The document discusses various examples of vertical and horizontal integration between Universal Music Group (UMG) and Cooking Vinyl. It provides details on how UMG integrates its recorded music and music publishing businesses. It also describes Cooking Vinyl's integration with its distribution partner Essential Music & Marketing, which handles distribution, marketing, and other services. The document also analyzes Lady Gaga as an example of horizontal integration across UMG labels and the use of cross-promotional opportunities between media properties.
'Disney Music Group' Company Business Model (Group Project)AntonioOrtiz166
This was a project designed by a group of students (Brittany Jackson, Clarissa Schmidt) from Full Sail University and myself (Antonio Ortiz) on a company business model for "Disney Music Group".
'Disney Music Group' Company Business Model (Group Project)AntonioOrtiz166
This was a project designed by a group of students (Brittany Jackson, Clarissa Schmidt) from Full Sail University and myself (Antonio Ortiz) on a company business model for "Disney Music Group".
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
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From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
8. Laptop with a ‘b’ for beats by dre Interscope artist.Telephone song was initially written for Britney Spears (Sony Music – Jive Records) but she never used it. Gaga was then going to feature her in the video but end up putting Beyonce in it instead (Sony Music). Could this have been a deal made by Sony (who probably owned the Telephone song as Britney was meant to put it on her album)?<br />Telephone can be seen as one major marketing tool – two artists, an up and coming promotions company, several products in different industries being featured. Lady Gaga further marketing herself as attention seeking, edgy, controversial, artsy, fashionista and in your face. Beyonce associating herself with a big name leading artist.<br />Ownership and Global Institutions targeting Local/British Audiences<br />Gaga an American artist reached number one in the UK for her first single Bad Romance, while the song only reached number two on the American Billboards. She has a huge influence on British Youths (sold out concerts), at the top of the charts, on popular music stations and music video channels. <br />Music Videos can be found on Youtube through Vevo which is owned by UMG makes profits for ads place on page and before music videos. (Vertical Integration).<br />Distribution<br />Gaga albums are distributed by Interscope-Geffen-A&M which is and Umbrella corporation to it’s subsidiaries Cherrytree, Interscope, Kon Live, and Streamline. These all fall under the Universal Music Group.<br />Marketing<br />Universal Music Group was responsible for marketing the product and you can see some of the ways it has done this above.<br />Exhibition<br />Lady Gaga/UMG profits from song sales (itunes, HMV, Amazon), concert sales, last.fm, fashion line (supposedly in the works), t-shirt/poster/product sales, television shows and films her music has been included in i.e. Melrose Place, East Enders, Percy Jackson, XFactor and many more. It has also been in videos games (Karaoke Revolution).<br />Definition:<br />In media economics, synergy is the promotion and sale of a product (and all its versions) throughout the various subsidiaries of a media conglomerate,[4] e.g. films, soundtracks or video games. Walt Disney pioneered synergistic marketing techniques in the 1930s by granting dozens of firms the right to use his Mickey Mouse character in products and ads, and continued to market Disney media through licensing arrangements. These products can help advertise the film itself and thus help to increase the film's sales. For example, the Spider-Man films had toys of webshooters and figures of the characters made, as well as posters and games.<br />How have these labels combated music ownership issues?<br />File Sharing and Digital Streaming <br />VEVO<br />Is a streaming player run through YouTube and owned by UMG, BMG (Sony) and Abu Dhabi. This site plays adverts or displays adverts on copyrighted material, so that the owner of set material can profit off of a consumer listening/watching their product.<br />YouTube and Universal’s VEVO Launch Party Packed and Star-Studded [PICS]<br />Sometime tonight, YouTube and Universal Music will be launching VEVO, a new YouTube-powered Web site dedicated to music videos. It’ll include content from some of the world’s largest record labels, including EMI, Universal and Sony Music. Oh, and did we mention that it will boast Last.fm integration?