Podcasts about ifpi

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According per two recently-published annual gauges of the health of the industry, the IFPI's Global Music Report and the EY Media & Entertainment report, in 2024, India's music business didn't grow as much as it did in 2023. In this episode, we discuss the factors behind the slowdown and why there's reason to be optimistic about the future. As always, we look at the key movements on the Spotify Weekly Top Songs India chart, this time for the survey published on April 4, 2025. ——-Vote for The Indian Music Charts Podcast in the Art & Entertainment category for the HT Smartcast Awards: https://survey.zohopublic.in/zs/H3CRUA

Fernando Augusto Pacheco tunes in to the rising music markets that were singled out in IFPI’s Global Music Report 2025. See omnystudio.com/listener for privacy information.

#Entertech Street 音楽プロデューサー山口哲一が世界のエンタメ×テクノロジーの最新ニュースをお届け⏩GONZOとやっているSAMURAI cryptos「無聊桃源」テーマソング「転迷開悟 feat. 田辺望, Mikey & B swamp」公開◆「IFPI GLOBAL MUSIC REPORT 2025」発表◆LAで躍進するher0ismが語る、世界で戦うための戦略とシーンの課題◆「世界の音楽業界ではLUMINATEのデータが通貨になっている」その理由を訊いてみた

Pakartot – naujausia Tarptautinės fonogramų pramonės federacijos (IFPI) ataskaita apie 2024-ųjų metų globalios muzikos industrijos padėtį. Vertė, pokyčiai, formatai, regionai, šalys, Europos ir Baltijos šalių situacija.Ved. Domantas Razauskas

As the US and Ukrainian presidents speak for the first time since their awkward meeting at the White House, we look at what progress can be made to end the war with Russia. Then: former president of the Philippines Rodrigo Duterte awaits a hearing at the International Criminal Court, the mayor of Istanbul is arrested and we look at the power struggle between the US and China over the Panama Canal ports deal. Plus: could the new Starline rail project change European mobility? And we unpack the IFPI’s ‘Global Music Report 2025’.See omnystudio.com/listener for privacy information.

Fernando Augusto Pacheco tunes in to the top five music markets, according to IFPI’s Global Music Report 2025.See omnystudio.com/listener for privacy information.

Robin Schmidt played the drums from the age of 9, the guitar from the age of 12 and was recording 8-track demos at the age of 14. During his youth, he played in a big band, a jazz quartet, pop, rock, ska and even death metal bands while recording anyone and anything, from Britpop to Ukranian Fusion Jazz, from Armenian Folk Music to German Krautrock.He left school to take up the job of resident engineer at Studio-22 in Germany, before studying at The Liverpool Institute for Performing Arts. Here his passion for mastering developed. He began mastering recordings for fellow students, but soon progressed to working with national and international clients.Fast forward to 2003, when Robin Schmidt set up 24-96 Mastering. Since then he has put the finishing touches on thousands of recordings across every genre, for major and indie labels all over the world.Robin has been nominated for a Grammy, has mastered gold and platinum selling records, Albums of the Year as credited by IFPI and the UK Music Producers Guild, as well as Number 1 hits in several countries. More importantly, Robin is deeply passionate about sound and takes pride in investing every possible effort to serve the music, and the client, with a perfect master.IN THIS EPISODE YOU'LL LEARN:How to communicate with musiciansThe pros and cons of working on improving someone else's “sound”Robin's mastering signal chainWhat to pay attention to so that your mixes have more impactAutomating EQs and limiters throughout a projectMastering records for The 1975Ensuring consistency throughout a recordThe challenges of mastering singles before the rest of the albumMix decisions that make for better masteringwhy mastering engineers shouldn't ask for a non-limited version of mixesBalancing client expectations vs what is better technicallyTo learn more about Robin Schmidt, visit: https://www.24-96.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Want more Mixing or Mastering clients? Communicate your true value with MixFlip: https://mixflip.io/?affiliate=mym Download Waves Plugins here: https://waves.alzt.net/EK3G2K Subscribe to the show:Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781...

This book covers the mental and physical health problems research suggests musicians might come up against and offers lots of tools and techniques to help aid prevention. You'll also find information about the structure of the industry, money management, and how to improve your skills as a performer, creator, and CEO of your career.Expect original interviews with leading researchers, health experts, business execs and a host of artists including Laura Mvula, Will Young, Imogen Heap, Wayne Hector, MNEK, Nina Nesbitt, Lauren Aquilina, Ella Eyre, Jonathan Higgs, Lady Leshurr, and many others. You'll also find quotes and advice from a long list of established artists like Ed Sheeran, Lily Allen, Amanda Palmer, Matty Healy, Gary Numan, Billie Eilish, James Blake, Taylor Swift, Justin Bieber, George Ezra, Loyle Carner, Alicia Keys, Dave, and Mabel. Widely supported by some of the biggest companies in the music business, Sound Advice is the ultimate industry-backed guide for both seasoned professionals and those just starting their career. It has been produced with the generous support of Live Nation, Universal Music UK, Sony Music UK, Warner Music UK, IFPI, Spotify, Hipgnosis Songs, Vevo, PRS for Music, Polydor Records, and PPL.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Musikernes brancheorganisation IFPI har kæmpet for den lovgivning, som nu har gjort kulturministeren rasende. De mener, at den nye lovændring er retfærdig og mener Kulturministerens brev "lugter af populisme". Vi får besøg af Lasse Lindholm fra IFPI Danmark og Kulturminister, Jakob Engel Schmidt, der hver især giver deres syn på sagen. På en teaterscene i det voldelige computerspil GTA, opsætter 2 britiske skuespillere Shakespeares Hamlet. Hele opsætningen og den lange kamp derhen er blevet til en dokumentarfilm, der har vundet internationale filmpriser. Nu har filmen endelig fået britisk biografpremiere. Udlændinge- og integrationsminister, og stor Hamlet-fan, Kaare Dybvad, har set filmen og giver sin dom over det virtuelle teaterstykke. Vært: Casper Dyrholm.

"Guidance around health and wellbeing can often be overwhelming but Sound Advice does an excellent job of cutting through the noise on this vitally important subject as well as demystifying the fundamentals of our industry. Simply put, this is a must-read for anyone starting out in music today."- David Joseph, former Chairman and CEO of Universal Music UK Are you interested in learning how to cultivate sustainable success in the popular music industry whilst prioritizing your health? If so, this book is for you. Inside you'll find research-informed advice and information that aims to help musicians, as well as those that work with them, navigate their way through what can be a challenging and demanding industry. This book covers the mental and physical health problems research suggests musicians might come up against and offers lots of tools and techniques to help aid prevention. You'll also find information about the structure of the industry, money management, and how to improve your skills as a performer, creator, and CEO of your career.Expect original interviews with leading researchers, health experts, business execs and a host of artists including Laura Mvula, Will Young, Imogen Heap, Wayne Hector, MNEK, Nina Nesbitt, Lauren Aquilina, Ella Eyre, Jonathan Higgs, Lady Leshurr, and many others. You'll also find quotes and advice from a long list of established artists like Ed Sheeran, Lily Allen, Amanda Palmer, Matty Healy, Gary Numan, Billie Eilish, James Blake, Taylor Swift, Justin Bieber, George Ezra, Loyle Carner, Alicia Keys, Dave, and Mabel. Widely supported by some of the biggest companies in the music business, Sound Advice is the ultimate industry-backed guide for both seasoned professionals and those just starting their career. It has been produced with the generous support of Live Nation, Universal Music UK, Sony Music UK, Warner Music UK, IFPI, Spotify, Hipgnosis Songs, Vevo, PRS for Music, Polydor Records, and PPL.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

1997年许美静进军香港，以新歌＋精选专辑《静听精彩13首》披靡香港乐坛，破纪录地蝉联IFPI排行榜冠军三周不退。许美静成功跨出港台界限，用她的声音，深入华语世界音乐人心。此专辑收录了国语专辑中最精华的多首单曲，及两首由国语所翻唱的广东歌曲，《倾城》就是其中一首。90后音乐人曾比特2024年3月为TVB剧集《婚后事》演唱主题曲，翻唱了许美静的《倾城》。翻唱90年代经典，道出凄楚动人嘅最深情话

2024. szeptember 12., csütörtök, 6.30 - 8 óra Szeptember elsején életbe lépett az a rendelet, ami az eddiginél szigorúbban – de korántsem észszerűbben – korlátozza azt, hogy a tanulók milyen tárgyakat vihetnek be és használhatnak az iskolában. Bár a szabályozás nem tiltja ki egyértelműen a telefonokat az iskolákból, az már most látszik, hogy az alkalmazása nagyon eltérő lehet iskoláktól, tankerületektől függően. Hatalmas a káosz az iskolakezdés óta, és a TASZ ingyenes jogsegélyszolgálatára is számos kérdés érkezett a mobiltilalom gyakorlati részleteiről. Ezek közül válaszoljuk meg itt a legfontosabbakat. Aki ebben segít: Zeller Judit, a TASZ jogásza. Először készített az Európai Unió zenei piacára fókuszáló jelentést a hangfelvétel-kiadók nemzetközi szervezete, az IFPI. A dokumentum megállapítja: az unió zenei hangfelvételekből származó éves bevétele tavaly meghaladta Japán, az Egyesült Királyság és Kína adatait is. De mennyire veszélyes a mesterséges intelligencia a zeneiparra? Mezei Csaba, a Magyar Hangfelvétel-kiadók Szövetségének (MAHASZ) kommunikációs szakértője volt a vendégünk.

