist's success based on online metrics like social media, streaming, and video views rather than just physical sales. It notes that while still in its early stages, the Ultimate Chart presents a challenge to the traditional Billboard charts and SoundScan methods which only measure physical sales and radio airplay. The article examines differences between the Ultimate Chart, Billboard chart, and iTunes song rankings, and argues that the Ultimate Chart provides a more "multidimensional picture" of an artist's true popularity. It also uses Lady Gaga as an example of an artist who dominates online but is underrepresented
The document outlines the major record labels from 1988 to 2011, noting that they consolidated from the "Big Six" to the "Big Three". It also discusses independent labels and terms used to describe label structures. Additionally, it provides statistics on the music industry revenues from 2006 to 2011, including growth in the digital music market but decline in physical sales.
The music industry is dominated by major record labels that control around 75% of the global music market. These major labels include Universal, Sony, and Warner Music Group. There are also thousands of independent labels that play a smaller role in the market. The future of the industry is uncertain as technology and streaming continue to change how music is consumed and monetized.
The document provides a timeline of key developments in the film and music industries from the 1950s to present day. It covers historical contexts, technological innovations, popular genres and artists, marketing strategies, distribution methods, and changes in consumer habits for each decade. Major events and innovations included the rise of vinyl records and cassettes, the introduction of the CD and MP3 formats, the growth of music streaming services, and social media's increasing influence on the industry in recent years.
The document provides a timeline of key developments in the film and music industries from the 1950s to present day. It covers historical contexts, technological innovations, popular genres and artists, marketing strategies, distribution methods, and changes in consumer habits for each decade. Major events and innovations included the rise of vinyl records and cassettes, the introduction of the CD and MP3 formats, the growth of music streaming services, and social media's increasing influence on the industry in recent years.
Similar to Fat Beats Record Group: Executive Overview (20)
This promissory note documents a $50,000 loan from Christopher Blaszczak-Boxe to True Story Management Inc. on July 16, 2013. The note has an interest rate of 25% annually and is due to be repaid in full, including principal and accrued interest, by January 16, 2014. Gregory O. Jobson-Larkin unconditionally guarantees the obligations of True Story Management Inc. under this note.
The document provides information about the DISC behavioral assessment. It discusses the four DISC dimensions of behavior: Dominance (D), Influence (I), Steadiness (S), and Conscientiousness (C). It then provides a summary of the individual's natural and adaptive behavioral styles, including scores on each of the four DISC dimensions. The individual's natural style indicates a preference for following procedures, adhering to standards, and maintaining a controlled pace, while their adaptive style involves slightly more interaction and flexibility in their approach.
The document is Gregory Jobson-Larkin's Values Index report which analyzes his motivations based on seven dimensions of value: Aesthetic, Economic, Individualistic, Political, Altruistic, Regulatory, and Theoretical. The report found that Gregory has average scores on most dimensions except for a high Regulatory drive which values structure and order, and a high Theoretical drive which values knowledge and understanding. The report provides insights into Gregory's motivations and how he can maximize his performance.
World economy charts case study presented by a Big 4
World economy charts case study presented by a Big 4
World economy charts case
World economy charts case study presented by a Big 4
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World economy charts case study presented by a Big 4
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The E-Way Bill revolutionizes logistics by digitizing the documentation of goods transport, ensuring transparency, tax compliance, and streamlined processes. This mandatory, electronic system reduces delays, enhances accountability, and combats tax evasion, benefiting businesses and authorities alike. Embrace the E-Way Bill for efficient, reliable transportation operations.
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Fat Beats Record Group: Executive Overview
1. FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
$10.1 MILLION DOLLAR BACK TO THE FUTURE NEXUS5
RECORD BUSINESS EXPANSION PLAN
VINYL MASTERING & MANUFACTORING NEXUS5
FACILITY page 2
PROPRIETARY WHOLESALE NEXUS5
DISTRIBUTION CENTER page 5
GLOBAL MULIT NATIONAL RETAIL BOUTIQUE NEXUS5
STORE(S page 7
NEXUS5
MEDIA & MARKETING BROADCAST/INTERNET PRODUCTION page 11
NEXUS5
SYSTEMIC BACKOFFICE page 12
Fat Beats Dot COM Inc.
Fat Beats Records Inc.
FB Distribution Inc.
Joseph
Abajian
aka
DJ
Jab,
Owner/CEO
FBRG
Nexus5
Investment
Opportunity
2. 2
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
Vinyl
album
sales
actually
managed
to
outpace
digital's
sales
growth,
increasing
by
17.7%
to
4.55
million
units.
However,
that
is
still
a
meager
1.44%
of
all
U.S.
album
sales
in
2012.
Billboard
Magazine
1
In
the
U.K,
the
trend
is
even
more
encouraging
for
vinyl,
as
2012
sales
rose
15.3
percent
from
2011
–
this,
at
a
time
when
CD
sales
declined
20
percent,
downloads
rose
15
percent,
and
overall
music
sales
declined
11.2
percent.