<br />To get VEVO off the ground in style, the music labels and Google are hosting an elaborate, expensive and extravagant launch party in New York City. An array of music stars are at the event, including Peter Wentz, Mariah Carey, Adam Lambert and (supposedly) Sheryl Crow. We’re also hearing that Google CEO Eric Schmidt is there, too. However, there is one person that we absolutely know is in attendance: Mashable Editor-in-Chief Adam Ostrow.<br />Adam was kind enough to take a snapshot of the event, and let us tell you: The place looks packed! YouTube and Universal are really pulling out all the stops to make VEVO’s launch a huge event. We’re going to be monitoring the event and the launch of Vevo. In the meantime, let us know what you think of the VEVO plan and whether it’ll succeed in the comments.<br />Update: Bono just gave the keynote, and now Google CEO Eric Schmidt is speaking at the launch party.<br />Update 2: Eric Schmit stated that it was Bono who suggested the meeting that got VEVO going. In addition, 85 percent of music videos will be on VEVO. However, Youtube will remain as the destination for fan-made videos.<br />SPIRAL FROG<br />SpiralFrog’s target audience – people between the ages of 13 and 34 – is an advertiser’s dream, Kent added. “This is the core audience we will attract by building a music-centric experience and destination that is second to none, legally delivering what the majority of kids want – content they pay for only with their time. It’s content that advertisers are willing to pay for on their behalf.”<br />SpiralFrog and Universal Music Group Partner in Advertising-Supported Legal Music Download Service<br /> New York, New York– SpiralFrog, the new music download destination, has signed an agreement with Universal Music Group (UMG), the world’s leading music company, to make UMG’s extensive catalog available for legal downloading in the US and Canada via SpiralFrog’s advertising-supported service.<br />SpiralFrog will offer users of its no-cost web-based service the ability to legally download music by many of the world’s most popular and award-winning artists.<br />quot;
Offering young consumers an easy-to-use alternative to pirated music sites will be compelling,” said Robin Kent, SpiralFrog’s CEO. “SpiralFrog will offer those consumers a better experience and environment than they can get from any pirate site.” Kent highlighted some key factors – legal digital files with no viruses or spyware in a controlled client-server architecture, quick downloading, and quality songs and music videos by great artists as among the primary benefits users will gain.<br />Digital rights management technology is built-in to all audio and video content as part of measures the company and its partners are actively taking to address piracy. “We want to provide the best environment for everyone – our partners and the recording artists, as well as consumers,” Kent said. “Piracy continues to be one of the biggest issues facing the music industry where illegal file sharing and unauthorized CD burning are the prime means of music piracy. Digital rights protection will help us combat piracy and provide peace of mind for the record labels and the artists.”<br />For record labels, the service will also be compelling, Kent said. “Offering legally-authorized audio and video downloads in an advertising-supported environment works, as our business model is based on sharing our income streams from that advertising with our content partners like Universal.”<br />Kent noted that the company’s research revealed that consumers are more than willing to ‘pay’ for their content by watching non-intrusive, contextually-relevant, targeted advertising in an online entertainment environment where advertising is already part of the overall experience.<br />Andrew McLean, Chief Client Officer Global at Mediaedge:cia, commented “The challenge is to find ways to integrate messaging and content to engage and add value to consumers’ lives rather than just add to the message clutter out there. Companies like SpiralFrog offer a more direct engagement opportunity and have the potential to be of value to consumers and, as a result, our clients.” Mediaedge:cia is a unit of GroupM, the media investment management arm of WPP Group, one of the worldapos;s largest communications services groups.<br />“Our target audience is the driving force behind the changes in how music is created, discovered and consumed,” Kent said. “They are the future of music, but their needs are not being fully met with current business models. We believe SpiralFrog’s differentiated offering will be highly appealing to them as well as to content providers.”<br />SpiralFrog’s target audience – people between the ages of 13 and 34 – is an advertiser’s dream, Kent added. “This is the core audience we will attract by building a music-centric experience and destination that is second to none, legally delivering what the majority of kids want – content they pay for only with their time. It’s content that advertisers are willing to pay for on their behalf.”