pWotD Episode 2642: Celine Dion Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 327,591 views on Friday, 26 July 2024 our article of the day is Celine Dion.Céline Marie Claudette Dion ( say-LEEN dee-ON, French: [selin maʁi klodɛt djɔ̃]; born 30 March 1968) is a Canadian singer. Referred to as the "Queen of Power Ballads", she is noted for her powerful and technically skilled vocals. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Her recordings have been mainly in English and French, although she has also sung in several other languages.Born into a large family in Charlemagne, Quebec, Dion was discovered by her future manager and husband, René Angélil, and emerged as a teen star in her home country with a series of French-language albums during the 1980s. She gained international recognition by winning the 1988 Eurovision Song Contest, where she represented Switzerland with "Ne partez pas sans moi". Her debut English-language album, Unison (1990), established her as a viable pop artist primarily in North America and several English-speaking markets, while The Colour of My Love (1993) gave her global superstardom. Dion continued her success throughout the 1990s with several of the bestselling albums in history, such as Falling into You (1996) and Let's Talk About Love (1997), which were certified diamond in the US with more than 30 million sales worldwide each. She also released a series of international number-one hits, including "The Power of Love", "Think Twice", "To Love You More", "Because You Loved Me", "It's All Coming Back to Me Now", "I'm Your Angel", "That's the Way It Is", "I'm Alive" and "My Heart Will Go On", the theme for the 1997 film Titanic, which solidified her popularity.Dion continued releasing French-language albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a successful live performer with A New Day... on the Las Vegas Strip (2003–07), the highest-grossing concert residency of all time, and the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of the 2000s. In 2009, she was named by the Los Angeles Times as the top-earning artist of the decade, with combined album sales and concert revenue exceeding $747 million. In 2022, Dion canceled a tour due to her diagnosis of stiff-person syndrome, a rare neurological disease.With over 200 million records sold worldwide, Dion is the best-selling Canadian recording artist, the best-selling French-language artist, and one of the best-selling musical artists of all time. She is the sixth most successful female artist in the history of US Billboard 200 and received recognition from the IFPI for selling over 50 million albums in Europe. Seven of her albums have sold at least 10 million copies worldwide, the second most among women in history. She was ranked as the fourth most outstanding pop vocalist by Cover Magazine and the ninth greatest voice in music by MTV. One of the highest-grossing touring artists in history, she is the second woman to accumulate US$1 billion in concert revenue. According to Forbes, Dion was the world's highest-paid female musician in 1997, 1998, 2004, and 2006. She received two honorary doctorates in music degree from Berklee College of Music and Université Laval.This recording reflects the Wikipedia text as of 01:34 UTC on Saturday, 27 July 2024.For the full current version of the article, see Celine Dion on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Niamh.

为了配合张国荣2000年《热·情演唱会》，2000年7月1日，香港环球唱片发行了张国荣的粤语专辑《大热》的CD。此专辑同时发行3色不同封面。这是张国荣生前发行的最后一张专辑。本专辑在香港蝉联数周IFPI销量排行榜冠军，张国荣凭此碟荣获2001年第1届雪碧中国原创音乐榜千禧全国成就大奖，同时获得2000年第18届十大劲歌金曲致敬大奖。其中同名主打歌由张国荣作曲，节奏强劲的舞曲风格突出了“大而热的爱情”感受。稍显怪异的编曲和躁动的节奏型给人造成一种紧张的气氛。背景音乐体现了危机的到来，歌者的演唱代表着爱情，这两种音乐形象相互交织，将音乐推向高潮。当爱情的冲动来临时，哪怕是天掉下来，也埋葬不了这份激情。

Prompt er inviteret til Spot Festival i Aarhus for at tale om den revolution, vi står overfor inden for musik med AI. AI-tjenester tilbyder at skabe en hel sang med vokal og musik - alene ud fra en prompt. Marcel og Henrik tester de nye AI-værktøjer og diskuterer, om der overhovedet er en fremtid for original musik. Tidligere var det radiokanalerne, der introducerede os for ny musik. I dag er verden styret af playlister, playlister, playlister, som ofte er AI-skabte. Vi får besøg af den legendariske musikjournalist Chris Cooke, der har dækket teknologiens indvirkning på musikbranchen i årtier. Med ham skal vi vende den rolle, algoritmerne hos fx. Spotify spiller i opdagelsen af ny musik. Er det pengene eller kvaliteten, der styrer, hvad der rammer vores personaliserede playlister? Optaget d. 3. maj 2024. Værter: Marcel Mirzaei-Fard, vært og Henrik Moltke, tech-korrespondent. Gæster: Chris Cooke, musikjournalist, Jakob Plesner, direktør for IFPI, DJ Noize, DJ og producer, og Nicolai Franck, Tech Scout hos Koda.

Někdejší frontman skupiny Support Lesbiens, dneska frontman formace Portless, v níž je kormě něj i podstatná část „Supportů“ - Kryštof Michal - v On Air vzpomínal na počátky 90. let, kdy se skupina stala klubovou senzací i na přelom milénia, kdy se dostala do mainstremu a byla první anglicky zpívajícím interpretem, který vedl rádiový žebříček IFPI. Řeč však došla i na jeho propojení s filmem, zejména s legendárními Samotáři, ve kterých si zahrál malou roličku, ale současně byl asistentem režie. A nevyhnul se ani tématu střetu s bývalým spoluhráčem Hynkem Tomanem, který jej dle rozhodnutí soudu o značku Support Lesbiens připravil. Podívejte se na celý rozhovor. ON AIR je talk show hudebního publicisty Pavla Kučery s hudebníky a lidmi z hudební branže. Nový díl je uveřejněn každý týden na YouTube kanálu kytary.cz. Facebook: https://www.facebook.com/onairtalks Přehled starších dílů zde: http://bit.ly/VsechnyOnAirRozhovory Starší díly On Air si můžete poslechnout i ve formě podcastů zde: Spotify http://bit.ly/OnAirRozhovorySpotify Apple Podcasts https://podcasts.apple.com/cz/podcast/on-air #rozhovor​ #supportlesbiens #portless #samotari

13 kvindelige musikere stiller sig frem og fortæller om krænkelser, upassende beskeder, uønskede berøringer og ulige spilleregler i DR-dokumentarserien 'Sexisme i musikbranchen'. Samtidig viser rapporter fra Analyse & Tal og KVINFO, DR og Bandakademiet, at kvindelige musikere ikke har de samme karrieremuligheder som deres mandlige kolleger, og selv etablerede kunstnere oplever chikane, og derfor vælger flere kvinder at forlade musikbranchen. Hvorfor oplever selv etablerede musikere at blive udsat for chikane, og hvad kan branchen gøre for at ændre på det? Og hvilken betydning har det, at det meste musik, der bliver spillet, er af mænd? Du kan blande dig i debatten ved at ringe ind fra 12:15-13:30 på 7021 1919 eller send en sms til 1212. Medvirkende: Nanna Øland, Oh Land, Lasse Lindholm, direktør for kommunikation i IFPI, Rikke Andersen, bestyrelsesleder i Dansk Live, Emma Winther, sangerinde, Gustav Lützhøft, fra Danmarks Radio, du ledende redaktionschef i DR Kultur, Debat & Musik, Jakob Løkkegaard-Friese, founder og direktør i WAS Entertainment, Mikkel Xavier, musikchef SmukFest og Anders Wahrén, programchef Roskilde Festival. Vært: Mathias Pedersen.

13 kvindelige musikere stiller sig frem og fortæller om krænkelser, upassende beskeder, uønskede berøringer og ulige spilleregler i DR-dokumentarserien 'Sexisme i musikbranchen'. Samtidig viser rapporter fra Analyse & Tal og KVINFO, DR og Bandakademiet, at kvindelige musikere ikke har de samme karrieremuligheder som deres mandlige kolleger, og selv etablerede kunstnere oplever chikane, og derfor vælger flere kvinder at forlade musikbranchen. Hvorfor oplever selv etablerede musikere at blive udsat for chikane, og hvad kan branchen gøre for at ændre på det? Og hvilken betydning har det, at det meste musik, der bliver spillet, er af mænd? Du kan blande dig i debatten ved at ringe ind fra 12:15-13:30 på 7021 1919 eller send en sms til 1212. Medvirkende: Nanna Øland, Oh Land, Lasse Lindholm, direktør for kommunikation i IFPI, Rikke Andersen, bestyrelsesleder i Dansk Live, Emma Winther, sangerinde, Gustav Lützhøft, fra Danmarks Radio, du ledende redaktionschef i DR Kultur, Debat & Musik, Jakob Løkkegaard-Friese, founder og direktør i WAS Entertainment, Mikkel Xavier, musikchef SmukFest og Anders Wahrén, programchef Roskilde Festival. Vært: Mathias Pedersen.

13 kvindelige musikere stiller sig frem og fortæller om krænkelser, upassende beskeder, uønskede berøringer og ulige spilleregler i DR-dokumentarserien 'Sexisme i musikbranchen'. Samtidig viser rapporter fra Analyse & Tal og KVINFO, DR og Bandakademiet, at kvindelige musikere ikke har de samme karrieremuligheder som deres mandlige kolleger, og selv etablerede kunstnere oplever chikane, og derfor vælger flere kvinder at forlade musikbranchen. Hvorfor oplever selv etablerede musikere at blive udsat for chikane, og hvad kan branchen gøre for at ændre på det? Og hvilken betydning har det, at det meste musik, der bliver spillet, er af mænd? Du kan blande dig i debatten ved at ringe ind fra 12:15-13:30 på 7021 1919 eller send en sms til 1212. Medvirkende: Nanna Øland, Oh Land, Lasse Lindholm, direktør for kommunikation i IFPI, Rikke Andersen, bestyrelsesleder i Dansk Live, Emma Winther, sangerinde, Gustav Lützhøft, fra Danmarks Radio, du ledende redaktionschef i DR Kultur, Debat & Musik, Jakob Løkkegaard-Friese, founder og direktør i WAS Entertainment, Mikkel Xavier, musikchef SmukFest og Anders Wahrén, programchef Roskilde Festival. Vært: Mathias Pedersen.

I en ny DR-dokumentarserie, 'Sexisme i musikbranchen', stiller 13 musikere sig frem og fortæller om deres oplevelser med krænkelser og sexisme i branchen. Kulturen får besøg af to af dem, Mathilde Falch og Signe Svendsen. De fortæller om deres egne oplevelser og giver deres bud på, hvordan vi kommer musikbranchens sexisme til livs. Vi får derudover en reaktion på dokumentaren fra Musikselskabernes brancheorganisation IFPI, som også svarer på, hvordan de vil gøre op med sexisme i en branche, hvor 86 procent af de øverste direktører i musikselskaberne er mænd. Værter: Linnea Albinus Lande og Chris Pedersen.