Only
389,000
new
units
were
sold
in
Great
Britain:
The
xx,
David
Bowie,
Jack
White,
Adele,
and
Tame
Impala
accounting
for
the
top
5.
Vinyl
Strikes
Back!
Worldwide.
According
to
2012
sales
figures,
vinyl
record
album
sales
in
the
United
States
jumped
17.7
percent
to
almost
4.55
million
units.
At
the
same
time,
CD
sales
continued
to
decline,
dropping
13.5
percent
from
2011
to
193.4
million
units.
Digital
downloads
continued
to
grow
at
a
very
healthy
rate
and
now
represent
37.2
percent
of
all
music
album
sales.
Moreover,
download
stores
finally
passed
large
discounters
such
as
Target
and
Walmart
with
sales
of
more
than
111.7
million
units.
2
The
bad
news
for
the
music
industry
is
that
overall
sales
declined
4.4
percent.
But
amidst
all
that
data,
the
resurgence
of
vinyl
looks
impressive;
especially
because
2012
represented
the
fifth
consecutive
year
of
double-‐digit
sales
growth
for
a
format
left
to
die
under
the
metal
feet
of
the
Digital
Empire’s
AT-‐AT.
Yet,
does
that
mean
that
the
renewed
interest
in
vinyl
and
turntables
is
a
rejection
of
MP3s
by
20-‐
somethings,
or
is
this
just
another
annoying
hipster-‐fueled
fad?
Having
dug
into
the
numbers
and
spoken
with
turntable
manufacturers,
we
think
it
is
probably
a
little
bit
of
both.
The
17.7
percent
jump
in
vinyl
record
sales
does
not
include
used
record
sales,
and
it
is
unclear
if
the
math
also
accounts
for
all
online
and
indie
label
offerings.
Vinyl
still
only
accounts
for
1.44
percent
of
new
U.S.
album
sales
overall,
and
the
top
selling
album,
Jack
White’s
“Blunderbuss,”
moved
a
paltry
34,000
units.
The
second
best
selling
LP?
The
Beatles
“Abbey
Road”.
Digital
Trends
Fatbeats
Nexus5
Manufacturing
FBRG
plans
vinyl
mastering
&
manufacturing
business
expansion
with
the
acquisition
and
operation,
of
one
of
North
America’s
largest
vinyl
record
pressing
plants.
The
new
24/7
operational
facility
attempts
to
keep
pace
with
growing
horizontal
and
vertical
market
buying
trends.
The
turnkey
UPS
Logistics
supported
LP
supplier,
proposed
to
go
online
fall
2013.
The
Vinyl-‐to-‐Mobility
File
Effect
The
tonal
quality
of
your
music
file
is
directly
relative
to
your
rate
of
movement.
If
one’s
rate
is
that
of
jogging
of
faster,
than
mp3
file
size
appropriates
a
myriad
of
mobile
digital
devices,
walking
pace
around
the
home
dictates
raw
files
found
in
CD’s,
sitting
to
listen
at
the
couples
pace
of
comfortable…
only
the
warmth
of
vinyl
keeps
pace.
Sit
still,
hookup
to
the
awesome
warmth
of
twelve
by
twelve
inch
wax!
“The
24/7
operational
turnkey
vinyl
LP
plant
is
proposed
to
go
online
fall
2013.”
3. 3
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
When
Jay-‐Z
put
out
his
first
twelve
inch
record,
he
went
to
Fat
Beats;
when
Eminem
put
out
his
first
EP,
he
went
to
Fat
Beats.”
“Today’s
Jay-‐Z’s
&
Eminem’s
still
come
to
Fat
Beats,
it
matters,”
owner/founder
Joe
Abajian,
aka
DJ
Jab.
1
Last
year,
2.8
million
vinyl
records
were
sold
in
the
United
States,
according
to
Nielsen
Soundscan,
and
sale
as
this
year
could
be
40%
higher.
But
Soundscan
uses
bar
codes
to
track
sales;
and,
“the
majority
of
the
stuff
we
press,
it
doesn’t
even
have
a
bar
code,”
according
to
Slusarz.
Add
that
to
the
fact
that
a
lot
of
vinyl
records
are
sold
at
independent
record
stores,
gigs
and
on
niche
web
sites
and
it’s
not
hard
to
see
that
the
vast
majority
of
vinyl
sales
goes
unreported.
If
Slusarz
15%
estimate
is
even
close
to
accurate,
vinyl
sales
could
top
20
million
this
year.
Under-‐25s
are
behind
a
six-‐year
surge
in
vinyl
sales,
in
UK!
US?
A
total
of
389,000
LPs
were
sold
in
2012
-‐
an
increase
of
15.3%
compared
with
2011.
BBC
Radio
One
2
Research
by
ICM
suggests
18
to
24-‐year-‐olds
are
buying
more
vinyl
records
than
any
other
age
group
under
50.