<br />SpiralFrog will launch in beta later this year.<br />WEB SHERIFF<br />Both Universal and Cooking Vinyl are clients of this Web Sheriff company who are based out of London. It is a service that monitors blogs and websites for copyright material and then ask the publisher of the site to kindly take down illegally copied material.<br />Web Sheriff is an internet policing company based in the United Kingdom. It acts for the rights of its clients against a wide range of media copyright infringement, privacy violations, trademark infringement and domain name squatting.[1][2][3] The company also generates official content for its clients by designing, building and maintaining websites, YouTube channels, MySpace pages and the like. It produces video edits for several of its household name clients and also manufactures watermarked CDs and DVDs as well as providing individually watermarked streams of audio and video.[4] Clients include record labels and musical artists, media organizations, newspapers, broadcasters, film companies and celebrities.[5][2] It enforces online rights management for record labels and film companies by managing album and movie leaks and is most notable for policing blogs, BitTorrent trackers, file-sharing sites, film-sharing sites and websites that are offering downloads of copyrighted music and film. Web Sheriff initially interacts by sending quot;
take-downquot;
notices to the offending parties.[6]<br />Although most of the company's work relies heavily on the entertainment industry with enforcing copyright and new release protection, it handles all forms of illegal activity on the internet. It has been instrumental in the removal of Ken Bigley execution videos and has closed down terrorist related sites[7] as well as the extreme pornographic strangulation sites at the center of the notorious Jane Longhurst 2003 murder trial at the Old Bailey in London, England.[8][9]<br />Described as quot;
Europe's leading policing specialistquot;
,[10] Web Sheriff was founded in 2000 by former music business lawyer, John Giacobbi who acts as managing director.[1][7] Former deputy chairman of G-Cap Media, Steve Orchard serves as chairman of the company, which has operations in two offices in the UK and a work team of 20 patrolling the web 24/7.[5][1][11]<br />UMG CEO: Piracy Will Be Solved By Technology, Not People; Timing on Hulu-Like Music Video Site <br />Universal Music Group CEO Doug Morris can never be accused of being shy, or, putting his foot in, oh well…in an extensive interview with Billboard, he talks about the digital piracy issues, UMG’s efforts in digital music, working with YouTube and its plans for a Hulu-like music video site, and other issues. He has just reupped long term as the CEO with the world’s largest record label.<br />—On a Wired story ridiculing him and generally being considered the enemy: “They were trying to make fun of me because I’m older and because I come from a different era. But…there’s a couple of things that just don’t change..They’re so entranced and enthralled by all the shiny, new technology, they don’t understand that it doesn’t work unless you have music that people want. No one’s going to download music they don’t like.”<br />—On stopping piracy: “My whole point of view is this problem we’re in, which is caused by technology, will be solved by technology. Some genius on the other side will figure out how to stop the piracy that seems very logical to me. So all these people who come up with these opinions that they should have done this and that, it’s all ridiculous.”<br />—On taking equity stakes in music startups like Buzznet and MySpace’s new venture: “No one’s going to build a business off our backs if I can help it without us being part of it. It’s just not fair… It’s better than having a company like MTV, where we gave them our music for very little money and they built a $30 billion company or whatever it was for nothing.”<br />—On a Hulu-like online music video site: If we do that, it will be January. If we renew the [YouTube] deal, we wouldn’t do that. The odds are that we will have a deal with the participation of another label. With YouTube, the quality isn’t great; it gets low [cost per thousand]. On the other hand, more professional [services] get a higher CPM.<br />—Smartest person in music industry: Steve Jobs. “He came back stronger and smarter than anyone has ever done in any industry….We work with him and we try and get what we want with him and I’m sure we aggravate the hell out of him sometimes, but when you look at the whole picture, we make a lot of money through iTunes. We consider him a friend . . . I talk to him about once a month.” <br />Cooking Vinyl signs deal with YouTube rival MUZU<br />Tue Jan 27, 2009 12:42pm GMT<br />MUZU<br />It was purposefully built for the music industry, makes money off of ads. User can either watch music video, listen to songs and embed these things onto social networking sites.<br />LONDON (Reuters Life!) - Cooking Vinyl, the label behind the Charlatans and The Prodigy, has signed a global licensing deal with MUZU.TV, a new music video website.<br />LIFESTYLE<br />Cooking Vinyl said on Tuesday it had chosen to partner with Irish firm MUZU because it was purpose-built for the industry. Music labels are looking to develop their digital businesses as physical sales of CDs fall.<br />MUZU, which has also signed up EMI, Sony BMG and the Ministry of Sound, pays artists through advertising when their music is played. Users can either watch music videos on the MUZU site, on artist sites or embed them into their social networks.<br />quot;