Lots of suggestions, no regulations: cars, broadband, AI & more; Apple lawsuits; drone delivery, again; Starbucks NFT program ending; Glassdoor adds real names to accounts without consent; AI news round-up; Stability AI wobbles; cyberflasher conviction; Russia warns of potential SpaceX strikes; data broker bar, sort of; happiness rankings, the kids aren't alright; Better Call Saul; the Acolyte; the juice is loose; the Regime; music revenue has grown (along with prices); Poe; Reddit goes public; photography; manuals; home repair with the Geeks; let's go karaoke!Sponsors:Factor - Head to Factor and use code grumpy50 to get 50% off. That's code grumpy50 at Factor to get 50% off!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordPrivate Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!Show notes at https://gog.show/641FOLLOW UPEuropean crash tester says carmakers must bring back physical controlsBillionaire Who Died in Tesla Had Three Times Legal Blood Alcohol to DriveIN THE NEWSThe FCC just quadrupled the download speed required to market internet as ‘broadband'Apple can't get out of facing a class-action lawsuit over AirTags stalking claimsJustice Department files antitrust lawsuit against Apple over its infamous 'walled garden'DoorDash and Wing are piloting fast food delivery in the USIt took Starbucks a little too long to realize coffee NFTs aren't itUsers say Glassdoor added real names to user profiles without their consentWorld's first global AI resolution unanimously adopted by United NationsUnited Nations General Assembly Adopts by Consensus U.S.-Led Resolution on Seizing the Opportunities of Safe, Secure and Trustworthy Artificial Intelligence Systems for Sustainable DevelopmentGoogle Hit With Huge Fine for Training Ai With News Articles Without Getting PermissionYouTube will require disclosure of AI-manipulated videos from creatorsFacebook's Algorithm Is Boosting AI Spam That Links to AI-Generated, Ad-Laden Click Farms‘AI-powered' ad ignites creator controversy on InstagramStability AI Is Falling ApartFirst 'Cyberflasher' Convicted in England Gets Year in Prison for Sending Explicit PhotoRussia Warns of Potential Military Strike on Spacex SatellitesHouse passes bill that would bar data brokers from selling Americans' personal information to 'adversary' countriesUS Happiness Ranking Plummets as One Group Struggles MostCanada Ranks 15th, But Young Canadians Are Unhappy, Finds 2024 World Happiness ReportThe kids are not OK. New data shows Canadians under-30 ‘very unhappy'Using Computers Strongly Linked to Erectile DysfunctionMEDIA CANDYBetter Call SaulStar Wars: The AcolyteTim Burton's First Beetlejuice Beetlejuice Trailer Summons More Afterlife ChaosThe RegimeThe 3 Body ProblemThe Bloody HundredthDirector of Original Crow Makes It Clear He's Not Happy with Remake, Before Deleting Post10.2% growth of global music industry; initial coverage of IFPI annual reportAPPS & DOODADSPoeReddit is now a publicly traded companyThis Website Tells Travelers If They're Flying on a Boeing PlaneZoom - for Home TVApple's new webpage helps users find product manuals and guidesCLOSING SHOUT-OUTSAstro JoeCan stop the music: Karaoke inventor diesVernor Vinge, father of the tech singularity, has died at age 79RIP, Vernor VingeChildren of the Sky | Vernor Vinge | Talks at GoogleSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this week's show we discuss the news that UK music retail revenues are back to where they were at the peak of the CD era in 2001. So long as you imagine that no time has passed in between. Plus, the brewing legal battle of Kanye West's “shameless” interpolation of a Donna Summer track. SECTION TIMES 01: UK music revenues (00:06:47) 02: News in brief (00:15:20) 03: Kanye West (00:20:38) (Timings may be slightly different due to adverts) THIS WEEK'S MAIN STORIES • UK music retail revenues reach record high, according to ERA stats • Donna Summer estate sues Kanye West over “shameless” uncleared sample NEWS IN BRIEF • €111 million in TikTok revenue is nothing when you're Lucian Grainge - but, he says, “my phone is always open” if Shou Zi Chew wants to be friends again • Warner boss teases superfan app that will be "a cross-platform solution" • Spotify vs Apple name-calling kicks off again after EU mega-fine rumours • UK Music again calls for VAT cut on tickets ahead of budget statement • And Finally! Ed Sheeran has let British music down, and now everyone only likes K-pop • Miley Cyrus tops IFPI singles list • Seventeen top IFPI albums list ALSO MENTIONED • Trademark dispute over Earth, Wind & Fire tribute shows back in court

Camilo cancela cuatro conciertos de su gira por España por una buena causa. Paul Thin y las cifras de su primer Twitch post OT. David Otero confiesa que le gusta ‘Zorra' de Nebulossa. 'Flowers' de Miley Cyrus también es la mejor canción en ventas en 2023 para IFPI. Ryan Gosling cantará 'I'm Just Ken' en los Premios Oscar.

On this week's show we discuss Spotify's change of heart on shutting down in Uruguay, the latest easyJet lawsuit against a musician - this time PC Music-signed producer Easyfun - and more. SECTION TIMES 01: Spotify (00:04:45) 02: News in brief (00:13:37) 03: Easyfun (00:18:29) (Timings may be slightly different due to adverts) THIS WEEK'S MAIN STORIES • Spotify won't exit Uruguay following clarification to new ER rule in copyright • easyGroup sues PC Music producer Easyfun NEWS IN BRIEF • Music consumption at an all time high, IFPI reports, though "unlicensed music is still an issue" • Music industry cautiously welcomes outcome of last week's EU AI Act talks • European Commission set to force changes to Apple's rules around in-app payments • Hipgnosis Songs Fund confirms sale of catalogue of "non-core songs" • Vinyl sales of two 1980s classics may decide who is Christmas number one in 2023 ALSO MENTIONED • Taylor Swift's record breaking tour topped a billion dollars

Abonnez-vous à la Newsletter : mailchi.mp/372ce005d7cc/explizik Cette semaine dans Explizik, On se parle du rapport IFPI de 2023. L'IFPI c'est l'organisme qui représente l'industrie de la musique enregistrée dans le monde. Engaging with music, c'est son nom, explore les modes de consommation de la musique et nous informe sur l'évolution du comportement du public. Public représenté par 43000 personnes interrogées dans 26 pays, record en la matière.

Torsdag den 16. november blev vi inviteret til Danish Music Awards 2023 for at overrække prisen for "Årets Danske Producer". Vi sagde ja med det samme!Ikke mindst for at være in the presence of greatness hos vores podcastvenner, Hav & Kamal, der leverede et genialt og rørende værtskab aftenen igennem.Som de fleste efterhånden ved, er A Seat At The Table opkaldt efter albummet ved samme navn. For os bærer musikken en stor kraft, der er med til at skabe en vedvarende forandring i os.Derfor var det faktisk ret fedt at få lov til at overrække en pris den aften. Til overrækkelsen sagde vi sådan:Alle kan være med til at gøre verden til et bedre sted. Ikke udelukkende organisatorer, ledere eller talspersoner;bevægelser har stadig brug for alle – især kunstnere, digtere, musikere og alle artister. Kunsten minder os om, at vi ikke er forpligtet til at anerkende hvad der givet, blot fordi det er givet.Kunsten hjælper os snarere med at dyrke fantasien – at gøre noget nyt ud af det gamle, ved at udvide og dyrke vores forestillingsevne. I det her afsnit kan du i øvrigt høre, hvordan vores debutaften til DMA forløb sig, og de indtryk vi sad tilbage med.Skud ud til Lasse og Sofie fra IFPI for at have sammensat en overlegen musikfejring.Rigtig god lyttelyst.Pas godt på jer selv.Artworkfoto: Liv HabelJingle: Awinbeh AyagibaKlipper: Mie Brandstrup Hosted on Acast. See acast.com/privacy for more information.

Hoy hablamos de las herramientas de Spotify para que artistas cautiven y mantengan conectados a sus fans.De acuerdo con el Global Music Report de la IFPI, las plataformas de streaming representan el 67% del ingreso mundial por música grabada.Más de 150.000 artistas han sido incluidos en playlists de la plataforma por primera vez en 2020 y 2021, de acuerdo con cifras de Spotify.Según el reporte Loud & Clear de Spotify, la industria musical ha crecido cerca de un 40% desde su punto más bajo en 2014.Hablamos con Manuela Echeverri - Lider de Relaciona con Artistas y Sellos Discográficos para Spotify en la región AndinaThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4474454/advertisement

In today's podcast Eric goes LIVE with the podcast to discuss one of his favorite topics: music income, but this time backed up with the stats from the latest RIAA and IFPI numbers. Also Logic Pro comes to iPad, and big changes at CDBaby. RIAA Report: https://www.riaa.com/wp-content/uploads/2023/03/2022-Year-End-Music-Industry-Revenue-Report.pdf IFPI Report: https://ifpi-website-cms.s3.eu-west-2.amazonaws.com/GMR_2023_State_of_the_Industry_ee2ea600e2.pdf Watch Eric Make Music Income Daily! JOIN and SUPPORT the channel here: https://www.youtube.com/channel/UCQELt_ElRr3qdiTBwym9QaA/join NEW FREE EBOOK!: TOOLS YOUR NEED TO MAKE MUSIC INCOME LInks to all the DAWs and their FREE versions to get started making music now no matter what your computer is. Also free and cheap sounds to get started making music that will make you music income. https://makemusicincome.com/tools-to-make-music-income/ NEW! GETTING IN SYNC EBOOK: How I got into sync licensing libraries with a focused approach, including preparing the right QUALITY music, signing with my first libraries, getting placements, and eventually making music income! And how YOU can too! Get the newest eBook here, as well as a new Bundle that has both the “Getting in Sync” eBook and the updated V3 of “The Stock Market” eBook, as well as ALL our other content. http://makemusicincome.com/gettinginsync STOCK MUSIC LICENSING EBOOK: "The Stock Market. Where, Why, and How to Submit Your Music to Stock Music Licensing." This resource is a comprehensive look at over 30 stock music licensing libraries, my experience with each of them – especially the ones I have been accepted to, and some thoughts about each. I talk about all of them whether I was accepted or not and the give you the direct link to submit YOUR music to them. https://makemusicincome.com/stockmarket/ HELLO COMPOSERS! Join our sister channel Hello Composers! where we talk ONLY about composing. Subscribe to the YouTube channel at http://HelloComposers.com, AND make sure to join the mailing list at http://eepurl.com/hSLgr9 FREE EBOOK: THE DO-EVERYTHING CHECKLIST FOR YOUR SONGS https://makemusicincome.com/checklist FREE COURSE: HOW TO UPLOAD TO POND5 https://makemusicincome.com/pond5 FREE EBOOK: 50 WAYS TO MAKE MUSIC INCOME https://makemusicincome.com/50ways FREE STOCK MUSIC RESEARCH PAPER: "The Ubiquitous Style, Form, and Instrumentation of Corporate Stock Music" https://makemusicincome.com/ubiquitous ONE-ON-ONE COACHING FOR COMPOSERS AND PRODUCERS: Eric has been helping artists and songwriters for over 20 years build lasting music careers, and now is working via one-on-one coaching with composers and producers to help build strong catalogs, get into stock and sync libraries, and of course: Make Music Income. Find more info here: https://makemusicincome.com/coaching/ JOIN OUR EMAIL LIST (Get an email when we release new videos!) http://eepurl.com/hF8ihr THE OFFICIAL WEB SITE: https://makemusicincome.com/ EMAIL ME: MakeMusicIncome@gmail.com OUR WEEKLY PODCAST WITH ERIC COPELAND AND STEVEN BEDDALL: https://anchor.fm/makemusicincome JOIN OUR COMMUNITY ON DISCORD: https://bit.ly/3fYDSVd FOLLOW US: Instagram: https://www.instagram.com/makemusicincome/ Facebook: https://www.facebook.com/makemusicincome WAYS WE MAKE MUSIC INCOME: DISTROKID: Get 7% Off When You Sign Up for DistroKid. We both win and you can make music income from Spotify, Apple, and more! https://distrokid.com/vip/seven/911910 COMPOSERS/PRODUCERS: Use this referral code to sign up and get started selling YOUR music with Pond5! Thanks! https://www.pond5.com?ref=FromtheMomentMusic SYNC LICENSING Positive Spin Songs - https://positivespinsongs.com STOCK MUSIC LICENSING From the Moment Music - http://fromthemomentmusic.com ARTIST BRANDS Player A Jazz - https://playerajazz.com Quiet Soul Piano - https://quietsoulpiano.com MUSIC PRODUCTION Creative Soul Records - https://creativesoulonline.com --- Support this podcast: https://podcasters.spotify.com/pod/show/makemusicincome/support