BBC
Radio
One
2012
has
turned
out
to
be
the
British
music
industry's
best
year
ever
for
the
sale
of
singles,
but
album
sales
are
still
falling.
If
current
trends
continue,
they
will
fall
to
100
million
this
year,
which
will
mean
a
drop
for
more
than
a
third
in
the
last
10
years.
BBC
4
Radio
“New York City is the largest
market in the world for vinyl
pressing according to all the
plants, the most requests to
press vinyl in the world
comes out of NYC.” Fatbeats
is New York born and bred.”
Steve Sheldon, Rainbo Manufacturing, Inc.
FBRG’s
proposed
Long
Island-‐based
record
manufacturing
and
mastering
plant
answers
the
growing
market
trend
demand
with
11
high-‐
resolution
SMT
and
Hamilton
vinyl
record
pressers
capable
of
3.7
million
units
per
year.
Own,
"Not
Just
The
Rights!"
Joe
Abajian,
aka
DJ
Jab
explains
the
awesome
world
of
wax.
Copy/Paste link if click-through fails
http://www.inthemo.com/spots/ny/brooklyn/fat-beats-distribution-
incorpo?v=1
“U.S.
Vinyl
Record
Sales
May
be
6X
Higher
Than
Soundscan
Reports”
By DAVID GIFFELS
Published: by The New York Times October 21, 2011
Fatbeats
Nexus5
Manufacturing
cont.
4. 4
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
Proposed
Farmingdale,
New
York
FBRG
Vinyl
Mastering
&
Manufacturing
Facility
Future
3.7
million
unit
per
year
FBRG
Nexus5
Manufacturing
Plant,
Process,
Services
&
Clients
5. 5
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
FBRG’s
future
“Vinyl
World
Distribution
Vision”
starts
at
the
heart,
our
heart.
We
facilitate
the
creation
of
legacy
musical
estate
property,
which
loved
one’s
pass
on
its
value
to
the
hearts
of
loved
ones,
worldwide;
at
the
planned
market
share
of
$20
million
dollars
gross
per
year.
FBRG’s
Nexus5
productivity
business
model
philosophies
increases
current
gross
output
levels
to
the
power
of
ten
times
the
benchmark.
Fat
Beats
Records
Group
(FBRG)
is
a
NY
based
music
distribution
corporation,
certified
$2
million
dollar
per
year
grossing
1st
generation
evergreen
self-‐sustaining
distribution
music
media
merchandise
nexus
with
19
years
combination
of
proven
management
teams,
positive
earnings,
and
competitive
advantages
in
services;
for
6-‐years
with
growth
and
counting.
Why?
Four
hundred
(400)
plus
FBRG
trend
buying
loyal
vanguard
one-‐stops,
vendors,
retailers,
and
Internet
consumers
continue
to
experience
growth,
such
as:
E1
Entertainment
Secret
Stash
Stones
Throw
Plug
Research
Mello
Music
Group
Wax
Poetics
Fools
Gold
SoulSpasm
Now
Again
Duck
Down
Redefinition
Nature
Sounds
Madlib
Invasion
Rhymesayers
These
businesses
continue
to
spread
the
FBRG
brand
legacy
worldwide
in
the
form
of
merchandise
commodities,
propelled
by
Hip
Hop
Urban
Alternative
culture.
In
fact,
in
2008,
it's
reported
that
1.88
million
vinyl
albums
were
purchased,
which
is
the
highest
number
since
Nielsen
SoundScan
began
tracking
LP
sales
in
1991.
Additionally,
vinyl
sales
rose
14%
between
2006
and
2007,
from
858,000
to
990,000.
And
the
sales
figures
for
2009
will
surpass
the
number
for
2008
with
ease.
In
comparison,
CD
sales
have
nosedived
over
the
past
three
years,
from
553.4
million
in
2006
to
360.6
million
in
2008.
MP3
sales
grew
from
32.6
million
to
65.8
million
during
the
same
time
period,
according
to
SoundScan.
According
to
2012
sales
figures,
vinyl
record
album
sales
in
the
United
States
jumped
17.7
percent
to
almost
4.55
million
units.
FBRG,
is
the
only
real
distribution
option
for
labels
seeking
to
connect
to
the
taste
making
consumer,
whether
that
consumer
be
looking
for
Soul,
Funk,
Indie
Rock,
Metal,
Jazz,
Hip
Hop
or
any
other
vinyl
friendly
genre.
More
people
purchased
vinyl
records
in
2012
than
they
have
in
almost
20
years,
according
to
The
Nielsen
Company
&
Billboard’s
2012
Music
Industry
Report.
Copy/Paste, link if click-through fails:
http://www.businesswire.com/news/home/20130104005149/en/Nielsen-Company-Billboard%E2%80%99s-
2012-Music-Industry-Report
For
the
fifth
consecutive
year,
more
vinyl
albums
were
purchased
than
any
other
year
in
the
history
of
Nielsen
SoundScan.
• In
2012,
vinyl
album
sales
reached
4.6
million
in
sales,
breaking
the
previous
record
of
3.9
million
LP
album
sales
in
2011.