To date, we have resisted doing deals with a lot of online video platforms because we didn't feel their offering fairly compensated our artists and had the right focus,quot;
said Martin Goldschmidt, founder and managing director of Cooking Vinyl.<br />quot;
MUZU.TV is different from other online video sites -- it was purpose-built for the music industry and we believe it holds great revenue potential.quot;
<br />CROSS MEDIA CONVERGENCE<br />Many Bands/labels are now licensing their music to Video games like Guitar Hero (owned by Activision who is in turn owned by Vivendi (who owns UMG)). This is a great way to advertise an artist as as well as a way to make money.<br />Feist and Apple Ipod<br />Great exposure for Feist and a catchy melody for apple to market it’s products with.<br />Outside example<br />Iron Man 2 – Sountrack <br />AC/DC will be providing the soundtrack to Iron Man 2, being released by Columbia Records on Monday, April 19, 2010[44]. There are at least three different versions: basic, special, and deluxe. The basic edition includes just the CD and can only be bought at Walmart (in USA). The standard edition comes with the 15-track CD, a 32-page booklet, and a DVD featuring exclusive interviews, behind-the-scenes footage, and music videos. The deluxe version is available at Amazon.com and includes a reproduction of one of Iron Man's first appearances in a comic book.<br />The original score for the film was composed by John Debney. Tom Morello, who previously worked with Ramin Djawadi on the first movie, returned to work with Debney on the sequel.[45] According to an article on Hollywoodreporter.com, Sony Classical will release the Iron Man 2 Original Motion Picture Score album separately from the AC/DC album. John Debney confirmed via Twitter that the score will be released July 7, 2010.<br />[edit]<br />Radiohead has success allowing audience to pay what they like to download new album<br />Radiohead reveal how successful 'In Rainbows' download really was <br />Facts for pay-what-you-want release finally made public<br />October 15, 2008 | 13 Comments<br />Radiohead news RSS feed<br />More Radiohead news, reviews, videos and tour dates<br />Post this on Twitter or Follow NME<br />The statistics behind the pay-what-you-like release of Radiohead's 'In Rainbows' album, released on October 10 last year online, have been revealed today (October 15).According to reports most fans chose to pay nothing to download the album. However, it still generated more money before it was physically released (on December 31) than the total money generated by sales of the band's previous album, 2003's 'Hail To The Thief'.According to Music Ally, Jane Dyball, head of business affairs at Warner Chappell (the publishing company that oversaw the release of 'In Rainbows'), refused to reveal the average price people were downloading the album for.However, Dyball, set to speak about the release at the Iceland Airwaves conference later, explained that Warner Chappell and Radiohead's management were monitoring the average price daily, and was prepared to cancel the download facility if the average price became too low.The download facility was taken down after three months, and the album went to Number One in the UK and USA after being physically released.Statistics revealed that most fans downloaded the album through file-sharing service BitTorrent, but that this had been anticipated before the release.The band sold 100,000 copies of the 'In Rainbows' box set, which contained extra songs not available on the standard download or CD release.Warner Chappell concluded that the new release style was a financial success, but did not reveal whether Radiohead plan to release an album in a similar way in the future.