This week, I'm running back an interview I did with Will Page in 2022. It was our most popular episode of 2022 and we talked about a lot of topics that are still timely and still being debated right now in the industry. One of the most unique insights into the state of the music business today doesn't come from a record label exec. Not from an agent. Not from an artist. No, it comes from Scottish economist Will Page, who served that role for Spotify from 2012 to 2019 — a period of explosive growth for the streaming giant. But if you ask Page about streaming's future, he's not nearly as optimistic as the rest of the industry. “The party has to come to an end,” as he told me on this episode of Trapital.Page believes the music industry is transitioning from a “herbivore market” to a “carnivore” one. In other words, future growth will not come from brand-new customers — it'll come from the streaming services eating into each other's market share. Not only has subscriber counts possibly tapped out in Page's opinion, but streaming services have also put a ceiling on revenues by charging only $9.99, a price that hasn't budged in 20 years despite giant leaps in technology and music catalog size.  That against-the-grain prediction was one of many Will shared with me during our in-depth interview. But he has plenty more research- and experience-backed thoughts on touring, vinyl records, Web 3.0, and everything in between. Believe me, this is an interview you don't want to miss. Here's everything we covered: [3:21] The Global Business of Music[4:15] Vinyl Records $1.5 Billion Recovery[08:54] Will's Bearish View About The Future Of Streaming[14:46] Ongoing Price War Between Streaming Services[18:33] The Changing Economics Of Music Touring [21:44] Performing At Festivals Vs. Tours [24:57] The Evolution Of Music Publishing[28:34] How Music Revenue Gets Distributed To Publishers[32:41] What Does A “Post-Spotify Economy” Look Like? [33:44] The Current Business Landscape Of Hip-Hop Listen to Will's mix right here: https://www.mixcloud.com/willpagesnc/we-aint-done-with-2021/Check out Will's Podcast, Bubble Trouble, where he breaks down how financial markets really work.Read Will's book, Tarzan Economics: Eight Principles for Pivoting Through Disruption.Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Will Page, @willpageauthor Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: When you have 110 million households, and you have more than 110 million subscribers in the United States, then we are in a race to the finishing line before herbivore turn into carnivores.In oil, we have this expression called peak oil, which is we know that we've extracted more oil in the world than is left to extract an oil that's left is gonna be even more costly to get out the ground. I think we're in peak subscriber territory where at some point soon we're gonna start seeing growth happen through stealing other customers as opposed to finding your own.[00:00:29] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:01:12] Dan Runcie Guest Intro: For today's episode, let's revisit the most popular episode that we did in 2022. That's the conversation that I had with Will Page. Will Page is the Former Chief Economist for Spotify, the author of Pivot, and Advisor consultant to many of the companies that are leading the music industry today. In this conversation, Will and I talked about a lot of topics that are still timely and still being debated right now in the industry.The price of streaming. Streaming, especially for Spotify, is still $9.99 in the. Pound and Euro in many markets. But Spotify wants to keep that price for several reasons. They want to continue to grow as much as they can. They also want something in return from the record labels. They want some type of concession if they're going to raise their prices.But as we've heard, the push has got louder and louder from the record label CEOs that want that price to increase. So we talk about some of the origins of that debate and where that may be. Then we also talk about some of the competition among the digital service providers as well, whether it's Apple Music, Spotify, Amazon Music, and others.We talk about how it's transitioning from a herbivore market to a carnivore market now that the market's getting saturated. You probably heard that term a bit over the past year that originated from this podcast. So we talk about that a number of other timely things and more we'll eventually have will back on the podcast soon.But this is a nice precursor to refresh the memory a bit and with some of the topics that are still going on in music today. Here's our episode. Hope you enjoy it.[00:02:48] Dan Runcie: Some of the work you've done for a company that is very heavily focused on playlist, which is Spotify, and I think more broadly looking at the streaming era we're in right now.This is a great time to chat because we just saw the IFPI results and streaming as continuing to grow as we've seen. But I feel like you probably spotted a few interesting trends about where things are heading, and I think that's a question mark for a lot of people. Streaming continues to grow, but how far can it grow?What are we seeing in terms of differences within genres or regions? What are some of the things that stuck out[00:03:21] Will Page: to you? I'll give you a couple. The first one is the global business. Well, last time I looked at United Nations, I think there's 208 countries in the world. The global yearbook that we're discussing here has, I think 58.So we have to be careful what we define as global. I think Africa's clubbed together as one continent and where they need to work on that. But I think the global business is growing, but it's also becoming more American. So if you go back to when Spotify launched America, 22, 20 3% of the business round about just over a fifth.Today it's 37%. So we have seen the business grow and become more American, and that raises questions, you know, economic questions like globalization, questions, should poor countries catch up with rich ones? The theory says yes. The reality often says no. So we're seeing this kind of lopsided growth where the business is growing, but it's growing in favor of an American market.The biggest country is growing at the fastest. That's a positive problem, but I just wanna flag it, which is, that's not how it was supposed to play out. And then the second thing I'd wanna point to as well is just vinyl. this vinyl recovery is just, well, I don't know how much my bank balance is responsible for this vinyl recovery, but I'm telling you, Is define the laws of gravity.Now, we're now looking at vinyl being worth one and a half billion dollars, which is more than it's been worth in the past 30 years. It's worth more than CDs, cassettes, and downloads, the three formats that we're supposed to declare that vinyl is dead. But there's two things you can kind of cut out the vinyl recovery, which I think will be of real interest to your audience.Firstly, on the consumer side. I saw a survey which suggested that the majority, just over half of all vinyl buyers today, don't own a record player. I mean, something's cooking here. So what are we buying it for? I'll extend that as well. the cost of wall frames to frame vinyl on your wall often cost more than the record itself.So I'm willing to pay more for vinyl to you know, framed on my wall than I am for the record. And by the way, I don't have a record player. There's a lot of people who will tick those bizarre boxes. But on the crater side, something else is interesting. This'll take a little bit of working through.But if we think about the streaming model, it's monetizing consumption. That's what it does. So if there's an album with 10 songs, three killer and seven filler songs, and an album, and let's say Dan Runcie wrote the Three Killer Tracks and Will Page, he wrote the Seven Duff Filler Tracks. On streaming, Dan might walk away with all the money and I'll walk away from none because we're only streaming the killer tracks and nobody's touching the filler.As the album model kicks out from vinyl, I would get 70% of the cash. That's crazy because nobody knows what's being consumed and it's a lot of cash. If I just kind of do some rough math here of a million fans streaming your hip hop record on Spotify, and let's say they're stream. 200 times in a month when the album drops, you only need 20,000 of them of that million to make the same amount of money from vinyl than you would do from streams, which is entirely plausible.But then how do you pay the copyright owners from those songs on an album is very different from how you pay them on a stream. If you go back to the late seventies, the, one of the most successful records of all time was Saturday Night Fever, the Bee Ges and a bunch of other people. It's crazy to think that Ralph McDonald's Calypso strut his record there, which nobody has listened to, got the same royalty as staying alive by the Bee Gees because it was a vinyl record.So to reiterate, on the consumer, I don't know how many of these vinyl records are being played, and on the crater side, it raises questions about how these craters are gonna getpaid.[00:06:53] Dan Runcie: That's a good point book that I don't think is being talked about as much about the vinyl search because there's so much like wow, about just how much is being purchased.I think I even saw the stat that Adele's 30 album sold 8,000 cassettes. Or there was stuff tied from Stat about that, and I think the similar thing that you said, lines up having those people actually still own a watman or whatever type of cassette player that they have. So I do think that that is something that probably there could be a deeper analysis on because.A lot of the people that write the filler songs, how do they feel? Or whether you're a songwriter, whether you, you know what's behind it, especially when you know that there's so much clear path to be able to determine, okay, this is going to be the lead single, this is what we're gonna push most from this album.It really shifts things even more to where things are going in terms of a single market. Like the way that people have talked about pop music for a while now, right? And I guess that brings a, brings me back to the streaming trends that you mentioned. Overall, we're in this area, as you mentioned, streaming itself, the US penetration is grown from 22%, I believe you said is now through your 35, 37, somewhere around there.But where do we go from here because as you've written before, the price of music streaming, at least the monthly subscription hasn't necessarily been increasing. The average revenue per user overall because of the international growth is decreased, and you have plenty of people that are still trying to get there, fair share of what they can.It's streaming so. It's in like five, 10 years from now. If you could see into the future, where do you think streaming distribution is? I think the good thing is that people have smartphones and there's more and more growth from that perspective. So streaming is going to grow, but on the other hand, the economics of these things do have some theoretical goal point where we've maximized the global penetration of this.What do you think about, where that is going?[00:08:54] Will Page: Let me unpack it in two different lanes. Firstly, I'll deal with the saturation point question, which is, you know, how long can this party keep going for? It's three o'clock in the morning, who's gonna call time on it? And then secondly, I wanna deal with the pricing point on its own lane as well, but on saturation point, you're now in a situation where I put it as in America, we've had herbivores. We've had Spotify growing Apple, growing Amazon, growing YouTube, growing. Everybody's reporting growth, Pandora even is growing. What we are gonna see some point soon is carnivores.Which is Apple will grow by eating into Spotify's growth, or YouTube will grow by eating into Amazon's growth. So the key question we gotta ask is when do we go from the herbivore market? We're in today to a carnival market of tomorrow, and I output Spotify's US subscriber number around about 45 million, Apple at 49 million. We dump on top YouTube. Amazon, Pandora, you're well past 110-120 million. Now, that's important because I reckon and there's around about 110 million qualifying households in America that has at least one person who could pay for a streaming service. This is crucial because if you look at what Apple One's bundle is doing $30 a month for news, music, television, gaming, fitness, and two turbos of storage per six account holder. It's a household proposition they're saying to the home, I got you convenience. Everyone under this roof is covered with Apple products. So when you have 110 million households, and you have more than 110 million subscribers in the United States, then we are in a race to the finishing line before herbivore turn into carnivores.In oil, we have this expression called peak oil, which is we know that we've extracted more oil in the world than is left to extract an oil that's left is gonna be even more costly to get out the ground. I think we're in peak subscriber territory where at some point soon we're gonna start seeing growth happen through stealing other customers as opposed to finding your own.So I just wanna put that warning flag out there. Just now we're partying like it's 1989, fine, but at some point the party has to come to an end and gross is gonna come at the expense of other players that then