• 67%
of
all
vinyl
albums
were
purchased
at
an
independent
music
store
during
2012.
Vinyl
album
sales
in
2012
were
up
19%
compared
to
2011
and
accounted
for
1.4%
of
all
album
sales
and
2.3%
of
all
physical
album
sales.
Fatbeats
Nexus5
Distribution
Right
now,
Fatbeats
Distributions
is
fulfilling
the
demands
of
20-‐Teen
driven
vinyl
market,
creating
formidable
trend
growth-‐based
reality;
grossing
$2
million
dollars
per
year,
for
5-‐consecutive
years
and
counting.
6. 6
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
There
is
also
a
lot
of
vinyl
support
in
such
musical
genres
as
hip-‐hop,
punk,
and
heavy
metal.
"Indie"
music
is
now
being
pressed
into
colored
vinyl,
limited
edition
releases,
and
picture
discs.
These
are
the
future
collectibles
and
sometimes
sell
for
higher-‐than-‐average
prices.
The
online
community
has
responded
as
well
with
literally
thousands
of
web
sites
dedicated
to
the
vinyl
format.
Many
music
artists
are
making
sure
that
they
give
their
fans
a
choice
of
music
formats,
with
vinyl
appearing
to
be
taking
the
lead.
Then
there
is
the
actual
physical
aspect
of
going
out
to
your
local
record
store
and
buying
a
record.
Browsing
through
bins
of
used
vinyl,
anticipating
the
new
releases
and
rushing
to
the
store
to
get
that
new
record
from
your
favorite
band
is
exciting
and
pleasurable.
The
downloading
generation
has
discovered
the
tangible
benefits
of
vinyl
and
records
sales
are
soaring
across
the
country.
Yes
independent
record
stores
have
been
closing
at
an
alarming
rate,
but
the
shops
that
do
stay
open
are
flourishing.
Paul
Russe,
the
manager
of
Off
The
Record,
an
independent
record
store
in
San
Diego,
is
encouraged
by
the
future
of
the
independent
record
store.
Buying
and
selling
records
is
big
business.
Besides
the
garage
sales,
flea
markets
and
yard
sales,
online
auction
sites
such
as
eBay
sell
millions
of
records.
It
is
reported
that
eBay
users
buy
and
sell
six
vinyl
records
each
minute
(or
an
average
of
one
every
ten
seconds)
totaling
more
than
three
million
records
each
year.
Some
records
still
maintain
their
value
decades
after
their
initial
release
and
have
sold
for
thousands
of
dollars.
It's
been
reported
that
the
album
that
is
bought
and
sold
the
most
in
the
vinyl
format
is
the
Beatles'
"White
Album."
Other
acts
such
as
Elvis
Presley,
the
Rolling
Stones,
Pink
Floyd,
Bob
Dylan,
Madonna,
Led
Zeppelin,
among
many
others,
are
highly
sought
after
and
still
command
top
dollar
for
specific
releases.
Soul
and
jazz
music,
along
with
classic
rock,
are
always
in
demand.
Additionally,
online
giant
Amazon
is
committed
to
expanding
their
'vinyl
section'
offerings
to
include
thousands
of
music
artists.
Major
electronics
chain
Best
Buy
has
also
begun
selling
vinyl
records,
making
this
decision
after
conducting
a
test
in
100
of
their
stores
and
discovering
that
vinyl
records
were
more
popular
than
they
anticipated.
"I
think
there
will
always
be
record
stores,"
Russe
stated.
"Otherwise,
it's
like
saying
there
won't
be
any
bookstores
because
everything
in
print
will
be
a
digital
download.
Digital
is
just
a
convenience.
And
anyone
who
loves
music
will
always
gravitate
toward
record
stores."
"I've
always
marveled
at
every
new
generation
of
15-‐year-‐old
boys
who
go
to
the
Doors
vinyl
section
and
say,
'Wow,
an
original
Doors
LP!'
related
Marc
Weinstein,
founder
of
Amoeba
Music,
the
three-‐store
chain
whose
Hollywood
branch
is
among
the
largest
independent
retail
record
stores
in
the
U.S.
"Major
labels
should
have
capitalized
on
this
years
ago."
Will
vinyl
records
regain
their
dominant
position
in
the
music
industry
that
they
once
held?
One
can
only
guess,
but
with
CD
sales
continuing
to
plummet
and
more
and
more
music
lovers
discovering
the
value
of
vinyl,
this
historic
audio
medium
will
not
fade
away
anytime
soon.
Jay-‐Z
remembers
Fatbeats
in
autobiography.
"By
the
end
of
2012,
over
50%
of
our
business
was
in
new
vinyl,
which
amounts
to
millions
of
dollars
a
year,"
said
Joseph
Abajian,
founder
of
the
New
York-‐based
online
music
retailer
Fatbeats.com.
“And
there
seems
to
be
no
end
in
sight.”
Why?
Proposed
Farmingdale,
New
York
FBRG
Nexus10
Distribution
Center
Future
$20
million
gross
per
year
7. 7
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
Fatbeats
Nexus5
Retail
Store(s
FBRG
plans
high
tech-‐influenced
vinyl
retail
boutique
experience
reminiscent
of
the
original
Fatbeats
DJ/Artist
Nirvana.
Star
Trek,
Into
The
Darkness
director
J.J
Abrams,
and
futuristic
Oblivion
starring
Tom
Cruise
&
Morgan
Freeman
both
feature
character
developing
scenes
using
a
vinyl
record
player.
Film
producers
and
major
studio
are
keen
trend
observers
as
both
features
were
designed
to
captivate
20-‐Teen
male
tastemakers.
“The
tactile,
viscerally
interactive,
technologically
managed
boutique
vinyl
record
store
reminisce
the
original
Fatbeats
DJ/Artist
experience.
”
Overall
music
sales:
1.65
billion
unit
transactions
in
2012.
For
the
fifth
consecutive
year
more
vinyl
albums
were
purchased
than
any
other
year,
sales
reached
4.6
million
units.
67%
purchased
at
an
independent
store.
The
Nielsen
Company
&
Billboard’s
2012
Music
Industry
Report
1
If
you
care
at
all
about
music
and
art?
If
you
want
to
know
what
is
happening
culturally?
RUN,
don't
walk
to
your
local,
real
RECORD
STORE
and
absorb
the
heart
and
soul
and
the
vibe
of
a
community.
The
music
scene
of
any
town
will
revolve
around
the
RECORD
STORE
as
the
center
of
the
universe.
Vinyl
Look
As
Good
As
It
Sounds!
The
Fatbeats
Store
established,
is
the
destination
for
record
collectors,
and
tastemakers
alike,
which
are
key
components
to
this
retail
venture.
LES,
NY
(Lower
East
Side,
Manhattan)
is
a
place
that
gets
a
lot
of
foot
traffic
in
our
prime
customer
demo,
which
is
ideally
located
to
other
specialty
shops
and
cafes.
FBNY
(Fatbeats,
New
York)
was
known
for
stars
of
all
walks
stopping
in
and
looking
around.
Alternatively,
we
also
offer
records
on
the
Internet
through
our
own
website,
http://www.fatbeats.com.
2
The
Fatbeats
Store
established,
exhibits
and
creates
trends,
it
is
the
alpha
&
omega
of
cool;
the
first
&
last
stop
for
alternative
urban,
hip
hop
music,
merchandise,
and
a
whole
lot
more.
The
business
math
is
easy,
just
take
the
product,
the
turns,
the
GPM,
the
units
on
hand
and
extend
it
out
for
a
years
worth
of
sales.
If
the
number
meets
or
exceeds
your
business
plan
volume
or
sales
figures,
you
will
live
to
see
another
year
of
retailing.
Nexux
10
The
Fatbeats
Store
established,
features
walls
&
ceilings
are
covered
with
interactive
video
panel
gallery,
mimicking
the
nostalgic
look
of
the
walls
and
ceiling
of
the
original
store;
a
visual
history
of
Hip
Hop
and
its
foundation
on
display
and
for
sale.
Chill-‐out
listening
refreshment
zones
create
bonding
opportunities
with
little-‐known
FatBeats
artists
encouraging
sales,
fan-‐base
social
media
sharing
and
live
performance
entertainment
A
Brief
Fatbeats
Store
History
Copy/Paste link if click-through fails
http://www.youtube.com/watch?v=pm3
0LXs2DNc
8. 8
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
Fatbeats
Nexus5
Retail
Store(s
cont.
The
“FatBeats
Nation”
attitude
creates
an
“Urban
Alternative/Hip
Hop
Embassy”
that
establishes
additional
national
presence
in
Beverly
Hills,
Las
Vegas,
with
international
retails
spaces
in
proposed
key
foreign
markets,
such
as
Tokyo,
Macau,
Poland
and
Hong
Kong.
These
retro-‐
tech
store
environment
design
theme
and
setting,
welcoming
and
transporting
the
customer
“Back,
To
The
Future.”
FB
Market
in
2012:
N.
America
56%
Europe
30%
Japan
10%
All
other
territories
4%
Vinyl
album
sales
actually
managed
to
outpace
digital's
sales
growth,
increasing
by
17.7%
to
4.55
million
units.
However,
that
is
still
a
meager
1.44%
of
all
U.S.
album
sales
in
2012.
67%
of
that
sale,
independent
record
stores.
Billboard
Magazine
THEN
NOW
RetroTech
Retail
Store
Design!
9. 9
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
What
has
now
occurred
is
the
realization
(by
the
media
and
the
public)
that
"Digital
Content"
has
peaked
and
a
significant
portion
of
the
consumer
base
(domestically
and
internationally)
requires
the
product
and
related
aspects
of
"FatBeats"
original
structure
(21st
Century
Style)
to
be
available
for
their
consumption.