<br />Technological Convergence<br />Technological convergence and the proliferation of hardware are hugely important for both of these institutions (UMG and Cooking Vinyl) to consider. It is also a great new revenue stream for these companies. This is true as consumers are becoming more diverse and ever changing. As technology changes at a rapid rate, consumers are less likely to pay money for a physical CD. Many people, especially young people who make up the largest part of the market tend to find their music in creative or less traditional ways. Computers are no longer data processors they are media players. Close to 80% of teens have their own computer or are the main users of home computers. So teens are free to download files illegally/legally (iTunes, Amazon). Teens are also free to stream music and create playlist on such sites as YouTube, Spotify and Last FM. As many of these services are provided for free, music companies have to be creative in trying to make money off of their products. Most labels and music groups have joined either MUZU or VEVO, both of these services are ad driven – consumers must watch or listen to ads in order to access copyrighted material. These services were specifically created for the industry as VEVO is an extension of YouTube and MUZU is a rival of YouTube – a rival that brings in significant income for its clients. Another major aspect of the industry to consider is the iPod and the iPhone in particular. 54, 000,000 iPods/8.7 million iPhones were sold in 2009. Apple has become a leader in digital portable media and many consumers are reliant on the company to provide them with music, games, apps, etc. Almost all record labels sell their music through iTunes. It is almost a requirement for survival in the industry to have your music available iTunes as it is a convenient service for all iPod users to easily get their music from. <br /> <br />Issues with global institutions targeting local and national British audiences.<br /> “Global institutions dominate media production. These institutions sell their products and services to national audiences.”<br />To what extent do you agree with this statement?<br />4 major conglomerates own the record industry UMG, Sony (BMG), Warner Music Group, and EMI. UMG owns 12 major labels and within these major labels there are smaller labels totalling to 45. These global industries tend to top the charts in many countries not just Britain. <br />Globalization: Who benefits from it? <br />by Allan Watson<br />The success of London's music industry is due to fundamental causal processes operating in a globalised music industry.<br />In a globalising industry, a large component of the knowledge inputs to local production must come from outside London, and indeed the UK. They must be global. The clustering of firms in global cities such as London must be understood not only in terms of localised social interactions, but also with reference to the city's advantageous position within global flows of transport, communication, information, and capital. World cities are defined by their strategic location in the intensified circuits' of the global space economy. At the same time as the media multinationals located in cities interact locally with the small specialist producers and service providers, they run global networks of branch offices and subsidiaries that permit global linking of cities through established global networks. Therefore directly or indirectly, London's music industry firms are not only embedded locally, but also integrated more widely through the international networks of the majors. It's certain that every music industry company would value opportunities for learning that stretch far beyond the spatial limits of the city to the corners of the globe. The development of trust, respect, and mutual understanding is certainly not a process that can only occur within the limits of the city.<br />Each territory has a different market context of its own. Therefore, in order for London music companies to be able to deal in foreign markets, they must develop organisational forms that allow them to cross the cultural and economic boundaries that exist between different cities in different countries. As global distribution and cultural links are selective, musical releases have the potential to be a success in one territory and a failure in another if appropriate marketing strategies are not implemented. Strategies must be adopted accordingly that will work in each territory. There are two common strategies adopted by London's music industry companies. Firstly, there is expansion into a new territory, which allows direct learning of each market by the staff based at a company office. Secondly, there is the development of relationships with agents' who have local knowledge of the territory. The benefits of expansion or the use of agents are however not only limited to learning about, and access into, wider markets. They also allow for the development of communities' of learning, containing many music industry companies and also companies specialising in other areas, that stretch knowledge transfer beyond London's geographical limits. As these links are established, London's music industry becomes more and more linked into global