flips, you know, from the A side to the B side of this record. We flip it over to price and then the pricing debate is interesting.I published this work called MELD Economics,uh, which we can cite on your, your wonderful website there. Which was to look at 20 year history of the nine 19 price point, and its crazy story back in the 3rd of December, 2001, over 20 years ago. Today Rhapsody got its license for a $9.99 offering, which had 15,000 songs.First point. The origins of 9 99 bizarrely date back to the Blockbuster rental card. Some coed up label executive would've said, if it cost 9 99 to rent videos from Blockbuster, that's what it should cost to rent music. Secondly, there was only 15,000 songs with limited use case. There was no smartphone back then.No apps, no algorithms. That was all a weird welded into the future. So you just. 9 99 for 15,000 songs. We are now chatting in early April, 2022, and it's still 9 99 in dollar in Euro and Sterling, but we're offering a hundred million songs. That's the crazy thing. So in the article, Mel Economics, what I do is I strip inflation out in the case of the uk, 9 99 has fallen down to six pounds, 30 pence.Remember, you know, Family Plan makes music cheaper too. If 2.3 people are paying $40.99, that's six pounds 50. There's way too many numbers in this conversation for Trapital, but still we'll stick with it. Student plan makes it cheaper too. So music in real terms, has fallen to six pound 30, which is less than a medium glass of Malbec wine, so 175 milliliters of Malbec wine costs than a hundred million songs, which is available offline on demand without adverts. That for me, is certified bonkers. I don't understand what we've done. We're offering more and more, and we're charging less and less, and you only have to leave the ears to the eyes on the video streaming to see what they're doing on the other side of the fence.Netflix has got me from $7.99 to $8.99 to $12.99, to now $14.90. In the space of 15 months, and I haven't blinked Disney plus. The reason I'm paying $4.99 on Disney Plus is because I paid $19.99 to get Cruella live on demand. So they're charging more and more, but only offering part of the wells repertoire set for eyeball content.We are charging less and less and offering more and more of the wells. Ear hole content, so it's like two ships passing each other in the night. It's a very interesting dilemma.It's intriguing because when you look at the way that video is structured, as you mentioned, you have all these price increases, and I think Netflix for some plans is, you know, $18.99, it's approaching that level, but in music, It's this thing where, yeah, there's some price differences where I think I saw today that Amazon music is increasing a dollar, but that's from $7.99 for prime subscribers to that being $8.99. So we still have to cross that.I wonder if I won't cost that.[00:13:57] Dan Runcie: I mean, honestly, I feel like there's something here because when I think about this, I think about a few things.Obviously you do have this fight where the artists wanna get more and the labels wanna get more, you know, not just for the artists, but for themselves. And obviously Spotify wants to earn more logically. You would think, okay, if you increase the price and people just understated the economics of what's likely.If Spotify increased up to 1299 a month for the standard base rate, how many folks would boing. But to your point earlier, I have to imagine that the fear is looking at the trends and where that penetration is. If they jump up to $12.99, then they're going to lose those customers to the other streaming services that haven't jumped there yet because of that thought of, you know, shifting to that carnivore mentality of competing with each other. So because for roughly 80% of the content that they do offer, it is roughly the same between each of these services. It's led it to be more of a price war then in video streaming, where most of them do have some differentiated content.[00:15:02] Will Page: A hundred percent. And two things to bolt onto your very eloquent points there. And firstly, let's just remind ourselves that Apple launched superior sound quality. You may remember the, commercial of Lossless audio. You buy your AirPods, which cost two years of Apple Music or Spotify to put in your ears and you get superior sound quality, the subtext underneath it said at no extra cost. That was the actual marketing message. So there again, we are improving the offer we're supplying more but we're charging less in real terms. And that's a really interesting kind of point kind of cut into. And the second thing, and we should get balance into this discussion cause it's delicates, we have to remind ourselves that, you know, there's 120 million subscribers in America.There's still another 120 million to go, but we know they're not that interested in paying for music because they haven't paid yet. Now the best way to attract them is not necessarily to raise price. So we gotta remember that there's still, you know, oil to extract. It's not gonna be easy oil to extract, but the best way to get to it might not be to raise price, but there's a catch to this.I can remember in the early nineties, right up to 2010 piracy, ripping the asset out of this business and concept promoters were saying. We love piracy because the kids are getting music for free so they can pay more on concert tickets. I wonder if now they're saying we love Spotify because they don't raise prices, which means we can raise ours.This is not a discussion of how to rip off the customer. This is a discussion about value exchange and I just wonder whether recorded music is leaving value on the table. That's the key pointto hammer on.[00:16:32] Dan Runcie: That's a good point. And I think that also made me think too, could there be some notion of maintaining the perception of Spotify as something that still has high pricing power and still has high consumer surplus, because then that helps the stock price.And then seeing that the major labels are all invested in Spotify itself. It's about like having that perception of, you know, the future growth and whatever it is. So what you just said made me think about that being a factor potentially too.[00:17:02] Will Page: A hundred percent. And of course, you've gotta distinguish the Spotify Apple music cost structure from that of the video streaming companies in that they have a kind of variable cost.You double your business, you double your cost base. Whereas Netflix, you jump up costs and you have, you jump up your revenue, you know, you raise me from 7 99 to 14 point 99, the cost of that content was fixed. And I'm still consuming the Fresh Prince of Bel Air on Netflix to this day. That was a fixed cost deal that he did to get that content and that's margin to Netflix.So, you know, the cost structure matters to this one as well.[00:17:33] Dan Runcie: Definitely. And you mentioned live music there, and I think there's a lot to think about from that perspective. I Feel like we're in this post pandemic. I mean, we're still not out of it, but we're in this post quarantine era, more artists than ever are trying to tour and get out there trying to capture what's there, but also from an economic perspective from that.Most people are only gonna go to a certain number of live events per year, and we have this 18 to 24 month run coming up where everyone wants to make up for what they couldn't do in the past two years. How will that shift, not just who then goes on tour together, and then how they may split those profits, what the availability looks like?And if they're not able to do what they may have done on tour in the late 2010s, how does that affect future touring? I think that's a piece of it that, you know, we still haven't necessarily seen the impact of, but it just feels inevitable based on where things are heading. You did it.[00:18:33] Will Page: Absolutely. Now on touring, I was lucky and I gotta do some great work on the UK live industry, and I can only speak for the UK here.I know a lot of your audience in the US but I think these points will carry. The first one was to work out how much is spent on concert tickets in Britain during the, the normal year of 2019, and the answer was 1.7 billion pounds. That's more than was spent on recorded music a lot more than was spent on recorded music, which makes sense, you know, you pay 120 pounds on the Spotify account, you're paying 240 pounds to go to Redding Festival. Two days in the muddy field in Redding, cost more than 365 days of all the wells. But what I noticed there was the industry is changing in its growth. I showed that between 2012, the year of the London Olympics and 2019, The live music industry in this country had exploded and grow, but it was lopsided.All the gro came from stadiums, festivals, and to lesser extent arenas. The theaters, the 2000, 3000 capacity theaters like the Philmore West over where you are, they were getting crushed. They were actually shrinking in size. So we have this lopsided live music industry, which is going right in the direction of the head as opposed to the long tail, the stadiums, the festivals, the arenas, as opposed to the theaters, the clubs, the university venues.And that's interesting cuz that's gonna change the dynamics of how you make money from live. Do you go from doing your tour of an album to doing a tour of your festivals for that record? And what does that mean? The cost structure for the insurance and all those things that bands have to consider when they're hitting the road.I mean, credit to capital. You've had some great podcasts recently on this topic, but as, a big rethink coming along in this live music market, it's not the same as we had back in 2019. It's changed fundamentally, and it is the breadwinner for most artists' income. I think it makes up about 70% of what an artist has to live for comes from the road that vanished.How do we get it back?[00:20:22] Dan Runcie: I feel like Cardi B has been a good. Case study on this specific point here, right? It's been four years now since she released an album, and she's yet to go on a true proper tour in that time. That said, she's done plenty of festivals where she's earned more on those festival guarantees that she likely would on tour.She's also done many private events where she's likely earned that save amount, if not more. So there's a whole economic argument to be made, and I think there's also some risk involved too, right? I think that festivals do give you the opportunity to. Get that major bag, you get the high number, the revenue that comes through, but maybe your fans will be a little bit more forgiving if your set piece at your festival isn't the most extravagant thing, especially if you're not the headliner at it.But on a tour, I think it changes. It's a little bit more pressure, everyone wants to see that Instagramable or talkable moment to then sell future tickets and just the production cost and everything with travel. It still is something that is very worthwhile, but I think we've just started to see some of that segmentation there.Especially for someone like her. I would add residencies too. I know she's done a few different things in Vegas here and there, but yeah. Still yet to do that 30 city worldwide tour.[00:21:44] Will Page: Yeah, I think you gotta think with your head and your heart. Your head says like you point out the economics favors festival.Your back line's there, your insurance is covered. Travel's already covered. I have numerous hip hop bands perform at festivals in Europe, and that's one of the big advantages. The costs are all taken care of by the festival, but your heart says, what does that do to intimate relationships with your fans?[00:22:05] Dan Runcie: Right?[00:22:05] Will Page: I mean, you're staring at 50,000 strangers in the muddy field. That's different from staring at 2000 friends in the Fillmore West. So the head and the heart's gotta come into play here. What I would add though is that there are rumors, I would say here in the UK at least, that the promoters are saying, I'll pay you a ton of money to perform at the festival to make sure that you don't go on tour.And that's an interesting situation. If you build one too many houses, you collapse a property market. If you have one too many tours or one too many festivals, you collapse live music industry. So there's ways in which people are trying to restrain the market to festival. At the expense of the theaters.That certainly is coming through in the data. We're seeing the theater business take a kick in while festivals go on a roll.[00:22:45] Dan Runcie: Yeah, because I think about, you look at the artists that are touring stadiums now, whether it's your Taylor Swift's or Beyonce's, they wouldn't be able to do that if they didn't have the individual tours at smaller venues when they were starting out. Being able to build that intimate fan base, like you said, like you get to that point, right? And I do think that as good as festivals can be, it is much more of a lucrative cash grab that is, I don't wanna say necessarily short-term thinking, but I think you ideally wanna have some type of balance there, right?Get the big bag that you can get from something else. It's almost no different. I think running a business, right? Okay, sure. You may be able to do a speaking fee or do some type of, you know, thing here or there, but hey, you can't do that all the time, especially if it's not an audience you're tapped into.You still need to do some of the things that could set you up for the long game.