Fatbeats
Nexus5
‘RetroTech’
Retail
Store
Design
10. 10
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
Domestically
and
internationally
market
trend
record
purchasing
data
requires
the
products
and
related
aspects
of
"FatBeats"
original
structure
(21st
Century
Style)
to
return
to
the
marketplace
and
be
available
for
their
consumption.
Fatbeats
Nexus5
‘RetroTech’
Retail
Store
Design
Enjoy
a
nice
pie
piece
and
beverage;
served
at
‘Groove
Café’
next
to
the
‘News
Stand’
for
FB
distributed,
as
well
as
other
publications!
Proposed
LES
[Lower
East
Side]
Manhattan,
New
York
FBRG
Nexus10
Retail
Store(s
Future
$5
million
gross
per
year
11. 11
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
FatBeats
Records
Group's
Worldwide
Media
Television
fosters
an
artist
friendly
environment
that
promotes
the
active
participation
of
the
company
with
the
entertainers
in
all
areas
of
critical
interest
in
his/her
project
including
development,
production
and
marketing
while
experiencing
growth
as
a
successful
and
profitable
urban
alternative
Hip
Hop
music
conglomerate.
Our
music
division’s
intent
is
to
partner
with
multitalented
artists,
thus
enabling
FatBeats
Records
Group's
Worldwide
Media
Television
to
expand
its
profit
prospects
from
a
multiple
of
various
revenue
streams
including
product
lines,
publishing,
production,
sales
and
marketing.
FatBeats
Records
Group's
Worldwide
Media
Television
aggressively
enters
and
serves
the
NY/LA
World
multiethnic
and
multicultural
(Urban)
music
market
with
broad
based,
and
multi-‐faceted
strategy
as
a
provider
of
low
cost
state
of
the
art
quality
music
artist
and
repertoire
program
materials
with
a
wide
and
deep
cultural
reach.
Its
first
value
proposition
to
advertiser/endorsers
is
low
cost
tie-‐ins
with
supplementary
advisory
services,
such
as:
• Strategic
and
business
consulting,
market
research
and
analysis,
and
customer
segmentation.
• Value
proposition
to
advertiser/endorsers
of
low
cost
social
media
ads
placement
with
a
wide
reach
and
high
frequency
to
loyal
listeners/viewers
(developed
with
high
quality
and
focused
program(s)
materials
in
their
customer
segments.
Reality
Television
Marketing
• First
show
of
its
kind
to
show
the
behind
the
scenes
workings
of
the
Record
Industry
• Show
can
be
monetized
by
bringing
finished
product
to
network
TV
• Social
Media
can
be
integrated
to
increase
awareness
of
the
show
and
interact
with
"fans.”
• Americans
spend
1/3
of
their
free
time
watching
television
and
of
that
67%
are
reality
shows
• Self
producing
reality
shows
puts
FatBeats
in
front
of
a
larger
audience
creating
a
"free
advertising"
and
revenue
generation
platform,
as
it
costs
o Much
less
to
produce
a
reality
show
than
a
scripted
show
• Reality
TV
episodes
have
increased
to
57%
of
all
television
shows
that
can
be
found
on
your
screens
• Embassy
of
Hip
Hop"
stores
can
"sneak
peek"
the
experience
on
the
reality
show
(More
Free
Advertising)
Artist
Video
Performance
Capture
FatBeats
Generates
Media
Content
Production
Capacity:
• Feature
tour:
retail,
and
press
packages
• Securing
Artist,
Catalogs
and
Projects
• Major
label
re-‐issues
classics
partnerships
&
specialty
items
• Expanding
Internet
web
community
Fatbeats
Nexus5
Media
&
Marketing
FB’s
first
value
proposition
to
advertiser/endorsers
is
low
cost
tie-‐ins
with
supplementary
advisory
services
built-‐ins,
such
as:
Strategic
and
business
consulting,
market
research
and
analysis,
and
customer
segmentation.
The
“FatBeats
Nation
is
an
“Urban
Alternative/Hip
Hop”
buying
trend
movement
under
one
groove.
“Back,
To
The
Future.”
FB
Marketplaces
in
2012:
N.
America
56%
Europe
30%
Japan
10%
All
other
territories
4%
12. 12
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
“Old
Jock,”
meet
“New
Jack.”
FBRG’s
‘Nexus5
Systemic’
utilizes
Sage
accounting,
UPS
Logistics,
and
‘the
hungry’
creative
agency
services,
Vocus
public
relations,
on
an
Apple-‐
based
platform
to
take
a
vinyl
bite
out
of
the
‘Big
Apple
Worldwide.
‘
Nexsus5
Systemic
Back
Office
The
right
relationships
make
all
the
difference
in
the
world.
FBRG’s
integration
of
cloud-‐based
technologies
in
nexus
with
the
emerging
global
demand
vinyl
markets
creates
formidable
pairings.
Sage
50
Complete
Accounting
2014
(formerly
Peachtree
Complete
Accounting)
delivers
the
efficiency
you
require
whether
you're
after
rapid
expansion,
steady
growth,
or
maintaining
stability.
Easily
manage
customers
and
sales,
automate
purchasing
and
shipping,
track
jobs,
and
more!
• Save
cash
and
reduce
costs
using
"what
if"
scenarios
and
your
real-‐time
financial
info
Become
more
productive
with
automated
purchasing
and
shipping
features
• Control
job
revenue
and
expenses
at
the
phase
and
cost
code
level
• Work
more
efficiently
with
customer,
vendor,
and
inventory
management
centers
•
Get
screen-‐level
security
and
multi-‐user
options
2
UPS
Logistics
can
help
your
business
run
smoothly,
like
a
well-‐oiled
machine.
UPS
know
how
important
it
is
to
keep
our
operating
costs
down,
but
still
maintain
the
options
important
to
customers
in
the
industrial
manufacturing
industry.
FBRG
will
tap
into
their
logistical
expertise
and
solutions
to
reduce
order
fulfillment
time,
provide
proactive
customer
service,
and
accommodate
varied
transportation
needs.
‘the
hungry’
Website
&
Social
Creation
Website
Design
• Gather
”Fatbeats”
assets
• Create
custom
look
and
feel
• Create
engaging
navigation
structure
• Define
hosting
• Create
user
engagement
strategy
• Concept
game
mechanics
• Create
CTR
focused
integrated
ad
zones
• Create
backend
system
interface
• SEO
page
coding
Front
End
Programming
• Social
Profile
CMS
Interface
• Page
Coding
(CSS
/
JAVA
/
SEO)
Navigation
&
Backend
System
Interface
13. 13
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
1
‘the
hungry’
Website
&
Social
Creation
continued
Online
Marketing
Media
and
Blogger
Relations
• Identify
blogs
&
web
properties
(key
announcements
&promotions)
• Layer
digital
campaigns
• Execute
digital
media
outreach
Audience
Aggregation
• Identify
relevant
constituencies
•
Research
online
behavior
•
Develop
targeted
messaging
•
Conduct
outreach
via
social
media
Online
Press
• Generate
press
from
Red
Carpets
• Utilize
access
for
‘exclusive’
footage
• Break
new
stories
w/
images
&
video
• Watermark
content
with
talent
logo
• Share
content
w/
relevant
blogs
to
post
• Press
release
optimization
• Seek
out
mentions
&
plugs
to
promote
Social
Media
Manage
&
Curate
Communities
• Create
messaging
schedule
• Timely
posting
of
relevant
content
• Search
&
social
media
monitoring
•
Maintain
incoming
and
outgoing
messages,
requests,
comments,
bulletins
•
Gather
current
press
for
site
page
2
Content
Planning
&
Engagement
• Add
“general”
and
“targeted”
friends
• Plan
programming
schedule
• Identify
and
create
appropriate
content
• Video
content,
messaging,
photos
• Build
relationships
with
content
creators
• Execute
digital
promotions,
contests
and
campaigns
based
on
marketing
priorities
• Recommend
earned
and
paid
tactics
to
increase
fan
Traffic
Management
• Banner
Creative
&
Production
• Define
verticals
in
publisher
network
• Test
banners
in
RTB
exchange
• Manage
PPC
Network
Ad
Buys
• Direct
optimization
of
ad
conversion
• Drive
targeted
traffic
to
website
Vocus:
The
Do-‐Everything
Marketing
and
PR
Software
Vocus
helps
with
everything
on
your
task
list,
from
reaching
journalists,
bloggers
and
customers
to
identifying
and
monitoring
social
media
influencers.
It's
everything
you
need
to
earn
more
reach
and
influence;
here's
what
Vocus
can
do
for
you:
• Media
Database:
1.4m
record
media
database,
updated
1.7m
times
in
the
last
year
• News
Distribution:
Send
your
news
directly
to
the
people
who
need
to
read
it,
fast
• News
Monitoring:
See
the
entire
conversation,
manage
your
reputation
and
stay
ahead
of
industry
trends
• Social
Media
Monitoring:
Track
social
conversations
and
engage
influencers
• Analytics:
Immediate
insight
into
the
effectiveness
of
your
campaigns,
industry
trends
and
traction
of
your
competitors
Apple:
Business
Networked
Platforms
&
Applications
Cloud-‐based
Administrative
&
Manufacturing
Infrastructure
Fatbeats
Nexus5
Systemic
14. 14
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
Fatbeats
Nexus5
Systemic
Fatbeats:
• Establishes
customer-‐focused
employee/consumer
internet,
first
• Connect
‘Music
Peoples
to
Music
Pleasures’
• Embraces
employee-‐centered
systemic
‘Software
&
Services’
• Practices
‘Mobility
Enhanced
RetroTech’
employment
philosophy
• Is
a
‘Company
of
Believers’,
and
actioners…
of
Christ-‐
centered
systemic
business
principals
&
practices,
forming
a
world
nexus
for
all
to
wash,
rinse
and
repeat
FBRG
seeks
$10.1
million
dollars
in
preferred
stock
equity
and/or
debt
investment
stimulus
for
new
facilities,
for
mastering/manufacturing;
and
distribution
expansion,
media
production
&
marketing
hub;
and
retail
location
opening(s)
to
conservatively
increase
from
a
2%
market
share
to
achieve
a
20%
gross
portfolio
market
share.
15. 15
FatBeats
Records
Group
[FBRG]
Back,
To
The
Future
The
studio
executives
of
Oblivion,
Star
Trek
knows
about
20-‐Teens
and
the
trillion-‐dollar
consumer
generational
future
market.
Act
now!
$10.1 MILLION DOLLAR BACK TO THE FUTURE NEXUS
5
RECORD BUSINESS EXPANSION PLAN
• FBRG
will
acquire
fully
operational
VINYL
MASTERING
&
MANUFACTORING
NEXUS
FACILITY
with
key
accounts,
and
maintenance
for
operation
restarts
in
Fall
2012.
• FBRG
will
expand
its
PROPRIETARY
WHOLESALE
NEXUS
5
DISTRIBUTION
CENTER
sales
and
support
force
to
support
the
expansion
of
retailer/wholesaler
vinyl
and
associated
merchandise
network.
• FBRG
will
reestablish
and
pioneer
its
GLOBAL
MULIT
NATIONAL
RETAIL
BOUTIQUE
NEXUS
5
STORE(S;
starting
with
the
flagship
boutique
store
in
the
Lower
East
Side
of
Manhattan,
New
York,
and
beyond.
• FBRG
will
aggressively
focus
its
NEXUS
5
MEDIA
&
MARKETING
BROADCAST/INTERNET
PRODUCTIONS
on
creating
awareness
of
the
Fat
Beats
worldwide
brand
as
it
relates
to
all
things
musical,
and
pleasurable.
Cable
and
broadcast
Reality
Show
programming,
as
well
as
Internet
Vlogging
and
general
public
relations
shall
all
vividly
energize
the
bottom-‐line.
• FBRG
will
use
its
NEXUS
5
SYSTEMIC
BACKOFFICE
to
track,
adjust
planned
goals,
and
hit
the
mark
that
is
our
high
calling,
which
is
to
meet
and
exceed
expectations
of
customers
and
investors.
A
$10.1
million
dollar
investment,
positions
FBRG
for
a
25%
U.S//UK
conservative
market
capture
In
fact
4
million
U.S.
units
equates
to
$40
million
at
a
conservatively
averaged
$10
per
unit
vinyl
LP.
FBRG
currently
operates
at
approximately
.5
percent
of
the
overall
U.S.
vinyl
LP
market,
grossing
$2
million
dollars
annually
per
year
for
5-‐years
(CPA
accounted).
The
infusion
of
$10
million
dollars
into
FBRG
will
reaction
a
gross
profit
ramp
up
to
a
self-‐sustainable
$20
million
dollar
per
year,
gross
benchmark,
only
to
increase,
potentially
exponentially,
as
Nexux
5
administrative,
manufacturing
and
marketing
systems
stabilize.
This
scenario
does
not
include
U.K.
and
Asian
market
revenues.
FBRG
will
create
sustainable
employment
in
retail,
service
and
importantly
manufacturing
at
our
state-‐of-‐the-‐art
vinyl
manufacturing
plant
based
in
Long
Island,
New
York.
We
are
the
Fat
Beat
Records
Group;
invest
with
us
’Back
To
The
Future.’
16.
FatBeats
Records
Group
[FBRG]
“FBRG asks…when was the last time anyone ever walked into your living room,
pointed to your iPhone and begged you to play it?” Invest, “Back to the future,” with us.
$10.1 MILLION DOLLAR RECORD BUSINESS EXPANSION PLAN
• FBRG will acquire fully operational VINYL MASTERING & MANUFACTURING FACILITY with key accounts, and
maintenance for operation restarts in Fall 2012.
• FBRG will expand its PROPRIETARY WHOLESALE DISTRIBUTION CENTER sales and support force to support the
expansion of retailer/wholesaler vinyl and associated merchandise network of 400 to 1200.
• FBRG will reestablish and pioneer its GLOBAL MULIT NATIONAL RETAIL BOUTIQUE STORE(S; starting with the flagship
boutique store in the Lower East Side of Manhattan, New York, and beyond.
• FBRG will aggressively focus its MEDIA & MARKETING BROADCAST/INTERNET PRODUCTIONS on creating awareness
of the Fat Beats worldwide brand as it relates to all things musical, and pleasurable. Cable and broadcast Reality Show
programming, as well as Internet Vlogging and general public relations shall all vividly energize the bottom-line.
• FBRG will use its SYSTEMIC BACKOFFICE to track, adjust planned goals, and hit the mark that is our high calling, which is
to meet and exceed expectations of customers and investors.
FBRG
Nexus5
Investment
Opportunity
FBRG
[Fat
Beat
Record
Group]