networks. It is certain that the integration of London's music industry firms into global music industry networks is crucial to the global success of London's music industry clusters. It appears that high degrees of firm-level integration into the wider global music industry confer major advantages on London's music industry. Because of cultural differences in context, many marketing strategies and technologies from abroad may not be able to be appropriated in the UK. However, there will be those that can, and this can help improve the way business is undertaken in the UK. Therefore, music industry firms that are part of global networks of learning will be those that are the most successful. Of course, the future competitiveness of London's music industry also depends on the capacity of creative labour for innovative thinking.<br />Universal Music Group Reports 8.4% Growth In Digital Sales For 2009<br />by Robin Wauters on Mar 1, 2010 <br />French media conglomerate Vivendi this morning reported financial results, posting a decline in full-year profit but beating estimates because the net loss was much narrower than expected. You can read more analysis of the media and entertainment giant’s performance elsewhere, but there was a particular passage in the press release regarding Vivendi’s music subsidiary, Universal Music Group, that caught my eye.<br />UMG, the world’s largest music company with artists like U2, Amy Winehouse, Lady Gaga, Taylor Swift, Black Eyed Peas, Rihanna, Eminem, Lil Wayne under contract, as expected finds its revenue from physical product sales (CDs) in a seemingly unstoppable decline. Last year, the company’s revenues were €4,363 million, a 6.2% decrease compared to 2008.<br />Still, Universal Music Group’s digital sales grew 8.4% in 2009, which the company attributed to strong growth in online sales yet “tempered by softening demand for mobile products in the United States and Japan”.<br />UMG says it will “continue to encourage and support innovation”, citing Spotify’s iPhone application and MusicStation’s presence on the Android Market as examples. Universal is also a major shareholder of VEVO, a service launched in December, 2009 that quickly rose to become the number 1 music property in the United States. <br />We should note that UMG is also largely responsible for the demise of video sharing site Veoh, and has sued or threatened to sue companies like YouTube, MySpace, Bolt, Grouper and many more to date.<br />Universal Music Group recently appointed Lucian Grainge as Chief Executive Officer of the company, succeeding Doug Morris who remained as Chairman. When the promotion was announced, Jean-Bernard Levy, chairman of the Vivendi Management Board, said:<br />“I am delighted that Lucian Grainge has agreed to move to New York to take on the Chief Executive role. His track record speaks for itself, finding stars, growing revenues and building new business models. He has the right combination of experience and innovation to take UMG forward as the migration into the digital era accelerates.”<br />Do you think Universal Music Group can offset the decline in revenue from physical product sales with a continued increase in digital sales revenue in the foreseeable future?<br />Sunday, November 1, 2009<br /> HYPERLINK quot;
http://www.musicglobalization.com/2009/11/next-big-music-markets.htmlquot;
The Next Big Music Markets <br />The world is changing, the industry is changing, and the music giants of today will no longer be industry titans tomorrow. In the last five years there has been an explosion of emerging artists popping up from the most unlikely of places. At one point 25% of the musicians on the American Billboard Top 100 music chart weren’t American born, which clearly reflects a huge shift that the music marketplace once controlled by the United States is no longer. The United Kingdom and Latin American countries have exploded onto the scene, and in many cases/genres are controlling the American market. As these countries continue to strengthen, there are several countries that are quickly approaching the same status. Musicians, both domestic and international, scramble to new venues around the globe to capture their piece of an audience, however it’s important to realize there’s a specific rhyme and reason to global expansion. Some countries are on the up and up with their music industry, while others are only perceived to be successful. It is important to have a plan, a plan that incorporates industry statistics, buying trends, music festivals, intellectual property law, emerging artists, genres, and demographics. Most people don’t take the time to evaluate these aspects. Lucky for you I do. Stay ahead of the game, and if you’re looking to expand your career, label, or market to international areas, there are two countries that will blindside the global market in upcoming