[00:23:37] Will Page: Yeah, and there's an infographic that I'll share with you to pass onto your audience here. I wrote an article in The Economist called Smells like Middle-Aged Spirit as opposed to Teen. Nice play on Words hat to Dave Gro and Kurt Cobain.But what I was looking at was the average age of festival headliners over time. This is a du pessimistic Scottish economist. This is what you do with your spare time. Okay, so in the nineties when radio head to Glastonbury, the average age of a festival headliner is 25, 26 years old. all these hot bands were coming through the Brit Pop era.You know, there was so much development of new talent. By 2012, I think it had got up to 58 and I got a lot of criticism for that article. But then Glastonbury that year had the WHO and Lionel Richie headlining, which I think was 17 and 73 years old apart. And then you can see the conveyor belt problem, which is okay, it's a quick cash grab.It makes sense. But that's not the conveyor belt of how we developed talent for tomorrow. That's just how we cash in our chips at the casino today. So it does raise questions, I'm not saying it's like the doomsday scenario here, but we just need a healthy balance of, you know, a seeded for future growth and then the big stage for exploiting that moment today, which could be the pyramid stage at Glastonbury, the headlights stage at Monterey over in the States.So I just think we're getting a little bit lopsided here. We're a bit short termist and how this business needs to develop.[00:24:57] Dan Runcie: Agreed on that. Switching gears a bit. One thing that you wrote recently that stuck out to me, you did this deep dive on music publishing, and I think this is another area that kind of has some of that short-term, long-term perspective on it, because you look at the people who get the share of the copyright pie, at least today, and from music streaming perspective, a lot of that has been much more in the favor of, the recorded side and then the people getting compensated on the recording side. But with that, the songwriters and the publishers, a lot of them necessarily in that timeframe, didn't get a lot of that. But I think in this wave now where we're seeing more catalog deals and we're seeing people understand the value of that, things may be starting to shift and there's likely other things as well.But what do you think about the way that the publishing side has been seen in what the future opportunities are for that side of the business?[00:25:54] Will Page: Well, the way that labels and publishing were taught to me in terms of what makes them distinct from one another goes back to my Aunt Dorian Loader, who worked in the music business from 1959 at Deca Records, right the way through to 2012.She ran Enzyme records with Nigel Grange, Lucian's Half-Brother. They were responsible for Shead O'Connor, who sold 11 million albums based on the Prince cover. And she once said to me, will, this is how the music industry works. The record label pays for your drugs and the publishing pays for your pension. I just kind of, that's a nice succinct way of summarizing how the business works.That was then, this is now clearly times have changed, I think, but it reminds us about, you know, what makes the business different. And then that piece of work that you cite is something called global value of copyright, where I'm really keen to educate this. Regardless of whether you're coming from a label perspective, a manager, an artist, a songwriter, there's a C with a circle on it called copyright.We get that, and it involves record labels. It involves sound exchange. It involves artists. It involves ascap, BMI, GMR, Czek. It involves publishers, David Israeli, and the great folks at the NNPA. It Put the whole thing together for me, all this spaghetti and strain it out. And what I was able to show was that in 2020, copyright was worth 32.5 billion, way bigger than what you've just heard from IFPI way bigger than what Czek would say.This is the entire thing. And the split was about 65% labels, 35% to the publishers. Now, if you go way back to 2001, when we used to sell CDs by weight of pate. In the cocaine capitalism days, you know, record labels back then. The split was much more in favor of labels, you know, more than three quarter labels, less than a quarter to the publishers.And what we've seen happen in the years in between is quite an interesting story. Labels went from boom time with CDs to bust with piracy, and now they're booming again with streaming. And the inverse, the opposite happened. Publishers as labels went bust. ASCAP, BMI kept on reporting record breaking collections, so you have a hair tore toys analogy here of labels going really fast and falling off a cliff.Publishers just trundled along with record breaking, not massive record breaking collections, but it kept on growing their bases. So, the questions these throw up is what type of industry are we moving towards? Are we going back to a business model which paid labels over three quarters of the pie and publishes less than a quarter, and is that a good or a bad thing?Or in this post Spotify economy where we're seeing companies like Peloton, Twitch, TikTok, come to the business, is that gonna have a completely different balance? Now why this matters to your audience is not just on the crater side, but also on the investment side. You pointed out catalog valuations. We can dig into that if you want, but just a high level point is, let's say that in a few years time, I go into my back cave again, calculate the global value of copyright, and instead of 32 and a half billion, it's 40 billion.I'll come on Trapital show, I'll make an exclusive announcement. Copyright today is worth 40 billion, seven and a half billion new dollars. Have come into this business, I want the audience to start thinking about who gets what share of that marginal new dollar. Is that gonna split publishing side or is that gonna split label side?And if you're investing in catalogs, be the master rights, be the author rights that really bears, there's a huge educational drive here to understand the balance of this business of copyright.[00:29:15] Dan Runcie: So there's a few things you've said there that I wanted to dig into. Of course, for streaming Spotify and its competitors around 75%.Is going to the recorded side a quarter to publishing. But from a breakdown, what does that look like for the TikToks, the Roblox and the Pelotons? What does that share of revenue from those plays look like?[00:29:38] Will Page: So, The best way I could do this is if I just talk about ratios. There's three Rs in this business.There's share of revenue, there's ratio in this rights pool. They mean different things. Most experts get confused. With these three Rs, I'm gonna stick to ratios. That is, if I give the label a dollar, how much do I give the publisher, the songwriter, this collective management organization. So we stick to the conventional streaming model Today, I would say that if you give the record label a dollar, you're giving the publishing side of the.24 cents, you know, a decent chunk of change. But still the pure cousin of the record label on YouTube, I think it could be as high as 35 cents, 40 cents even. Because there's a sync right? Involved in those deals. And then when you take that observation of imposing the sync right into deal, and you expand it to Peloton or TikTok, potentially even more, and then you can flip it and say, well, what happens if the future of TikTok is karaoke?Not saying it's gonna happen, but it's not implausible if that was the case. That favors publishers even more. So there's all these weird ways that the business could develop, which could favor one side of the fence. The labels and the artists continue getting three quarters of the cash or the other side of the fence.Publishers and songwriters start enforcing their rights and getting. A more balanced share and that that's what we need to look out for when we're investing incorporates. That's what we need to look out for. If you're a singer and a songwriter and you're trying to understand your royalty statements[00:30:57] Dan Runcie: mm-hmm.Well, like how much higher do you think? I mean, if you had to put a percentage on it for the TOS or the Pelotons, and I guess as well, you made me think of sync deals, right? Like for the folks that are selling, or their song gets placed on one of these hulu series or one of these HBO Max series, like what does that ratio look like, you know, from a ballpark for those.[00:31:20] Will Page: So I think a 50 50 split would be the upper bend of the goal. If, if a song is placed in a Hulu TV show or you know, an artist I've worked with for many years, Yu Dito Brazilian composer, his songs now in this famous easy Jet commercial over here in Europe. The artists and the publisher would see around a 50 50 split of those revenues.Now, would that happen in the world of streaming? Unlikely. But I think if you can get to a stage where you're giving the record label a dollar and the publisher 50 cents as a ratio, and I've gotta repeat the word ratio here, you know, that's potentially achievable with this post Spotify economy. I don't think it's gonna happen with the business we're looking at today, but I think that's a potential scenario for the business developing tomorrow.That's the thing. If I can quote Ralph Simon, a, a longtime mentor to me, he always says, this industry is always about what's happening next. And then he goes on to say, it always has been. It's a great reminder of just, you know, we're restless souls in this business. We've achieved this amazing thing in the past 10 years with streaming.Got there. Banked there what's coming next, who would've thought Peloton would've had a music licensing department 18 months ago? Now they're like a top 10 account for major labels.[00:32:30] Dan Runcie: It's impressive. It really is. And I think it's a good reminder because anytime that you get a little bit too bullish and excited about what the current thing is, it's, we always gotta be thinking about what's next.And you mentioned a few times about a post Spotify economy. What does that look like from your perspective? I think there's likely a number of things that we've already talked about with more of these other B2B platforms or where these other platforms in general, having licensing deals. But when you say, or what do you think about post Spotify economy?What comes to mind for you?[00:33:02] Will Page: Let me throw my fist, your words, your jaw, and try and knock you out for a second. We talked about price for a minute, and we talked about streaming. We haven't talked about gaming, but you noticed the Epic Games. It's just acquired band. I learned a fascinating stat about bandcam, which relates to my book Tarzan Economics.There's a chapter in the book called, "Make or Buy", where I sat down with the management of the band radio head. We went through the entire in Rainbow Story for the first time ever, a real global exclusive. Explain how that deal worked out, what they were really achieving when they did their voluntary tip jar model.And by the way, can I just put a shout out to one of your listeners and live from the Ben Zion. Best remix of Radiohead I've ever heard in my life is Amplive, Weird Fishez hip hop version of the entire album. But Radiohead tested voluntary tip jar pricing. Now check this out. If you put your album out on Band Cap, could be a vinyl record.Remember, it's the people who are paying to stream who are also buying vinyl. So if you put a ban, an album, my own banquette, and you say name your own price, no minimum, and there's a guidance there of 10 bucks, the average paid is. People go above 40% asking, and that could be for a super rich blockbuster artist who tries something out in band camp.That could be for some band who's broken Brooklyn, Robin and coins together, trying to make them breed. People go 40% above asking when you say name your own price. And that's interesting for me. there's a great academic paper by Francesco Cornell from Duke University. She asked, how should you price a museum?An intuition says Top-down. Museum should set the price. Adults 10 bucks, kids, five bucks, pensioners, some type of discount arrangement. But she said, no, let the visitors set the price because that way rich people will give you even more and poor people can attend and you'll see more cash overall. And I would like to see a little bit more of that experimentation around pricing compared to the past 20 years where we've had a ceiling on price, where if you really love a band, all you can give a platform is $9.99 and not a penny more.I think that's, we're suffocating love. We're putting a ceiling on love and we need to take that ceiling and smash through it and let people express love through different means. But I love that ban camp story. Whatever you suggest, I'll give you 40% above cuz it's art. We're not dealing with commodity, we're dealing with culture and that's why we gotta remind ourselves.[00:35:13] Dan Runcie: It's like the Met model, right? Where at least the last time I went, it was like $20 was the recommendation. But to your point, it at least had some vary of a threshold. But the people, a lot of the people that go there that have a lot of money end up giving much more. So I hear you on that. That's a great note to end on. Will, thanks again. Thank you so much.[00:35:33] Dan Runcie Outro:If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