years. Please meet: Australia and South Africa. Stay ahead of the curve and learn where/why/and how to capture these markets immediately.WHERE: AustraliaWHY: Industry scholars are already aware that Australia is the ideal music market unfortunately musicians do not. If you monitor the Australian Billboard music charts you’ll notice an eclectic mix of musicians from around the globe. Even though a majority are American A-listers, if you dig a bit deeper you’ll notice Australian acts cluttered throughout. Australian musicians may not be the in the global mainstream yet, but they will be. The musicians are unique, they have their own style, and because everything is recorded in English, the likelihood American labels will begin cherry picking Australian talent is inevitable. If you incorporate Australia’s rising tourism numbers coupled with the countries low piracy rate, talented musicians, new genres, and solid buying market, their music industry expansion is a no brainer. HOW TO CAPITALIZE: North American musicians will have a difficult time expanding their careers into the Australian market from a touring standpoint simply because of the economics. Traveling to Australia for a tour, shipping product, or jetting over for promotion is unreasonable from a money perspective, however getting radio airplay isn’t. There is a hug radio market in Australia, and because English speaking musicians (more so North American musicians) are already popular in the area, there is an existing demand for good product. As nice as an Australian tour may be, focus on getting radio exposure first, as it will be your best shot to slowly build a fan base. For European artists the opposite is true. Traveling to Australia is reasonable, and with Australia’s strengthening music festival season, getting some face time with fans will prove beneficial. As for focusing on radio efforts, wait until you establish a fan base by touring first, as the chances you’ll trump a North American or Australian band for radio time is unlikely. WHERE: South AfricaWHY: The African music market in general is booming. Matter of fact, the entire continent is becoming a self sustained, self contained entertainment ecosystem. For the same reasons as above, the explosion of new/unique genres, steady tourism numbers, musicians, festival, language and buying trends in South Africa make it ideal. Even though the American music market is still the controlling industry force around the globe, major labels will adapt to global change very carefully. Careful for U.S. majors mean signing English speaking artists who have sexy/exotic/international appeal, but not TOO sexy and exotic. Tracking down European acts still proves financially risky for American labels, however South Africa fits the bill. The country adds extra incentive because of international trading routes, laws, and market potential that make the country attractive. If you’re thinking there are many other countries that the U.S. has great trading relationships with that would also fit the bill, you’re right -so why South Africa? The South African music market is gaining a closer relationship with the Nigerian movie industry, which essentially means licensing deals, added global exposure, cross promotions, and a huge revenue stream. The Nigerian film industry (ie: Nollywood) produced a 2.3 billion dollar industry in 2008, and is still rising. Believe it or not, Nollywood ranks #2 in the world in terms of films produced each year, ahead of the United States and behind India. Combine a possible Nollywood relationship, South Africans sense of community development with its artists, and rise of popularity for Nollywood films in Johannesburg and Cape Town, not to mention the 2010 World Cup in which the countries artists will be exposed to the world, and you’ve got a potential recipe for success. HOW TO CAPITALIZE: Without sounding totally repetitive, the same steps that apply in Australia also apply to South Africa. North American artists should focus all efforts on radio, while European artist build a fanbase by touring. RUNNER UP: The NetherlandsWHY: Quickly speaking, The Netherlands is packed with unique musicians. The country is a nice central European hub especially from a touring standpoint. However the strongest asset of The Netherlands is the fact piracy isn’t as widespread as it is in other European countries. Matter of fact the annual report put out by the International Intellectual Property Alliance, which monitors widespread piracy in each individual country, doesn’t even categorize The Netherlands as a “potential threat.” The likely emerging European markets of Italy, Sweden, Germany, and France, along with a majority of the Asian countries plagued the IIPA’s “piracy watch list” (ie: not good) which makes the likelihood their music markets will explode into the global mainstream rather difficult. <br />