Olaf a Ziky probírají bizáry z české populární hudby a to jak žebříček IFPI, tak line up jednoho oblíbeného festivalu posluchačů rádia Impuls. Podíváme si na hodně hot klip a Ziky řekne jak bylo na Subways v Lucerna Music Baru. A pozveme hned na několik akcí. Druhá půlka se věnuje podivnému stavu na pražské klubové scéně. Vracíme se zpátky v čase a nadáváme co to jde. Nabízíme i alternativy a jsme rádi, že menší kapely reagují na ne moc dobrou situaci s cenami pronájmů. Jak často to lítá do Benátek? Jaká je budoucnost audiokazet? Kde mají nabitý line up a kde je naopak koncertů méně než jsme byli zvyklí? A proč je Olaf hrdý na Zikyho? Pusť to!

Der aufstieg von Taylor Swift Taylor Alison Swift (* 13. Dezember 1989 in Reading, Pennsylvania) ist eine US-amerikanische Pop- und Country-Sängerin, Gitarristin, Songwriterin, Musikproduzentin und Schauspielerin. Sie hat weltweit laut IFPI 252,5 Millionen Tonträger verkauft (Stand: November 2021) und gehört damit zu den weltweit erfolgreichsten Künstlern.

Hur mycket tjänar en musiker egentligen på en spelning? Vi förklarar ekonomin bakom nöjesarrangemangen….. Och vår utelivs-korrespondent Ida har varit på Trädgården hela helgen och ger feedback på både demografin och inredningen. Pontus funderar kring hur kriget i Ukraina förhåller sig till Eurovision och Ida har en teori kring hur det enorma Melodifestivalen - projektet i Sverige kanske är ett hemligt integrationsprojekt för att socialisera nya svenska invånare in i ”svenskheten”. (Är det i själva verket Melodifestivalen som är ”svensk kultur”?) En uppföljning om vår Grammis-debatt där musikjournalisten Alan Max har fortsatt diskussionen med utgångspunkt i vårt avsnitt om Grammis-juryns likriktning…. Och Ida har intervjuat Johan Wicklén om hans nya bok om cannabis-legalisering och funderar kring svensk cannabis-legalisering och dess framtid…. Ännu ett matigt avsnitt av Kulturbarnen, podcasten om livet som nöjes- och kulturarbetare, med författaren och skribenten Ida Therén och musikern och producenten Pontus de Wolfe. Också: Sarah Klang, Moa Romanova, glutenfri pizza, sitt-toa-kön, Kalush Orchestra - Stefania, Speedway, Azerbajdzjan, Public service vara eller icke vara, fotboll, Alan Max, Ifpi & Ant Wan. Följ oss gärna på Instagram: https://www.instagram.com/kulturbarnen/ Välkomna!!

Ricavi 2021 cresciuti del 27.8% a 332 milioni. Terzi in Europa

CMU's Andy Malt and Chris Cooke review key events in music and the music business from the last week, including the latest stats from the IFPI showing that global recorded music revenues grew 18.5% in 2021, plus a whole load more stats from Spotify aiming to fend of criticism about the money artists and songwriters earn from the platform (although possibly not doing that good a job of it). SECTION TIMES 01: IFPI stats (00:05:50) 02: Spotify stats (00:31:13) (Timings may be slightly different due to adverts) STORIES DISCUSSED THIS WEEK • Global record industry revenues grew 18.5% to $25.9 billion in 2021 • Spotify paid $7 billion to the music industry last year - and other fun stat brags ALSO MENTIONED • Shape Of You song-theft court case concludes • The things people get wrong about streaming (Setlist specials, May 2020) • The things people still get wrong about streaming - dissecting the Economics Of Streaming report (Setlist special, July 2021) MORE FROM CMU • Upcoming CMU webinars • Buy MMF and CMU Insights' Dissecting The Digital Dollar book on Amazon • Sign up to receive the CMU Daily news bulletin

On this week's show: BTS and K-ARMYs are reunited at Olympic Stadium and more. Data Drop News BTS and K-ARMYs are reunited at Olympic Stadium Concert rules movie theaters too IFPI lists BTS on 2021 Global Album, Single Charts BTS wins big at Gold Disc Awards Next Week Last Word: Can Hybe and BTS change the ticket conversation? Featured image: Photo by Christian Lue on Unsplash Notes/Links BTS smash followers record on Instagram, Twitter and TikTok (Guinness World Records) Jin throws a worldwide feast with “Super Tuna” (Weverse Magazine) BTS' Suga And Kim Hee Sun Donate To Help Wildfire Victims (Soompi) BTS Makes Triumphant Return to Seoul with Permission to Dance Concert (Teen Vogue) BTS Are Back: Pop Outfit Plays First In-Person Show in South Korea in Over Two Years (Rolling Stone) ‘BTS Permission to Dance on Stage' Concert Scores Blockbuster $32 Million at Global Box Office (Variety) 방탄소년단 'Butter', IFPI 선정 '글로벌 디지털 싱글 차트' 4위..2년 연속 톱10 (Naver) Winners Of Korean Music Awards 2022 (Soompi) BTS, SEVENTEEN, TXT, ENHYPEN, ITZY, And TREASURE Win At 36th Japan Gold Disc Awards (Soompi) BTS thanks for Gold Disc Award (TikTok) Next Week 19 Mar, Saturday: PTD on Stage Seoul Day 1 delayed livestream, 10AM KST 19 Mar, Sat: 7Fates: Chakho episode 10 release, 11AM KST 20 Mar, Sunday: PTD on Stage Seoul Day 3 delayed livestream, 10AM KST Last Word Can Hybe and BTS change the ticket conversation? Tickets: Last Week Tonight with John Oliver (HBO) NSFW (YouTube) BTS sells out 4 Las Vegas shows before public sale (8 News Now) Where You Can Find BTS This Week Subscribe for free at: Spotify ~ Apple Podcasts ~ Google Podcasts Audible ~ Stitcher ~ Deezer ~ Gaana ~ RSS BTS This Week website BTS This Week Facebook page BTS This Week Swag Shop BTS Mama Bear – Twitter BTS Mama Bear - Instagram

In this episode, BTS makes history on the IFPI year end charts. It's a Jhopeful February as ARMYs and BTS celebrate Hobi's birthday. Stay Alive proves to be a record-breaking hit. BTS brings PTD to Seoul for the first time ever and adds an additional 4 shows to Las Vegas. Finally, ranking BTS songs from the Love Yourself series may have cost us everything! Podcast Twitter: @WGOBTSPOD Dez's Twitter: @Deznysus Viv's Twitter: @w_ndirangu97

陈慧娴复出后的首张专辑《welcome back》《Welcome Back》是陈慧娴的第十张粤语专辑，于1995年2月15日由宝丽金发行。是陈慧娴在1995年学成返港后推出的第一张专辑，专辑的封面采用了温馨的粉红色，以此来衬托出，陈慧娴温婉沉静的歌声。成绩也是非常理想，荣获四白金唱片销量，登上IFPI唱片销量榜冠军。该专辑也是陈慧娴返流香港后成绩最好的一张。今天，我们就来分享到这一张专辑。新浪微博：主播小D抖音：52915017歌单：《不清晰的恋爱》《不想你，还想你》《从来是一对》《放不开你放下我》《还是告别吧》《还是喜欢看你》《恋恋风尘》《抛抛》

No episódio de hoje do Hipsters Ponto Tech vamos fazer justiça e finalmente atender às reclamações conversando sobre um assunto que é muito pedido mas que nunca tínhamos falado por aqui: Vue.js.Aproveite para se inscrever na Imersão React! Participantes: Paulo Silveira, o host que está te esperando na Imersão ReactVinicios Neves, Senior Software Engineer na FarfetchJesiel Viana, Professor no IFPI e Alura StarMario Souto, Senior Front End Engineer no Nubank e mais novo co-host do podcast Gostou desse episódio? Deixe aqui seu comentário. Links: Inscreva-se na Imersão React Inscreva-se no YouTube da AluraInscreva-se na newsletter Imersão, Aprendizagem e Tecnologia Produção e conteúdo: Alura Cursos de Tecnologia - https://www.alura.com.brCaelum Escola de Tecnologia - https://www.caelum.com.br/ Edição e sonorização: Radiofobia Podcast e Multimídia

In this episode, CTO of the International Federation of the Phonographic Industry (which represents the interests of the global recording industry) Richard Gooch joins us to talk about metadata. He says that the idea that “music metadata is broken” is a misconception. He explains the new systems that he says form the infrastructure for a fairer music industry – for everyone from superstars to new artists in existing territories in sub-Saharan Africa, where the IFPI has a particular current focus. He also talks about improvements that could be made, how performing rights reporting can change, and the changes he hopes music metadata will bring. Suffolk Braves Wheelchair Basketball Club's world record: https://youtu.be/OvuBbMBuXh4?t=195

1987年，张国荣加盟新艺宝唱片； 同年夏天，他推出的唱片《Summer Romance'87》在香港本地的销量突破七白金，成为当年中国香港销量最高的唱片 ；他亦凭借这张唱片击败谭咏麟获得1987年香港IFPI全年销量冠军大奖，第8届中文歌曲擂台颁奖典礼“擂台大碟奖” 。今天，我们就来分享到这一张专辑。由于版权的原因，专辑中的歌曲《倩女幽魂》和《共同度过》不能播出，敬请谅解。微信公众号：小D读书会抖音：52915017微博：主播小D歌单：《你在何地》《情难自控》《无心睡眠》《够了》《请勿越轨》《拒绝再玩》《妄想》《无形锁扣》

1983年，童安格进入宝丽金唱片公司担任助理制作 。1985年正式出道，并发行首张个人专辑《想你》。1989年发行的第五张个人专辑《其实你不懂我的心》确立了童安格在华语流行音乐界的地位，专辑中的歌曲《其实你不懂我的心》《明天你是否依然爱我》成为其音乐生涯的代表作品。虽然《其实你不懂我的心》专辑，当时在中国香港，中国台湾的影响最大，但是中国内地歌迷最先熟悉的却是童安格的这一张专辑《梦开始的地方》，1989年，童安格出版第六张个人专辑《梦开始的地方》，凭借该专辑获得IFPI的白金唱片奖。这是中国内地正式引进的第一张童安格的专辑。而这一张专辑，也正式无数童安格歌迷梦开始的地方。今天，我们就来一起分享这一张专辑中的音乐。因为版权原因，专辑中的《耶利亚女郎》和《诀别》不能播放，敬请谅解。微信公众号：小D读书会抖音：52915017微博：主播小D歌单：《等我一起入梦》《借我一点爱》《梦开始的地方》《今天的我》《开阔的心》《我有多想你》《我在黑夜里》

音频文字稿发布在“北京读天下”公众号。一家来自瑞典的创业公司如何改变移动时代用户的音乐消费习惯，挽救音乐产业？流媒体服务为什么能够取代乔布斯的天才设计iTunes，以及Spotify与苹果音乐、亚马逊音乐的竞争。流行音乐市场主要受四大唱片公司主导，它们控制了音乐的制作、发行、宣传，并通过版权控制了绝大多数流行音乐作品和音乐人，个体音乐人很难在市场中生存。本世纪初，盗版的数字音乐对唱片业构成了威胁，一家名叫 Napster 的公司于 2001 年推出点对点（P2P）音乐共享服务。Napster本身不提供下载，但提供搜索服务，所有人都可以通过它搜索其他用户的硬盘资源。只要有一个用户购买 CD存入硬盘，全体互联网用户都可以共享。Napster的主张代表着互联网早期创业者自由分享的理念，它的注册用户一度高达8000万。自然，这是公然侵犯版权的行为。所有的唱片公司联合起来起诉，2002年，Napster关了门。然而，数字化音乐本身已经深入人心，唱片公司阻止人们方便获得数字化音乐的手段引发了市场的不满。由于Napster的示范效应，新的地下音乐分享网站不断出现，大量用户开始习惯于下载盗版音乐。根据国际唱片联合会（IFPI）的数据，到2003年，音乐行业的收入已经下降了约40亿美元，超过10%。

Music business news, analysed in brief by Music Ally's Stuart Dredge and Joe Sparrow. Global recorded music revenues grew by 7.4% to $21.6bn in 2020, according to industry body the IFPI, which published its annual Global Music Report this week. That's a deceleration compared to 2019, but with 2020 being the year of Covid-19, labels will see the latest figures as a success. It's also the sixth consecutive year of growth, and the highest annual total since 2002, when global revenues were $22.1bn. Joe and Stu dig into the data to see where the money came from during a year of lockdown – and wonder where growth may come from next.

Hello Army! This week was filled with so much excitement and moving parts that it was a miracle that we were about to cover most of it. First and foremost congratulations are in order seeing as BTS is the IFPI #1 Global Recording Artist. What an achievement. This was revealed after filming but they also have the best selling albums across all platforms with Map of the Soul 7. In addition to all of these amazing accomplishments Jimin and Tae have also graduated with honours and it's Yoongi day celebrations. We also delve into Grammy performance excitement and so much more. We hope you enjoy this episode. Happy listening! - The Team at Army ThinkTank. New Episode Every Thursday

Hello Army! Hi everyone. We hope you've had a decent week under the circumstances. Remember to stay hydrated and log off of the internet if you need to. We recorded this episode on grammy day before the the award was announced so we won't be able to get into our thoughts about the situation until nest podcast however we do have our reaction of the that Sunday so enjoy! We also discussed some other events such as BTS' amazing IFPI achievements and their MusiCares performance (shoutout to Drummer Koo). Overall, we know this week has been a bummer to a lot of us and we hope that this episode will be able to brighten your day and help you to laugh just a little bit. Once again this episode we filmed a week ago but I also want to take the time out to send support to the Asian Community and disavow all forms of Anti-Asian hate. Below you can find some resources for the Asian community as well as a donation link if you can contribute in that way AAPI causes. Happy listening! - The Team at Army ThinkTank. New Episode Every Thursday anti-asianviolenceresources.carrd.c http://gofundme.com/AAPI

「IFPI」国际唱片业协会作为香港唱片业的领导机构，决心带领业界走出困境，已获得政府「创意香港」的赞助，推出「音乐永续」计划。这次计划亦获香港音像联盟（HKRIA）、香港音乐出版人协会（MPA）的同心协力支持，并且得到业界踊跃参与，会把过往40年内耳熟能详，并得到白金或金唱片之专辑内的部分经典歌曲，重新编制及邀不同歌手演绎，当中参与的唱片公司及音乐品牌共55间，成就经典歌曲多达113首，参与歌手及乐队人数共98名/组，并为业界创造了超过800个外判职位。国际唱片业协会总裁冯添枝表示：「疫情下，所有演出者和制作团队都被迫停顿。当业内高达七成从业员皆是自由工作者时，停工对他们的影响甚深。作为行业机构，国际唱片业协会策划这次计划，成就香港唱片业于短期内推出一系列歌曲，为从业员提供工作同时娱乐乐迷。计划揉合了歌手及制作团队钻硏如何重造金曲，这些耳目一新的作品将为乐迷带来惊喜。」泳儿是今次参与的歌手之一，她重新演绎孙燕姿的《天黑黑》，「这计划可以让我有机会用自己的风格来演绎自己喜爱的歌曲，亦可以让不同年代的歌曲换上一件新衫，继续延续下去」。

「IFPI」国际唱片业协会作为香港唱片业的领导机构，决心带领业界走出困境，已获得政府「创意香港」的赞助，推出「音乐永续」计划。这次计划亦获香港音像联盟（HKRIA）、香港音乐出版人协会（MPA）的同心协力支持，并且得到业界踊跃参与，会把过往40年内耳熟能详，并得到白金或金唱片之专辑内的部分经典歌曲，重新编制及邀不同歌手演绎，当中参与的唱片公司及音乐品牌共55间，成就经典歌曲多达113首，参与歌手及乐队人数共98名/组，并为业界创造了超过800个外判职位。国际唱片业协会总裁冯添枝表示：「疫情下，所有演出者和制作团队都被迫停顿。当业内高达七成从业员皆是自由工作者时，停工对他们的影响甚深。作为行业机构，国际唱片业协会策划这次计划，成就香港唱片业于短期内推出一系列歌曲，为从业员提供工作同时娱乐乐迷。计划揉合了歌手及制作团队钻硏如何重造金曲，这些耳目一新的作品将为乐迷带来惊喜。」泳儿是今次参与的歌手之一，她重新演绎孙燕姿的《天黑黑》，「这计划可以让我有机会用自己的风格来演绎自己喜爱的歌曲，亦可以让不同年代的歌曲换上一件新衫，继续延续下去」。

"This week on the show we talk about music sales around the world."

In this week's episode Blasko and Mike revisit one of the first ever episodes and discuss how their predictions for 2017 and Paul Resnikoff's article: http://www.digitalmusicnews.com/2016/12/19/music-industry-anti-predictions/ Wireless headphones won't take over the world (yet). Apple won't close its iTunes download store (yet). Streaming music won't reach 250 million paying subscribers. (Currently at 100 million.) *According to IFPI's Global Music Report, streaming now makes up the majority (roughly 60%) of digital revenue and for the first time, digital revenues make up 50% of the share of total recorded music industry revenues. Rough estimates show that if 10% of the global population eventually subscribes to a music streaming service, the music industry's worldwide recorded music revenues will far exceed its best year ever in 1999. In fact, a recent Goldman Sachs report predicted that streaming will hit $34bn in revenue in 2030, as part of a healthy $41bn industry.  The Grammys will not be spectacular. Independent artists make up 55% of nominations in all non-producer and non-spoken word categories, according to tabulations from A2IM. In 43 of the 81 categories, the majority of nominees were on independent labels. Independent music is doing better than ever with a record global market share of 37.32% according Billboard. Last year more than two-thirds of Grammy nominations were independent releases. Independent music's authenticity, vitality, and genre diversity ensure its keystone role in the recording industry and American culture. ‘Spotify screws artists!' will finally die.  The music industry won't change YouTube. (artists don't want another losing war against technology (right or wrong). Which means YouTube is all about exposure and micro-penny payments, in 2017 and beyond.) Vinyl won't disappoint.* Sales reports from most Coalition Of  Independent Music Stores show Black Friday sales  increases ranged from +5% to an astounding +53%, with an average increase of 13.8%.  Only two stores reported decreases from their 2016 sales, while a couple reported flat sales.  Less comprehensive data from Small Business Saturday was also positive, ranging from flat to +19% over 2016 sales. Streaming will grow; the number of streaming companies won't. Check out our sponsor Rockabilia and pick up all the merch you've ever wanted at www.rockabilia.com Want more industry insight? Outerloop Coaching's got you covered head over to www.outerloopcoaching.com and http://outerloopcoaching.thinkific.com to sign up for the latest courses. - We want to hear from you so please don't hesitate to email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices