Podcasts about nmpa

Today's guest is a fearless storyteller whose voice is as raw as her lyrics—bold, emotional, and unapologetically real. A first-generation Colombian-Canadian, she turned hustle into art, weaving her experiences into songs that hit like truth bombs. Whether she's penning heart-wrenching ballads or delivering razor-sharp verses alongside icons like Eminem and Beyoncé, her work is grounded in authenticity and fire. She's busked, she's bartended, she's broken through. And now, with her third studio album, she continues to push boundaries—proving that vulnerability, grit, and honesty never go out of style. From Toronto to the world… And the writer is… Jessie Reyez!Produced by Joe London, Ross Golan, and Jad SaadSpecial thank you to our season sponsor NMPA!Chapters:00:01:36 – Start Here: Why This Episode Will Change You00:02:37 – How Jessie Met Eminem and Earned His Respect00:09:50 – What Jessie Learned Giving Back to Songwriters00:16:52 – Jessie's First Song Ever (It's Cringey… and Brilliant)00:18:28 – Jessie's Crazy Lyric Memory & Why It Matters00:18:51 – From Choir Rooms to Stadiums: Where It All Began00:27:57 – The Moment She Gave Herself One Year 00:31:12 – How Her Mom's Brutal English Drills Made Jessie a Genius00:35:35 – What Happens After the Hit? Jessie Tells All00:37:11 – The Exact Moment She Knew Her Life Was Changing00:42:36 – The Video That Changed Everything (She Almost Didn't Post)00:45:14 – How a $50 Bus Ride Got Her Into the Remix Project00:48:18 – Why She Stayed Up 14 Hours Editing Her First Video00:50:12 – The Brave Story Jessie Told That Changed Everything00:51:17 – Writing 'Figures' — The Raw, Drunken, Real Truth00:56:44 – The Writing Camp That Sparked Her Breakthrough Hit00:57:11 – How 'Figures' Was Really Written (And Why It Still Hurts)01:00:00 – Gatekeeper: Calling Out Sexism in the Music Industry01:01:42 – What MeToo Missed — And What Jessie Risked to Say01:02:58 – The Heavy Cost of Telling the Truth01:05:43 – Why Being Vulnerable is Jessie's Greatest Superpower01:06:20 – Jessie on Drake, Bieber, The Weeknd & Canadian Greatness01:07:14 – Why So Many GOATs Come Out of Canada01:08:11 – From Open Mics to Eminem: The Legacy She's Building01:18:14 – The Insane Calvin Harris Story (You Won't Believe This One) Hosted on Acast. See acast.com/privacy for more information.

Here's what you need to know for this week in the business of podcasting: Spotify's earnings call, takedowns on the platform, and the future of signal noise.Find links to every article mentioned and the full write-up here on Sounds Profitable.

Here's what you need to know for this week in the business of podcasting: Spotify's earnings call, takedowns on the platform, and the future of signal noise.Find links to every article mentioned and the full write-up here on Sounds Profitable.

Colt and David sit down with David Israelite.  David is President and CEO of the National Music Publishers' Association (NMPA), a position he has held since February 2005.  Israelite is responsible for overseeing all aspects of NMPA's operations, from legal strategy and implementation to government affairs and advocacy. His leadership has produced revolutionary successes on behalf of publishers including the largest CRB rate increase in history, groundbreaking industry collaboration in royalty rate agreements, landmark settlements and model licenses with streaming platforms, and ultimately raising the profile of the publishing community. Additionally, Israelite was instrumental in guiding the effort to modernize copyright laws culminating in the Music Modernization Act (MMA) and the subsequent creation of the Mechanical Licensing Collective (MLC).Website: www.nmpa.orgFacebook: www.facebook.com/disraeliteInstagram: www.instagram.com/disraeliteTwitter (X): www.twitter.com/davidisraeliteSend us a textSupport the showCheck out our socials and follow us!Facebook: www.facebook.com/TwangTownPodcastInstagram: www.instagram.com/TwangTownPodTwitter: www.twitter.com/TwangTownPodWe would love your support to continue to bring listeners amazing content!Cash App: www.cash.app/$TwangTownPodBuzzsprout: https://www.buzzsprout.com/2232176/support

David Israelite serves as the president and CEO of the National Music Publishers Association (NMPA), advocating for songwriter rights, music publishers, and industry standards. With expertise in copyright, royalties, and government regulations, David is a leading voice for the evolution of music publishing. In this episode, David dives into the challenges songwriters face, the role of the Copyright Royalty Board, and the impact of AI in music creation, offering practical advice to empower independent artists in protecting their creative interests.Episode Highlights:The complexities of government-regulated songwriter royalties and the current 15.2% revenue share from streaming services.How the Mechanical Licensing Collective helps songwriters ensure proper compensation.Practical strategies for managing ownership rights and splits in collaborations.----Learn more about David Israelite and his work at the NMPA by visiting: https://www.nmpa.org/Book an Artist Breakthrough Session with the Modern Musician team: https://apply.modernmusician.me/podcast

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. About David: David M. Israelite is President and CEO of the National Music Publishers' Association (NMPA), a position he has held since February 2005. Israelite is responsible for overseeing all aspects of NMPA's operations, from legal strategy and implementation to government affairs and advocacy. His leadership has produced revolutionary successes on behalf of publishers including the largest CRB rate increase in history, groundbreaking industry collaboration in royalty rate agreements, landmark settlements and model licenses with streaming platforms, and ultimately raising the profile of the publishing community. Additionally, Israelite was instrumental in guiding the effort to modernize copyright laws culminating in the Music Modernization Act (MMA) and the subsequent creation of the Mechanical Licensing Collective (MLC). He has been named to Billboard's Power 100 multiple times and serves on the boards of the Songwriters Hall of Fame, the Country Music Association and Special Olympics DC. He also serves as the President of the NMPA S.O.N.G.S. Foundation (Supporting Our Next Generation of Songwriters) which supports songwriters through funding scholarships and direct services, among other assistance. Prior to leading NMPA, Israelite held senior positions in various capacities for the U.S. government including at the Department of Justice where he served as Deputy Chief of Staff and Counselor to the Attorney General of the United States and was appointed Chairman of the Department's Task Force on Intellectual Property. He also worked in the U.S. Senate where he was Administrative Assistant (Chief of Staff) for Missouri Senator Kit Bond. Previously, Israelite also practiced law in the Commercial Litigation Department at the firm of Bryan Cave, LLP in Kansas City, Missouri. Israelite earned his Juris Doctor from the University of Missouri and his undergraduate degree from William Jewell College.

This Day in Legal History: Engel v. Vitale DecidedOn June 25, 1962, the United States Supreme Court made a landmark decision in the case of Engel v. Vitale. The Court ruled that the recitation of a state-sponsored prayer in public schools violated the Establishment Clause of the First Amendment. This case arose from a New York State law that required public schools to start the day with a non-denominational prayer drafted by the state education board.The plaintiffs, led by Steven Engel, argued that this practice amounted to an unconstitutional endorsement of religion. The Supreme Court, in a 6-1 decision, agreed and held that government-directed prayer in public schools was inherently coercive and an infringement on the separation of church and state.Justice Hugo Black, writing for the majority, emphasized that the government should remain neutral on religious matters to ensure freedom of belief for all citizens. This ruling sparked considerable controversy and debate, reflecting broader tensions over the role of religion in public life. Many supporters of school prayer viewed the decision as an attack on religious traditions, while opponents saw it as a vital protection of individual rights.Engel v. Vitale set a significant precedent for subsequent rulings on the issue of prayer and religious activities in public schools. It reinforced the principle that public education should be free from religious influence, shaping the interpretation of the First Amendment in relation to religious freedom and governmental neutrality. This case remains a cornerstone of American constitutional law concerning the separation of church and state.Federal judges on trial and appeals courts have received gifts such as private flights, football tickets, and substantial cash gifts, according to a report by Fix the Court, a judicial transparency watchdog. This report comes amid increased scrutiny over gift acceptance by federal judges, following revelations of undisclosed gifts to Supreme Court justices like Clarence Thomas.The most notable gift was a $24,000 cash gift in 2022 to Chief Judge Timothy Batten of the Northern District of Georgia from Medicraft Enterprises, a medical device company owned by a close friend. Batten also received a $4,000 gift from Medicraft in 2021. These cash gifts are rare on judges' financial disclosures, as noted by Gabe Roth, executive director of Fix the Court.The judicial code of ethics prohibits judges from accepting gifts from those with court business or interests affected by court action. Judges can accept travel, lodging for educational or legal events, books, resource materials, and gifts from friends or family, provided they do not preside over related legal matters. Gifts over $480 must be reported in annual disclosures, but the judiciary's slow posting has caused delays.The Fix the Court analysis also found judges commonly received free tickets, including football tickets from alma maters and local teams. Judge Charles Wilson reported football tickets from Notre Dame, while Judges Steve Jones, Lisa Wood, and Julie Carnes received tickets from the University of Georgia Athletic Association.Judges also reported gifted vacations. Judge Aleta Trauger disclosed a private flight and hotel stay for a Christmas dinner, and Judge Daniel Crabtree reported travel and golf outings worth $4,100. Congress members face stricter gift limits, capped at $100 per donor annually, with exceptions for close friends and special events.Judges Disclosed Gifts Include $24,000 Cash, Football TicketsTwo federal judges issued temporary halts to parts of President Biden's student loan debt relief program on Monday. Judge Daniel D. Crabtree of the US District Court for the District of Kansas ruled that large-scale student debt cancellation should be decided by Congress, partially granting a preliminary injunction requested by a coalition of states. Crabtree stated that the Biden administration's plan represented a significant regulatory expansion without clear congressional authorization.In a separate case, Judge John A. Ross of the US District Court for the Eastern District of Missouri also granted an injunction, stating that the states have a fair chance of proving that the administration overstepped its authority by including loan forgiveness. These rulings challenge the Department of Education's July 2023 rule aimed at reducing monthly student loan payments based on income and canceling loans after ten years for borrowers with up to $12,000 in debt.The relief plan, known as the Saving on a Valuable Education Plan, was set to take effect on July 1 and is estimated to cost $475 billion over ten years. This legal setback occurs as President Biden faces pressure to fulfill his campaign promise of student debt relief ahead of the November 2024 election. The Supreme Court had previously struck down a plan to forgive up to $20,000 in student loans for 40 million people.Crabtree's nationwide injunction does not affect parts of the plan already in effect, while Ross's ruling limits the injunction to the loan forgiveness component. The cases involved are State of Missouri v. Biden and State of Kansas v. Biden.Biden's Student Loan Debt Relief Program Halted in Two CourtsSpotify's recent reclassification of its premium subscription service has sparked significant controversy in the music industry, leading to lawsuits, legislative pushes, and an FTC complaint. The conflict centers around Spotify's attempt to include audiobooks in its premium plan, reducing its royalty payments to songwriters. This move, seen as a "bait-and-switch," has led to accusations from the National Music Publishers Association (NMPA) and the Mechanical Licensing Collective (MLC) that Spotify is attempting to underpay songwriters.The Music Modernization Act (MMA) of 2018 was designed to simplify royalty payments by creating the MLC, which issues blanket licenses to streaming services. However, dissatisfaction with the MLC's effectiveness is growing. Critics argue that the MLC's song matching process is inadequate, leaving many royalties unpaid. The NMPA has responded by lobbying for legislative changes to allow songwriters to negotiate royalties directly, outside the MLC's framework.This dispute comes amid a broader debate over the fairness of the current music licensing system. Songwriters and publishers feel squeezed by shrinking revenues from streaming services, and are seeking greater control over their royalties. The FTC complaint against Spotify represents a novel approach in this ongoing battle, highlighting the lengths to which industry players are willing to go to secure fair compensation.The MLC, up for its first five-year evaluation, faces scrutiny over its handling of unmatched royalties, which amount to significant sums. Despite some support for the MLC, there is a push for more transparency and improvements in its operations. As the industry grapples with these issues, the outcome of this multi-pronged conflict could reshape the landscape of music royalties and streaming.Spotify Royalty Drama Casts Shadow Over Songwriter ConsensusJulian Assange, the founder of WikiLeaks, is set to plead guilty to violating U.S. espionage law, ending his 14-year legal saga and allowing his return to Australia. Assange will plead guilty to conspiring to obtain and disclose classified U.S. national defense documents. He will be sentenced to 62 months of time already served during a hearing in Saipan, chosen for its proximity to Australia.Assange left the UK's Belmarsh prison after being bailed by the UK High Court. This resolution follows a global campaign involving grassroots organizers, press freedom advocates, and political leaders. The Australian government has been pressing for Assange's release, and his wife expressed immense gratitude for the support they received.The espionage charges stem from WikiLeaks' 2010 release of hundreds of thousands of classified U.S. military documents, the largest security breach of its kind. The documents, leaked by Chelsea Manning, included sensitive diplomatic cables and battlefield reports. Assange's prosecution has been controversial, with press freedom advocates arguing that charging him threatens free speech.Assange's legal troubles began in 2010 when he was arrested in the UK on a European arrest warrant related to later-dropped sex-crime allegations in Sweden. He sought asylum in Ecuador's embassy in London for seven years to avoid extradition. In 2019, he was arrested and has since been fighting extradition from Belmarsh prison.The plea deal marks the end of a long ordeal for Assange, who has been compared to other whistleblowers like Reality Winner, who received a similar sentence for leaking classified information.WikiLeaks' Julian Assange to be freed after pleading guilty to US espionage charge | ReutersSales tax compliance in the US is fraught with challenges, largely due to the lack of transparency and a reliable system for reporting and calculating owed taxes. Unlike income tax, where employer reports help bridge gaps, sales tax relies heavily on businesses to self-report, leading to significant discrepancies in what is collected versus what is owed.A recent example highlighting this issue is GitHub's announcement that it will begin collecting and remitting sales tax in August. This move underscores a broader problem: the inconsistency in sales tax compliance across corporations. GitHub, a Microsoft subsidiary with $1 billion in revenue and over 1.3 million paid subscribers in 2023, should have been complying all along, which raises questions about the transparency and enforcement of sales tax laws.The administrative burden on businesses to comply with varied state policies is substantial. For smaller businesses, this burden can be overwhelming and costly, often requiring them to spend a significant portion of their operating capital on compliance. A survey by Avalara/Potentiate found that small and medium-sized businesses spend an average of $2,455 per month on sales tax calculations alone.The Supreme Court's 2018 decision in South Dakota v. Wayfair, which allowed states to require businesses to collect sales tax regardless of physical presence, aimed to level the playing field between physical stores and online retailers. However, the decision has led to a patchwork of state-specific policies, further complicating compliance, especially for smaller businesses.To address these challenges, states should not wait for corporations to voluntarily comply with sales tax laws. Instead, they should proactively enforce compliance among major corporations and allocate resources to support small businesses. This proactive approach could include targeted audits of large corporations, increased penalties for non-compliance, and providing tools to help small businesses calculate and remit sales tax accurately.For example, the creation of state databases of tax rates and an application programming interface for automated calculations could significantly reduce the compliance burden on small businesses. Ensuring compliance among large corporations like GitHub would also help level the playing field, making it fairer for small businesses that are struggling to comply.In summary, a more transparent and enforced sales tax system is needed. Large corporations should be held accountable, and small businesses should be supported in their compliance efforts. This dual approach can create a more equitable business environment and increase state revenues, ultimately benefiting all parties involved.States' Corporate Sales Tax Enforcement Doesn't Go Far Enough This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

On this week's show we discuss the battle between the music publishers and Spotify as it ramps up another gear, Sony Music's lawsuit accusing the Marriott hotel chain of “rampant” copyright infringement, and more. SECTION TIMES 01: Spotify (00:04:39) 02: News in brief (00:22:15) 03: Sony Music (00:25:13) (Timings may be slightly different due to adverts) THIS WEEK'S MAIN STORIES • Sony sues Marriott over social media posts NEWS IN BRIEF • Leadmill eviction battle in court • Live industry welcomes ticket tout prison sentences • TikTok wants its legal case against US “sell-or-be-banned” law fast-tracked • Scarlett Johansson accuses ChatGPT of stealing her voice ALSO MENTIONED • Live Nation monopoly is “anticompetitive” and must be broken up says DoJ lawsuit

/Summary本期节目由和颜坤泰胶囊胶囊赞助播出，卵巢的衰退不可逆，通过对卵巢功能的分析，我们想告诉你卵巢绝不只是用来生育，它决定着女性的健康，我们科普了造成卵巢早衰的原因、监测自己的卵巢健康状况 、医对应卵巢衰退的方法论、不良生活是如何影响卵巢健康的、卵巢功能衰退和失眠的关系、用药同时需要注意的生活方式的改善，我们在节目中还给出了卵巢功能衰退自测表格，介绍了和颜坤泰胶囊对标其他疗法的不同，而和颜坤泰胶囊作为国家NMPA标准下唯一的对症卵巢健康的医保甲类药，我们有十足的底气进行推荐，最后我们对这款中药的成分进行了分析，强调了用药禁忌和九种体质的科普 ，祝全天下的母亲卵巢健康！/Show Note00:02:11 用健康换成就的同时务必树立正确的健康知识00:03:15 卵巢的衰退不可逆00:05:09 卵巢的功能00:05:28 务必不要在生理期和伴侣吵架00:06:55 卵巢不止是用来生育，它决定女性的健康00:09:29 造成卵巢早衰的原因00:11:32 如何监测自己的卵巢健康状况00:14:59 中医对应卵巢衰退的方法00:22:29 黄帝内经对于卵巢衰退的描述00:21:51 务必重视更年期的平稳过渡00:29:00 熬夜是如何影响卵巢健康的00:30:18 过度减肥是如何影响卵巢健康的00:31:04 缺乏运动是如何影响卵巢健康的00:32:02 卵巢囊肿和卵巢癌00:34:57 卵巢衰退自测表格00:39:01 卵巢衰退为何会失眠00:41:56 用药同时需要注意的生活方向的改善00:44:32 和颜坤泰胶囊对标其他疗法00:46:51 国家NMPA和国家医保甲类00:49:11 中药成分拆解和分析00:58:25 用药禁忌和九种体质科普01:01:56 祝全天下的母亲卵巢健康字很多，我很用心。/Staff主播 | 燃烧吧罗叔制作 | 燃烧吧罗叔文案 | 燃烧吧罗叔后期 | FirePod莎莎日程 | 腿哥/BGM Listふじい かぜ-祭奠/Contact新浪微博：@燃烧吧罗叔抖音：燃烧吧罗叔公众号：头号玩家toGo合作微信： luoyoucai

On this Music Business Worldwide podcast, MBW founder Tim Ingham is joined by David Israelite, the President and CEO of the National Music Publishers' Association.We probably don't need to ask you to guess which particular controversial topic Israelite and Ingham discuss.Earlier this month, Spotify announced that it was changing the way it calculates mechanical royalty payments for songwriters and publishers in the US.Spotify has re-categorized its Premium subscription tiers in the States as 'bundles,' enabling it to pay out a lesser mechanical royalty rate to songwriters than it would if said Premium tiers were classified as pure music services.Spotify believes it is entitled to re-categorize these tiers as 'bundles' due to the fact that SPOT now offers access to music plus audiobooks.The idea that 'bundled' services should be entitled to a lower mechanical royalty rate (vs. standard music subscription services) was enshrined in the so-called 'CRB IV' agreement/settlement between publishers and Spotify in the States, signed in 2022, and covering the years 2023-2027.As David Israelite explains on this podcast, the NMPA is currently considering legal action against Spotify that would seek to undo the newly-lowered 'bundle' mechanical royalty rate on the service.This isn't the first time that Spotify and songwriters have butted heads, of course: In 2019, the US Copyright Royalty Board (CRB) decreed that Spotify and other streaming services needed to increase the headline mechanical royalty rates they paid publishers and songwriters in the US for the period covering 2018-2022.That decision from the CRB (in the so-called 'CRB III' process) followed a campaign of lobbying and general legal cajoling from the NMPA, on behalf of songwriters and publishers.Spotify (and Amazon) subsequently appealed this ('CRB III') ruling, attempting to drive down the mechanical royalty rate they paid songwriters under US law.The CRB, though, stood firm – and told the streamers they must increase their rate.Now, with its 'bundle' reclassification under 'CRB IV', Spotify is once again attempting to push down the percentage of its revenue that it must, by law, pay to songwriters and publishers in its biggest market.Will Spotify ultimately get away with it? Stay tuned.As Israelite confirms on this podcast: "This will likely end up in a legal conflict..."Music Business Worldwide's Podcasts are supported by Voly Entertainment (previously known as Voly Music).

On this episode of Music Business Worldwide's Talking Trends, MBW founder, Tim Ingham, is once again joined by Charlie D'Atri, to discuss two key recent headlines from the world of entertainment: (1) A battle between Concord and financial giant Blackstone to acquire Hipgnosis Songs Fund – the UK-listed bundle of music rights accumulated by Merck Mercuriadis; (2) Spotify's decision to re-categorize its Premium subscription tiers as 'bundles' – including audiobooks – that will materially lessen the royalty rate paid to songwriters in the US.People and companies mentioned on this Talking Trends podcast include: Spotify, Daniel Ek, Blackstone, Merck Mercuriadis, Concord, NMPA, David Israelite, EQT, Shot Tower Capital, BMG, Citrin Cooperman, and more. Music Business Worldwide's Podcasts are supported by Voly Entertainment (previously known as Voly Music).

Episode 193 On this week's episode of the YMC podcast, your humble hosts Jay Gilbert and Mike Etchart kibbitz about these important stories: "TikTok Is Talking To UMG Again, But Washington May Hold The Keys To Its Future" (Billboard); "Inside Taylor Swift's Surprise Return to TikTok" (Wall Street Journal);  "NMPA accuses Spotify Of 'Attacking Songwriters' As It Changes How It Pays Mechanical Royalties In The US" (Music Business Worldwide).   Plus an audio drop with Mark Mulligan, Managing Director and Analyst at MiDIA on their new research report "Bifurcation Theory: How Today's Music Business Will Become Two".    Subscibe to the newsletter! YourMorning.Coffee

Downtown (Songtrust, CD Baby y FUGA), Hipgnosis, y la National Music Publishers' Association se unen en apoyo a Universal Music Group (UMG) en su lucha contra TikTok. Esto puede dejar de ser un "bochinche" bien rápido. La pregunta medular aquí es sobre el futuro de la industria de la música. --- Send in a voice message: https://podcasters.spotify.com/pod/show/seedcademy/message

GRAMMY week is in full swing! Billboard's Power 100 Party was a celebration of some of the biggest names in music. NMPA and Billboard teamed up to honor some of this year's most iconic songwriters. Justin Tranter stopped by Billboard News to talk about his GRAMMY nomination, the importance of recognizing songwriters and working with artists like Selena Gomez and Reneé Rapp. We share details about how fans can bid on a red-carpet fan experience at the 2024 Billboard Women in Music Awards presented by Marriott Bonvoy. And more! Learn more about your ad choices. Visit megaphone.fm/adchoices

China's medical regulators recently approved two foreign drugs, bringing new hope to patients with Alzheimer's disease and groups at risk for HIV/AIDS.中国医疗监管机构最近批准了两种外国药物，为阿尔茨海默病患者和艾滋病高危人群带来了新的希望。The National Medical Products Administration announced last week that it had granted market approval for the injected drug Leqembi, developed by Tokyo-based pharmaceutical company Eisai, to treat minor dementia and cognitive dysfunction triggered by Alzheimer's.美国国家医疗产品管理局上周宣布，已批准注射药物Leqembi上市，该药物由制药公司卫材(Eisai)开发，用于治疗阿尔茨海默氏症引发的轻微痴呆和认知功能障碍，该公司总部位于东京。The Economic Observer, a Beijing-based news outlet, reported that China is the third country to approve the drug, after the United States in July and Japan in September. The drug targets amyloid betaprotein, widely believed to be associated with neurotoxicity and Alzheimer's.总部位于北京的新闻媒体《经济观察报》报道称，继美国7月和日本9月批准该药物后，中国是第三个批准该药物的国家。该药物针对的是淀粉样β蛋白，人们普遍认为该蛋白与神经毒性和阿尔茨海默病有关。The pharmaceutical company added that current drugs on the market only target symptoms and have a hard time dealing with the root cause. During a global clinical trial, taking the drug was shown to reverse the progression for about 60 percent of early-stage patients and help them improve cognitive impairments, the company said.该制药公司补充说，目前市场上的药物只能针对症状，很难解决根本原因。该公司表示，在一项全球临床试验中，服用该药物可以逆转约60%的早期患者的病情进展，并帮助他们改善认知障碍。Eisai set the price at 2,508 yuan ($350) per 2-milliliter dose, or about 180,000 yuan annually for a patient weighing 60 kilograms.卫材将价格定为每2毫升剂量2,508元，对于体重60公斤的患者来说，每年费用约为18万元。According to the Economic Observer, the drug was priced at 3,328 yuan per dose during a trial in Boao Hope City, a pilot medical zone in Hainan province, which allows drugs approved elsewhere to be used for real-world clinical trials in China. The first batch of 200 doses has been used up, the report said.据经济观察报报道，该药在海南省医疗试点博鳌希望城进行试验时的售价为每剂3328元，允许在其他地方批准的药物在中国进行真实临床试验。报道称，第一批200剂已经用完。China has 9.83 million people with Alzheimer's, and the disease is the fifth-largest cause of death in the country, according to an annual report on the disease released last year. Meanwhile, the diagnosis and treatment rate is low, and awareness among the general public is inefficient, the report said.根据去年发布的阿尔茨海默病年度报告，中国有983万阿尔茨海默病患者，该病是中国第五大死亡原因。并且诊疗率低，公众了解度有限。Separately, Descovy, a tablet developed by US-based pharmaceutical company Gilead, has been approved by the NMPA for pre-exposure prophylaxis, or PrEP, to lower the risk of HIV infection due to high-risk sexual activities. Previously, the drug had been approved to treat HIV infections in adults.另外，美国吉利德制药公司开发的片剂Descovy已获得国家药监局批准用于暴露前预防（PrEP），以降低因高危性活动而感染艾滋病毒的风险。此前，该药物已被批准用于治疗成人艾滋病毒感染。The NMPA said that clinical trials showed that Descovy had effectiveness as a PrEP drug no worse than Truvada, the first PrEP drug approved in China, and that it displayed very low side effects.国家药监局表示，临床试验表明，德可维作为PrEP药物的有效性并不比中国首个获批的PrEP药物Truvada差，而且副作用非常低。"Groups with a high risk of HIV exposure can take this drug regularly to help maintain a certain density of the drug in the blood to prevent HIV infections," said Wang Hui, chief expert of the HIV/AIDS center at Shenzhen Third People's Hospital, adding that the drug offers a new choice for those involved in high-risk sexual activities, such as those engaging in unprotected homosexual sex, sex with unfixed partners, or prostitution.深圳市第三人民医院艾滋病中心首席专家王辉表示，艾滋病暴露高风险人群可以定期服用这种药物，帮助维持血液中一定的药物浓度，预防艾滋病毒感染。该药物为那些从事高风险性活动的人提供了新的选择，例如进行无保护措施的同性恋群体以及与不固定伴侣发生性行为或卖淫的人。Sexual activity is a major means of HIV transmission among adults. As of late 2022, China has 1.2 million people living with HIV, according to the Chinese Center for Disease Control and Prevention.性活动是成人中艾滋病毒传播的主要途径。根据中国疾病预防控制中心的数据，截至2022年底，中国有120万艾滋病毒感染者。The World Health Organization said oral PrEP is highly effective in preventing HIV when used as directed, and recommends people at substantial risk of HIV infection be offered PrEP drugs as an additional choice as part of comprehensive prevention.世界卫生组织表示，按照指示口服PrEP对预防HIV非常有效，并建议向HIV感染高风险人群提供PrEP药物，以助力全面预防艾滋病。However, awareness and prevalence of PrEP in China are relatively low compared with developed countries. Based on a study published in the Chinese Journal of Epidemiology in 2020, only 56 percent of some 600 interviewed men who have sex with men said they were aware of the method, and just 10.6 percent said they were absolutely willing to use it.但与发达国家相比，我国PrEP的知晓率和普及率较低。根据2020年《中国流行病学杂志》发表的一项研究，在约600名接受采访的男男性接触者中，只有56%的人表示他们知道这种方法，只有10.6%的人表示他们非常愿意使用这种方法预防感染艾滋病。Alzheimer英/ˈɔltsˌhɑɪ·mərz / 美/ˈɔltsˌhɑɪ·mərz /n. 阿兹海默症homosexual sex同性恋性行为

SUMMARY:We chat with Ashley Gorley who, with more #1 singles than any writer in any genre, is the reigning king of country music songwriters. PART ONE:Paul and Scott discuss the state of contemporary country music, the way the genre has come to dominate the pop chart, and the rapidly-changing nature of what's the most popular song at any given moment.PART TWO:Our in-depth conversation with Ashley GorleyABOUT ASHLEY GORLEY:With an unprecedented track record of nearly 70 chart-topping country hits, Ashley Gorley is perhaps the most commercially successful songwriter in history. He has written more #1 singles than anyone in any genre, and has had over 400 of his songs recorded by artists such as Morgan Wallen, Chris Stapleton, Luke Bryan, Thomas Rhett, Carrie Underwood, Blake Shelton, Kelsea Ballerini, Lee Brice, Brad Paisley, Darius Rucker, Bon Jovi, and Weezer. Ashley has been named ASCAP Country Songwriter of the Year nine times, Billboard Country Songwriter of the Year six times, and NSAI Songwriter of the Year six times. He was then named NSAI Songwriter of the Decade for the period ranging from 2010-2019. Additionally, Ashley was honored as the Top Male Songwriter of 2021—across all genres—by the National Music Publishers Association. In 2023 the NMPA honored him with their icon award for non-performing songwriters. The multiple CMA, ACM, and Grammy nominee has received the CMA's Triple Play Award 20 times in his career, which recognizes songwriters with three or more #1 songs in a single year. In 2016, Ashley became the first songwriter to be honored with three CMA Triple Play Awards in a single year for earning nine chart-topping songs in a 12-month period. He repeated that feat in 2020 and again in 2022. This year, Gorley was announced as ACM Songwriter of the Year, also taking home the Song of the Year award and celebrating three Song of the Year nominations, placing him in rare company with Kris Kristofferson and Merle Haggard, the only other songwriters to achieve the same feat in a single year. In addition to his decorated career as a songwriter, Ashley launched his own music publishing company, Tape Room Music, with a writer roster that has earned nearly 40 #1 hits. 

Tous nos magazines et nos offres d'abonnement : https://boutique.canardpc.com/Notre édition web sur abonnement : https://www.canardpc.com/ Retrouvez-nous aussi: sur Twitter: https://twitter.com/Canardpcredac sur Facebook: https://www.facebook.com/CanardPCmagazine sur Instagram: https://www.instagram.com/canardpc/ sur Discord: https://discord.gg/ZT4zDKD Tous droits réservés Presse Non-Stop / Canard PC. Aucun youtubeur n'a été maltraité pendant le tournage. SOCIAL TU PERDS TON SANG FROID le sketch TwitterMMA : https://www.theverge.com/2023/6/21/23769263/mark-zuckerberg-elon-musk-fight-cage-match-worldstar?s=31“cis” devient une insulte :https://twitter.com/elonmusk/status/1671370284102819841Plainte par la NMPA pour la musiquehttps://www.theverge.com/2023/6/14/23761680/twitter-music-lawsuit-nmpa-copyright-infringement Révolte de redditLe PDG n'arrange rien : https://www.theverge.com/2023/6/15/23762868/reddit-ceo-steve-huffman-interviewhttps://www.nbcnews.com/tech/tech-news/reddit-protest-blackout-ceo-steve-huffman-moderators-rcna89544Guérilla en mode NSFW : https://www.theverge.com/2023/6/20/23767848/reddit-blackout-api-protest-moderators-suspended-nsfwGuérilla en mode 1700'shttps://twitter.com/katefeetie/status/1671618865967579138 Guérilla en mode John Oliverhttps://www.bbc.com/news/technology-65949412qui prend bien la chose: https://twitter.com/iamjohnoliver/status/1670179738348933120?ref_src=twsrc%5Etfw INSTANT PROMO Nouvelles parutionshttps://boutique.canardpc.com/ Hardwarehttps://www.canardpc.com/hardware/annonces-magazines/canard-pc-hardware-57-est-en-kiosque/ Le Pavé numériquehttps://lepavenumerique.substack.com/p/la-fin-des-humains-sur-internet VIDEO KILLED THE VIDEO STARS Crise de la SVODhttps://www.vulture.com/2023/06/streaming-industry-netflix-max-disney-hulu-apple-tv-prime-video-peacock-paramount.html Twitch ré-introduit le 70/30https://www.gamesindustry.biz/twitch-introduces-7030-revenue-split-in-new-partner-plus-program Kick relance le mercato des streamershttps://www.ladn.eu/media-mutants/streameurs-xqc-amouranth-quittent-twitch-kick/mais bon… https://gamerant.com/xqc-trouble-streaming-kick-batman/ Chez Netflix, la chasse aux abo partagé fonctionnehttps://deadline.com/2023/06/netflix-signups-jump-password-sharing-crackdown-subscribers-1235412769/ LES BONBONS L'art de photographier les joueurs d'échechttps://edition.cnn.com/2023/06/19/sport/maria-emelianova-art-chess-photography-spt-intl/index.html La surface d'une comètehttps://twitter.com/StarTalkRadio/status/1671155889703878660?t=eFltQwYjpPuBG0h8x-SnPA&s=31 l'instinct du castorhttps://twitter.com/gunsnrosesgirl3/status/1671814937809768450

AI and machine-learning technologies have been utilized in various capacities in the music industry for decades now. However, the rise of Generative AI — which uses existing human-created art within its algorithms to generate content — presents new legal challenges over who is compensated when the tech is used. This month, we spoke to the NMPA's Danielle Aguirre about the current legal issues regarding copyright for AI-generated content like music, and what organizations like the NMPA are doing to support songwriters.

It's time for the Comic Talk Headlines with Generally Nerdy! Plenty of quality new music to discuss. Google leaves and Twitter in trouble in Tech news. Batman Day DC celebration announced. A surprising number of trailers in the TV section. AND plenty more where that came from!Tune in Wednesdays for the regular show and Saturdays for the re-post of the Friday night LIVE SHOW. Plus, don't forget to subscribe for more fresh content. MusicFollow-ups/CorrectionsTiketmaster - Live Nation and TM to now show hidden charges upfront.New Music/VideoBaroness - Last Word https://youtu.be/T7vROjNY9Gk new album “Stone” out Sept 15. That solo sounds like it was recorded in a shower. Otherwise this is nearly perfect mix-wise. Appropriate for the band's FIRST self recorded outing.Imminence - Come Hell or High Water https://youtu.be/DzeqwQ79BWg This is how you do melodic metal! That percussion effect is a trip in the intro. Tagged with Sleep Token and Bad Omens? Such a better band than those.VCTMS - FEED THE VICE FT. LIFE_FOR91 https://youtu.be/iBYEYx_s9VU Man I wish scene music sounded like this when I was younger. This car Life_For91 has a unique scream… sounds like he's gunna blow out his voice at any moment.Dax - "To Be A Man" (MEGA REMIX) [ft. Atlus, Phix, Brutha Rick, The Mediary, Thagreatwhite, & MORE] https://youtu.be/edv_bNEaYTQ Just a wholesome message from a great artist…Tours/FestivalsBaroness - Support from JESUS PIECE, PORTRAYAL OF GUILT, PRIMITIVE MAN, KEN MODE, WAYFARER, CHAT PILE, VILE CREATURE, SOUL GLO, SHEER MAG, ESCUELA GRIND, MIDWIFE, HOAXED, EMPIRE STATE BASTARD, CLOUD RAT, IMPERIAL TRIUMPHANT, UNIFORM and AGRICULTURE, with more support acts to be announced. Starts Oct. 13 in Baltimore MD through Dec1 in Philly. https://go.seated.com/notifications/welcome/b42bb813-e208-4b63-a956-f3b2c54d631c Anders Colsefni and Waylon Reavis - The 2 former front men are touring Australia and New Zealand together. Runs from Oct 11 through Oct 23. Anders will be performing Mate.Feed.Kill.Repeat in full for the shows, and Reavis will be performing some of his Mushroomhead tunes.Black Dahlia Murder - with Chelsea Grin, 200 Stab Wounds, and Gates to Hell. From sept 8 in Alton VA (Blue Ridge Rock Fest) runs through Sept 16 at the New England Metal Fest in Worcester MA.Code Orange - Code's World Taking place on September 30 in Pittsburgh, Pennsylvania, the festival will start at 3 p.m. and will feature 12 bands across two stages. Madball, Vein.fm, 200 stab wounds. https://www.metalsucks.net/2023/06/20/code-orange-have-their-own-festival-and-theyve-booked-200-stab-wounds-vein-fm-and-more/ Reg ‘ol NewsExodus - Sign new deal with Napalm Records.New age of heavy music is growing! Exodus, a thrash metal band, has signed a worldwide contract with Napalm Records. The band is excited to start working on their next album and release new music in 2024.https://blabbermouth.net/news/exodus-signs-with-napalm-records-its-time-for-a-new-chapter-for-the-band Ministry - Al Jourgensen is threatening to retire again… Well maybe just the Ministry brand according to an interview with Yahoo. https://www.yahoo.com/entertainment/ministrys-al-jourgensen-to-rerecord-disavowed-with-sympathy-songs-183544523.html High on Fire - Ninth studio album is in the bag. Set for release sometime in 2024.https://blabbermouth.net/news/high-on-fire-completes-work-on-ninth-studio-album SuggestsAnthony Vincent - End of Heartache synthwave https://youtu.be/kszuXmSGdkw Gaming/TechFollow-ups/CorrectionsNintendo Direct - is in fact happening June 21. https://twitter.com/NintendoAmerica/status/1671155958448529408 Freevee - Adding MGM and WB/Discovery channels to the ad supported platform. https://www.engadget.com/amazons-freevee-is-adding-free-mgm-and-warner-bros-discovery-channels-144339161.html  Halo Infinite - Season 4 Launch. The separation of Campaign from Multiplayer is important as the speculation has it that the Battle Royale Mode will need to be launched similarly. https://docs.google.com/document/d/1RtZ2PT1haY6CASYPm7nIOVX3BwdtQL6TBNQPycesfWQ/edit?pli=1 XDefiant - Beta opens on the 21st. https://www.ubisoft.com/en-us/game/xdefiant TrailersExeKiller - Official Gameplay Reveal Trailer https://youtu.be/nr9SX3TvVnw ExeKiller is a first-person western game set in a retro-futuristic post-apocalyptic setting. The game features an alternate timeline with a character progression system and a variety of story choices. ExeKiller is launching in 2025 for PC.Reg ‘ol News~Google - Google has sold its domain-hosting business to Squarespace. The acquisition is expected to close in Q3 of 2023. Squarespace will honor existing customer pricing for at least 12 months following the completion of the purchase. It will also use Google's infrastructure to ensure a "seamless transfer of domains." For existing customers, Squarespace will provide billing and support for Google Workspace customers who've already purchased domains through Google Domains. However, as time goes on and as subscriptions start to renew, these customers will likely be forced to migrate to Squarespace's billing system. The acquisition is not surprising, as Squarespace is already a behemoth in the websites and domain space. However, it is a little more surprising that Google is selling, as the company is notorious for abandoning established products at any time.https://newsroom.squarespace.com/blog/googledomains ~Twitter - A group of music publishers is suing Twitter for $250 million, alleging that the company has done little to stop users from uploading and sharing copyrighted music on the platform. The lawsuit, filed by the National Music Publishers Association (NMPA), claims that Twitter has "routinely ignored" requests for takedowns and that it is one of the only major social media platforms that does not have licensing agreements in place with music publishers. The NMPA also alleges that Twitter is less likely to take action against verified accounts that share copyrighted music, even though these accounts often have large follower bases. If the lawsuit is successful, it could force Twitter to pay out millions of dollars in damages and could also lead to changes in the way the company handles copyright infringement.https://www.engadget.com/music-publishers-are-suing-twitter-for-250-million-over-massive-copyright-infringement-082421118.html SuggestsResident Evil… ANY OF THEM!Comic Books/BooksTrailersX-Men Hellfire Club - https://youtu.be/9akSSU1_Ftg the book that will kick off the Fall of X arc hits shelves July 26th.Reg ‘ol NewsEnergon - Transformers and GI Joe shared universe. Revealed in Void Rivals number 1 from Robert Kirkman's Skybound comic book imprint. With a partnership with Hasbro. Transformers number 1 set to launch in October, then in December Duke number 1 from writer Joshua Williamson goes deeper into this new universe. Cobra Commander number 1 in January.https://cosmicbook.news/robert-kirkman-launches-surprise-gi-joe-and-transformers-shared-universe Batman Day - DC Comics has announced a new slate of Batman Day books for 2023, which will be released on September 19, 2023. The books include Batman: The Knight, a 12-issue maxiseries by Chip Zdarsky and Jorge Jimenez; Batman: The World, a collection of stories from around the world featuring Batman; Batman: Fear State, a sequel to the recent event series of the same name; Batman: Killing Time, a new graphic novel by Tom King and David Finch; and Batman: Beyond the White Knight, the sequel to the popular miniseries Batman: White Knight. DC is also releasing a number of other Batman-related products on Batman Day, including toys, apparel, and collectibles.https://comicbook.com/comics/news/dc-announces-batman-day-2023-books/#5 Captain Marvel - Instead of being canceled Captain Marvel seems to be selling well enough to warrant another ongoing series with the conclusion of Kelly Thompson's run with the character coming to a close with issue number 50. Marvel announced a new ongoing series from writer Alyssa Wong and Stormbreaker artist Jan Bazaldua. October 25 will be the launch of the new ongoing series.https://comicbook.com/comics/news/captain-marvel-gets-a-new-ongoing-series-and-costume/ Marvel Zombies - Marvel Zombies: Black, White & Blood is a new anthology series of horror comics set in the Marvel Zombies universe. The series will feature stories by different writers and artists, all told in black, white, and blood. The first issue will be written by Garth Ennis and illustrated by Rachael Stott. The series will be released in October 2023.https://comicbook.com/comics/news/marvel-zombies-black-white-blood-marvel-comics-spider-man-wolverine/ Comic Con - Marvel will be skipping hall H this year.SuggestsWild Cards edited by George RR MartinTV ShowsFollow-ups/CorrectionsStranger Things 5 - Linda Hamilton added to the cast. https://nerdist.com/article/linda-hamilton-joins-stranger-things-5-cast-netflix-tudum/ Knuckles - Cast expanded Edi Patterson, Kid Cudi, Ellie Taylor, Rory McCann, Christopher Lloyd, Cary Elwes, Paul Scheer, Stockard Channing, and Rob Huebel https://nerdist.com/article/sonic-the-hedgehog-spinoff-series-knuckles-starring-idris-elba-reveals-new-cast-plot-synopsis-wade-whipple/ Solar Opposites - Justin Roiland's replacement has been announced as Dan Stevens (aka Legion). https://youtu.be/IyTANvYnbD8 Tiny Toons: Looniversity - set for a September release, though the exact date has yet to be set.FUBAR - season 2 confirmed.Metropolis - Series canceled before it even began. https://deadline.com/2023/06/metropolis-tv-series-dead-writers-strike-sam-esmail-ucp-apple-tv-plus-production-costs-1235419899/ TrailersOne Piece - https://youtu.be/lNMSqxQtO0w August 31What We Do In The Shadows - https://youtu.be/wCvO1QmAMXY July 13The Boys - https://youtu.be/4IlF715Yn00 Homelander trial.Walking Dead Daryl Dixon - https://youtu.be/yvDGw8MUzxw still no releaseAvatar: The Last Airbender - https://youtu.be/QOg9LUIvaig just a tease…Squid Game - https://youtu.be/6MzxihE41b8 season 2 castBedtime Stories with Ryan - https://youtu.be/KMkjdmFr71Q  Bedtime Stories with Ryan is a fifteen episode series directed by Vincent Peone. The show is produced by Maximum Effort and Fubo in partnership with ArtClass and Loon Productions. Autodesk, a leader in design and make software, has signed on as the show's official Imagination Sponsor.The Maximum Effort Channel will be available on Fubo, and it launches on June 20th, with Bedtime Stories with Ryan premiering on that date.Reg ‘ol NewsDemon Slayer - Season 4 has been announced, and will adapt the Hashira Training arc from the Manga.https://comicbook.com/anime/news/demon-slayer-anime-hashira-training-arc/ SuggestsBlack Mirror… even though this season isn't the Black Mirror you remember.MoviesFollow-ups/CorrectionsMCU Releases - Captain America Previously dated on 5/3/24 moves to 7/26/24. Thunderbolts Previously dated on 7/26/24 moves to 12/20/24. Blade Previously dated on 9/6/24 moves to 2/14/25. Deadpool 3 Previously dated on 11/8/24 moves to 5/3/24. Fantastic Four Previously dated on 2/14/25 moves to 5/2/25. Avengers Kang Dynasty Previously dated on 5/2/25 moves to 5/1/26. Avengers Secret Wars Previously dated 5/1/26 is now dated on 5/7/27.Batman: The Brave and the Bold - Andy Muschietti IS set to direct. https://nerdist.com/article/the-brave-and-the-bold-movie-damian-wayne-batman-robin-james-gunn-dcu/ Mortal Kombat 2 - Martyn Ford (Shao Kahn), Desmond Chiam (King Jerrod), Ana Thu Nguyen (Sindel) and Damon Herriman (Quan Chi) https://www.kamidogu.com/2023/06/shao-kahn-king-jerrod-sindel-quan-chi-cast-in-mortal-kombat-2/ Wicked - Movie now releasing in 2 parts. The release date for Wicked Part 2 has been moved up from December 25, 2025 to November 10, 2025. The first part of the film, Wicked Part 1, is scheduled to be released on November 27, 2024. https://comicbook.com/movies/news/wicked-part-two-movie-release-date-moved-up-2025/ TrailersKraven The Hunter - https://youtu.be/rze8QYwWGMs Cautious Optimism. OctoberReg ‘ol NewsSony Spider-Man Universe - Producer Amy Pascal has said that a live-action Miles Morales movie, a Spider-Woman animated film, and Spider-Man 4 are all in the works, as well as a FOURTH movie starring Tom Holland and Zendaya. Along side the Avi Arad produced Spider-Woman movie directed by Olivia Wilde.https://variety.com/2023/film/columns/across-the-spider-verse-miles-morales-spider-woman-1235629183/ Fixed - New Genndy Tartakovsky animated movie. cast will include Adam Devine, Idris Elba, and Kathryn Hahn to name a few. Joining the trio will be Bobby Moynihan, Fred Armisen, Beck Bennett, River Gallo, and Michelle Buteau. Set to be R rated.https://comicbook.com/anime/news/genndy-tartakovsky-fixed-movie-main-cast/ SuggestsEastern PromisesRumor MillConfirmations/RefutationsAndy Muschietti directing Batman.Nintendo directNew SourcesPS5 - slim still making the rounds in the rumor mill, in spite of what sony has said.New RumorsFiloni Star Wars - Alden Ehrenreich to reprise his role as Han.~AND~Recasting Leia and LukeRey Star Wars Movie - Idris Elba said to be the villain?Deadpool 3 - Scarlet Witch to show up… as the main villain??Secret Wars - Spider-verse characters will be featured somehow in the movie. Though likely just as a cameo.You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

It's time for the Comic Talk Headlines with Generally Nerdy! Plenty of quality new music to discuss. Google leaves and Twitter in trouble in Tech news. Batman Day DC celebration announced. A surprising number of trailers in the TV section. AND plenty more where that came from!Tune in Wednesdays for the regular show and Saturdays for the re-post of the Friday night LIVE SHOW. Plus, don't forget to subscribe for more fresh content. MusicFollow-ups/CorrectionsTiketmaster - Live Nation and TM to now show hidden charges upfront.New Music/VideoBaroness - Last Word https://youtu.be/T7vROjNY9Gk new album “Stone” out Sept 15. That solo sounds like it was recorded in a shower. Otherwise this is nearly perfect mix-wise. Appropriate for the band's FIRST self recorded outing.Imminence - Come Hell or High Water https://youtu.be/DzeqwQ79BWg This is how you do melodic metal! That percussion effect is a trip in the intro. Tagged with Sleep Token and Bad Omens? Such a better band than those.VCTMS - FEED THE VICE FT. LIFE_FOR91 https://youtu.be/iBYEYx_s9VU Man I wish scene music sounded like this when I was younger. This car Life_For91 has a unique scream… sounds like he's gunna blow out his voice at any moment.Dax - "To Be A Man" (MEGA REMIX) [ft. Atlus, Phix, Brutha Rick, The Mediary, Thagreatwhite, & MORE] https://youtu.be/edv_bNEaYTQ Just a wholesome message from a great artist…Tours/FestivalsBaroness - Support from JESUS PIECE, PORTRAYAL OF GUILT, PRIMITIVE MAN, KEN MODE, WAYFARER, CHAT PILE, VILE CREATURE, SOUL GLO, SHEER MAG, ESCUELA GRIND, MIDWIFE, HOAXED, EMPIRE STATE BASTARD, CLOUD RAT, IMPERIAL TRIUMPHANT, UNIFORM and AGRICULTURE, with more support acts to be announced. Starts Oct. 13 in Baltimore MD through Dec1 in Philly. https://go.seated.com/notifications/welcome/b42bb813-e208-4b63-a956-f3b2c54d631c Anders Colsefni and Waylon Reavis - The 2 former front men are touring Australia and New Zealand together. Runs from Oct 11 through Oct 23. Anders will be performing Mate.Feed.Kill.Repeat in full for the shows, and Reavis will be performing some of his Mushroomhead tunes.Black Dahlia Murder - with Chelsea Grin, 200 Stab Wounds, and Gates to Hell. From sept 8 in Alton VA (Blue Ridge Rock Fest) runs through Sept 16 at the New England Metal Fest in Worcester MA.Code Orange - Code's World Taking place on September 30 in Pittsburgh, Pennsylvania, the festival will start at 3 p.m. and will feature 12 bands across two stages. Madball, Vein.fm, 200 stab wounds. https://www.metalsucks.net/2023/06/20/code-orange-have-their-own-festival-and-theyve-booked-200-stab-wounds-vein-fm-and-more/ Reg ‘ol NewsExodus - Sign new deal with Napalm Records.New age of heavy music is growing! Exodus, a thrash metal band, has signed a worldwide contract with Napalm Records. The band is excited to start working on their next album and release new music in 2024.https://blabbermouth.net/news/exodus-signs-with-napalm-records-its-time-for-a-new-chapter-for-the-band Ministry - Al Jourgensen is threatening to retire again… Well maybe just the Ministry brand according to an interview with Yahoo. https://www.yahoo.com/entertainment/ministrys-al-jourgensen-to-rerecord-disavowed-with-sympathy-songs-183544523.html High on Fire - Ninth studio album is in the bag. Set for release sometime in 2024.https://blabbermouth.net/news/high-on-fire-completes-work-on-ninth-studio-album SuggestsAnthony Vincent - End of Heartache synthwave https://youtu.be/kszuXmSGdkw Gaming/TechFollow-ups/CorrectionsNintendo Direct - is in fact happening June 21. https://twitter.com/NintendoAmerica/status/1671155958448529408 Freevee - Adding MGM and WB/Discovery channels to the ad supported platform. https://www.engadget.com/amazons-freevee-is-adding-free-mgm-and-warner-bros-discovery-channels-144339161.html  Halo Infinite - Season 4 Launch. The separation of Campaign from Multiplayer is important as the speculation has it that the Battle Royale Mode will need to be launched similarly. https://docs.google.com/document/d/1RtZ2PT1haY6CASYPm7nIOVX3BwdtQL6TBNQPycesfWQ/edit?pli=1 XDefiant - Beta opens on the 21st. https://www.ubisoft.com/en-us/game/xdefiant TrailersExeKiller - Official Gameplay Reveal Trailer https://youtu.be/nr9SX3TvVnw ExeKiller is a first-person western game set in a retro-futuristic post-apocalyptic setting. The game features an alternate timeline with a character progression system and a variety of story choices. ExeKiller is launching in 2025 for PC.Reg ‘ol News~Google - Google has sold its domain-hosting business to Squarespace. The acquisition is expected to close in Q3 of 2023. Squarespace will honor existing customer pricing for at least 12 months following the completion of the purchase. It will also use Google's infrastructure to ensure a "seamless transfer of domains." For existing customers, Squarespace will provide billing and support for Google Workspace customers who've already purchased domains through Google Domains. However, as time goes on and as subscriptions start to renew, these customers will likely be forced to migrate to Squarespace's billing system. The acquisition is not surprising, as Squarespace is already a behemoth in the websites and domain space. However, it is a little more surprising that Google is selling, as the company is notorious for abandoning established products at any time.https://newsroom.squarespace.com/blog/googledomains ~Twitter - A group of music publishers is suing Twitter for $250 million, alleging that the company has done little to stop users from uploading and sharing copyrighted music on the platform. The lawsuit, filed by the National Music Publishers Association (NMPA), claims that Twitter has "routinely ignored" requests for takedowns and that it is one of the only major social media platforms that does not have licensing agreements in place with music publishers. The NMPA also alleges that Twitter is less likely to take action against verified accounts that share copyrighted music, even though these accounts often have large follower bases. If the lawsuit is successful, it could force Twitter to pay out millions of dollars in damages and could also lead to changes in the way the company handles copyright infringement.https://www.engadget.com/music-publishers-are-suing-twitter-for-250-million-over-massive-copyright-infringement-082421118.html SuggestsResident Evil… ANY OF THEM!Comic Books/BooksTrailersX-Men Hellfire Club - https://youtu.be/9akSSU1_Ftg the book that will kick off the Fall of X arc hits shelves July 26th.Reg ‘ol NewsEnergon - Transformers and GI Joe shared universe. Revealed in Void Rivals number 1 from Robert Kirkman's Skybound comic book imprint. With a partnership with Hasbro. Transformers number 1 set to launch in October, then in December Duke number 1 from writer Joshua Williamson goes deeper into this new universe. Cobra Commander number 1 in January.https://cosmicbook.news/robert-kirkman-launches-surprise-gi-joe-and-transformers-shared-universe Batman Day - DC Comics has announced a new slate of Batman Day books for 2023, which will be released on September 19, 2023. The books include Batman: The Knight, a 12-issue maxiseries by Chip Zdarsky and Jorge Jimenez; Batman: The World, a collection of stories from around the world featuring Batman; Batman: Fear State, a sequel to the recent event series of the same name; Batman: Killing Time, a new graphic novel by Tom King and David Finch; and Batman: Beyond the White Knight, the sequel to the popular miniseries Batman: White Knight. DC is also releasing a number of other Batman-related products on Batman Day, including toys, apparel, and collectibles.https://comicbook.com/comics/news/dc-announces-batman-day-2023-books/#5 Captain Marvel - Instead of being canceled Captain Marvel seems to be selling well enough to warrant another ongoing series with the conclusion of Kelly Thompson's run with the character coming to a close with issue number 50. Marvel announced a new ongoing series from writer Alyssa Wong and Stormbreaker artist Jan Bazaldua. October 25 will be the launch of the new ongoing series.https://comicbook.com/comics/news/captain-marvel-gets-a-new-ongoing-series-and-costume/ Marvel Zombies - Marvel Zombies: Black, White & Blood is a new anthology series of horror comics set in the Marvel Zombies universe. The series will feature stories by different writers and artists, all told in black, white, and blood. The first issue will be written by Garth Ennis and illustrated by Rachael Stott. The series will be released in October 2023.https://comicbook.com/comics/news/marvel-zombies-black-white-blood-marvel-comics-spider-man-wolverine/ Comic Con - Marvel will be skipping hall H this year.SuggestsWild Cards edited by George RR MartinTV ShowsFollow-ups/CorrectionsStranger Things 5 - Linda Hamilton added to the cast. https://nerdist.com/article/linda-hamilton-joins-stranger-things-5-cast-netflix-tudum/ Knuckles - Cast expanded Edi Patterson, Kid Cudi, Ellie Taylor, Rory McCann, Christopher Lloyd, Cary Elwes, Paul Scheer, Stockard Channing, and Rob Huebel https://nerdist.com/article/sonic-the-hedgehog-spinoff-series-knuckles-starring-idris-elba-reveals-new-cast-plot-synopsis-wade-whipple/ Solar Opposites - Justin Roiland's replacement has been announced as Dan Stevens (aka Legion). https://youtu.be/IyTANvYnbD8 Tiny Toons: Looniversity - set for a September release, though the exact date has yet to be set.FUBAR - season 2 confirmed.Metropolis - Series canceled before it even began. https://deadline.com/2023/06/metropolis-tv-series-dead-writers-strike-sam-esmail-ucp-apple-tv-plus-production-costs-1235419899/ TrailersOne Piece - https://youtu.be/lNMSqxQtO0w August 31What We Do In The Shadows - https://youtu.be/wCvO1QmAMXY July 13The Boys - https://youtu.be/4IlF715Yn00 Homelander trial.Walking Dead Daryl Dixon - https://youtu.be/yvDGw8MUzxw still no releaseAvatar: The Last Airbender - https://youtu.be/QOg9LUIvaig just a tease…Squid Game - https://youtu.be/6MzxihE41b8 season 2 castBedtime Stories with Ryan - https://youtu.be/KMkjdmFr71Q  Bedtime Stories with Ryan is a fifteen episode series directed by Vincent Peone. The show is produced by Maximum Effort and Fubo in partnership with ArtClass and Loon Productions. Autodesk, a leader in design and make software, has signed on as the show's official Imagination Sponsor.The Maximum Effort Channel will be available on Fubo, and it launches on June 20th, with Bedtime Stories with Ryan premiering on that date.Reg ‘ol NewsDemon Slayer - Season 4 has been announced, and will adapt the Hashira Training arc from the Manga.https://comicbook.com/anime/news/demon-slayer-anime-hashira-training-arc/ SuggestsBlack Mirror… even though this season isn't the Black Mirror you remember.MoviesFollow-ups/CorrectionsMCU Releases - Captain America Previously dated on 5/3/24 moves to 7/26/24. Thunderbolts Previously dated on 7/26/24 moves to 12/20/24. Blade Previously dated on 9/6/24 moves to 2/14/25. Deadpool 3 Previously dated on 11/8/24 moves to 5/3/24. Fantastic Four Previously dated on 2/14/25 moves to 5/2/25. Avengers Kang Dynasty Previously dated on 5/2/25 moves to 5/1/26. Avengers Secret Wars Previously dated 5/1/26 is now dated on 5/7/27.Batman: The Brave and the Bold - Andy Muschietti IS set to direct. https://nerdist.com/article/the-brave-and-the-bold-movie-damian-wayne-batman-robin-james-gunn-dcu/ Mortal Kombat 2 - Martyn Ford (Shao Kahn), Desmond Chiam (King Jerrod), Ana Thu Nguyen (Sindel) and Damon Herriman (Quan Chi) https://www.kamidogu.com/2023/06/shao-kahn-king-jerrod-sindel-quan-chi-cast-in-mortal-kombat-2/ Wicked - Movie now releasing in 2 parts. The release date for Wicked Part 2 has been moved up from December 25, 2025 to November 10, 2025. The first part of the film, Wicked Part 1, is scheduled to be released on November 27, 2024. https://comicbook.com/movies/news/wicked-part-two-movie-release-date-moved-up-2025/ TrailersKraven The Hunter - https://youtu.be/rze8QYwWGMs Cautious Optimism. OctoberReg ‘ol NewsSony Spider-Man Universe - Producer Amy Pascal has said that a live-action Miles Morales movie, a Spider-Woman animated film, and Spider-Man 4 are all in the works, as well as a FOURTH movie starring Tom Holland and Zendaya. Along side the Avi Arad produced Spider-Woman movie directed by Olivia Wilde.https://variety.com/2023/film/columns/across-the-spider-verse-miles-morales-spider-woman-1235629183/ Fixed - New Genndy Tartakovsky animated movie. cast will include Adam Devine, Idris Elba, and Kathryn Hahn to name a few. Joining the trio will be Bobby Moynihan, Fred Armisen, Beck Bennett, River Gallo, and Michelle Buteau. Set to be R rated.https://comicbook.com/anime/news/genndy-tartakovsky-fixed-movie-main-cast/ SuggestsEastern PromisesRumor MillConfirmations/RefutationsAndy Muschietti directing Batman.Nintendo directNew SourcesPS5 - slim still making the rounds in the rumor mill, in spite of what sony has said.New RumorsFiloni Star Wars - Alden Ehrenreich to reprise his role as Han.~AND~Recasting Leia and LukeRey Star Wars Movie - Idris Elba said to be the villain?Deadpool 3 - Scarlet Witch to show up… as the main villain??Secret Wars - Spider-verse characters will be featured somehow in the movie. Though likely just as a cameo.You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

Twitter fait face à un procès intenté par 17 labels musicaux pour violation du Digital Millenium Copyright Act, et risque une amende pouvant atteindre 250 millions de dollars si elle est reconnue coupable. La raison, un manque de mesures concrètes pour protéger les droits d'auteur sur Twitter.Plus précisément, les 17 labels musicaux ont intenté un procès contre Twitter à Nashville (Tennessee, États-Unis), accusant l'entreprise de ne pas respecter les droits d'auteur. Déjà condamnée en France par l'UFC-Que Choisir, la société détenue par Elon Musk pourrait être contrainte de payer jusqu'à 150 000 dollars de frais par titre ! Le problème, c'est qu'on parle de 1 700 morceaux répertoriés dans le cadre de ce procès comme étant utilisés sans l'autorisation des détenteurs des droits. Le président de la National Music Publishers' Association (NMPA), David Israelite, avait déjà exprimé sa colère à ce sujet en avril 2022 sur... Twitter justement. Le réseau social n'est pas le seul à être critiqué depuis longtemps sur cette question, mais contrairement à Twitch, Facebook et Snapchat, il ne fait absolument rien pour coopérer.À noter que ces violations des droits d'auteur sont dénoncées depuis plusieurs années par la NMPA. Cependant, rien n'a été fait pour parvenir à un accord ces derniers mois, comme en témoigne l'abandon de plusieurs propositions, dont un accord de 100 millions de dollars. Avec une amende de 150 000 euros par morceau, la facture totale pourrait atteindre 255 millions d'euros. Pour aggraver les choses, plusieurs tweets d'Elon Musk pourraient être utilisés comme preuves contre le PDG de Twitter, publiés à une époque où il n'avait pas encore racheté le réseau social. Musk qualifie le Digital Millenium Copyright Act de "fléau pour l'humanité". Quoiqu'il en soit, la NMPA encourage vivement Twitter à trouver rapidement une solution pour supprimer les contenus qui ne respectent pas le DMCA, sans quoi, un gros chèque devra être signé. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Twitter fait face à un procès intenté par 17 labels musicaux pour violation du Digital Millenium Copyright Act, et risque une amende pouvant atteindre 250 millions de dollars si elle est reconnue coupable. La raison, un manque de mesures concrètes pour protéger les droits d'auteur sur Twitter. Plus précisément, les 17 labels musicaux ont intenté un procès contre Twitter à Nashville (Tennessee, États-Unis), accusant l'entreprise de ne pas respecter les droits d'auteur. Déjà condamnée en France par l'UFC-Que Choisir, la société détenue par Elon Musk pourrait être contrainte de payer jusqu'à 150 000 dollars de frais par titre ! Le problème, c'est qu'on parle de 1 700 morceaux répertoriés dans le cadre de ce procès comme étant utilisés sans l'autorisation des détenteurs des droits. Le président de la National Music Publishers' Association (NMPA), David Israelite, avait déjà exprimé sa colère à ce sujet en avril 2022 sur... Twitter justement. Le réseau social n'est pas le seul à être critiqué depuis longtemps sur cette question, mais contrairement à Twitch, Facebook et Snapchat, il ne fait absolument rien pour coopérer. À noter que ces violations des droits d'auteur sont dénoncées depuis plusieurs années par la NMPA. Cependant, rien n'a été fait pour parvenir à un accord ces derniers mois, comme en témoigne l'abandon de plusieurs propositions, dont un accord de 100 millions de dollars. Avec une amende de 150 000 euros par morceau, la facture totale pourrait atteindre 255 millions d'euros. Pour aggraver les choses, plusieurs tweets d'Elon Musk pourraient être utilisés comme preuves contre le PDG de Twitter, publiés à une époque où il n'avait pas encore racheté le réseau social. Musk qualifie le Digital Millenium Copyright Act de "fléau pour l'humanité". Quoiqu'il en soit, la NMPA encourage vivement Twitter à trouver rapidement une solution pour supprimer les contenus qui ne respectent pas le DMCA, sans quoi, un gros chèque devra être signé. Learn more about your ad choices. Visit megaphone.fm/adchoices

Die Themen der Folge: Im Interview mit der Deutschen Presse-Agentur erklärt Kim Petras, dass deutsche Musik für sie immer noch eine große Rolle spielt. „Ich fand Deichkind immer total toll.” Ein unglückliches Konzert-Wochenende: Am Sonntagabend musste Helene Fischer ihr Konzert in Hannover aufgrund eines Unfall am Trapez abbrechen. Auch Bebe Rexha wurde verletzt, als ein Fan sein Handy bei ihrem Konzert in New York auf die Bühne warf und konnte die Show daraufhin nicht beenden. NMPA, also der National Music Publishers Association, die 17 Musikverleger und Labels vertritt, verklagt die Social Media Plattform Twitter. Die Forderung: 250 Millionen Dollar Schadensersatz. Für Fans von Ennio oder Tym: Katlix kommt aus Hamburg und begeistert mit rappigem Indie-Pop. Dabei bleibt vor allem eine Markante Stimme im Ohr.

On this day, June 15th, in legal history, King John sealed the Magna Carta, which established fundamental rights as law in England. On June 15, 1215, King John reluctantly sealed the Magna Carta in response to the demands of rebellious barons, aiming to avoid a civil war. Despite being invalidated by Pope Innocent III just 10 weeks later, the Magna Carta was reissued multiple times after King John's death.The Magna Carta was initially crafted by the Archbishop of Canterbury in the interest of land barons as a means to protect their rights and properties against an oppressive monarch. It primarily addressed practical matters and specific grievances relevant to the feudal system of the time, with little regard for the interests of common people. Nevertheless, two enduring principles emerged from the document that continue to resonate today.The first principle affirms that no free individual should be unjustly imprisoned, deprived of property, banished, or harmed without a fair trial by their peers or the law of the land. This principle emphasizes the importance of due process and safeguards against arbitrary exercise of power.The second principle asserts that justice and rights should be accessible to all, without discrimination or delay. It emphasizes that rights and justice cannot be bought or denied to anyone, ensuring equal treatment and fairness for all individuals within the legal system.While the Magna Carta did not immediately resolve the tensions between King John and the barons, it laid the foundation for the development of constitutional law and the protection of individual liberties. Its enduring principles continue to shape modern legal systems and stand as an aspirational symbol of the pursuit of justice and the limitations on the power of rulers.Magna Carta - WikipediaThe US Justice Department is wrapping up its investigation into the Minneapolis Police Department following the murder of George Floyd. The probe, which began after Floyd's killing by Minneapolis police officer Derek Chauvin in 2020, aimed to determine whether the police engaged in a pattern or practice of excessive force. Senior officials from the DOJ's Civil Rights Division are expected to visit Minneapolis to present the findings of the investigation. The DOJ's actions complement a separate investigation conducted by the Minnesota Human Rights Department, which reached a consent decree in March to address race discrimination findings. The federal investigation may also address issues outside the state's jurisdiction, such as compliance with the Americans with Disabilities Act and the First Amendment. The DOJ's approach under Attorney General Garland and Division Head Kristen Clarke involves conducting comprehensive probes into systemic police misconduct. The results of the investigation will be documented in a report, potentially leading to the negotiation of a consent decree and the appointment of an independent monitor. However, the efficacy of consent decrees as a means to improve police-community relations has been debated. The Minneapolis community, which has long organized around the issue of policing, hopes that the DOJ will take their concerns seriously and involve them in the remedial efforts. The investigation's timeline is considered protracted compared to previous pattern-or-practice matters, taking more than two years to conclude. If a consent decree is deemed necessary, it could take months to reach an agreement. The Minnesota state agency's consent decree has already been filed in state court, and the parties are reviewing potential monitor candidates. The decree includes provisions to avoid conflicts with a potential settlement with the DOJ, ensuring a single monitor will oversee the city's compliance.US Wraps Up Minneapolis Police Probe After George Floyd MurderReed Smith, the Big Law firm based in Pittsburgh, is cutting approximately 50 lawyers and staff members as part of a downsizing trend among law firms due to decreased demand. The layoffs represent less than 2% of the firm's workforce, with about 20 staff members and 30 lawyers affected. The layoffs also serve to send the message that law firms now hold the power rather than associates–get ready for more back-to-office demands. The ongoing reduction in force is a result of firms either overhiring or experiencing a slowdown in demand. The current market conditions have led to a surplus of junior associates seeking employment opportunities. Law firms are now focusing on optimizing their economic efficiency by trimming senior lawyers without a significant client base or those not on track for partnership. The move is ostensibly aimed at ensuring that associates have sufficient work opportunities when joining the firm, but it also serves to cut the most expensive lawyers and plop work in the laps of those with the lowest salaries.Reed Smith Cuts 50 Lawyers, Staff as Firms See Lower Demand (1)The last year of news coming out of Twitter should bring solace to anyone suffering from imposter syndrome. We are all standing on the shore, watching a tiny man with, ostensibly, extensive seafaring experience attempt to operate a small sailboat. So far we have watched him do all manner of damage to himself and the boat, attempting to shoot his own toes off and missing for the deck.In the latest, the National Music Publishers' Association (NMPA) has filed a lawsuit against Twitter, accusing the social media platform of copyright infringement for using songs without permission from songwriters. Unlike other major social media platforms such as YouTube, Facebook, Snap, and TikTok, Twitter does not have agreements in place to pay music rights holders for the use of their work. The NMPA, representing 17 music publishers including Sony Music and Universal Music Publishing Group, is seeking a court declaration that Twitter willfully infringed on the musical work of approximately 1,700 songs. The association is seeking damages of over $250 million, with potential claims of up to $150,000 per infringed work. The NMPA claims that Twitter's unlawful conduct enriches the company at the expense of publishers and songwriters. Other social media platforms have reached licensing deals with music rights holders, resulting in significant payments to the music industry. While Twitter had been in discussions about licensing deals before Elon Musk's acquisition of the company, unsurprisingly, little progress has been made since his takeover. Musk has been preoccupied with other matters, including firing everyone that knows how to run a social media company, banning reporters, unbanning Nazis and consulting catturd on matters of user experience. Twitter Sued by Music Firms Seeking $250 Million for Songs (2)U.S. prosecutors have requested a separate trial for Sam Bankman-Fried, the founder of bankrupt cryptocurrency exchange FTX, who is facing new charges of foreign bribery, bank fraud, and conspiracy. These charges were added after Bankman-Fried's extradition from the Bahamas in December 2022. The initial indictment accused him of stealing billions of dollars from FTX customers and deceiving investors and lenders. Bankman-Fried, who has pleaded not guilty to all 13 counts, had asked the judge to dismiss or separate the new charges from his October trial. A court in the Bahamas temporarily barred the government from allowing U.S. prosecutors to pursue the new charges. Prosecutors have requested a trial in the first quarter of 2024 for the new charges and indicated they would drop them if the Bahamas does not consent. Arguments on the matter are expected to be heard by the judge soon. Bankman-Fried's lawyers have also requested the dismissal of some of the charges, no surprise there.US prosecutors ask to remove new Bankman-Fried charges from Oct trial | ReutersThe National Highway Traffic Safety Administration (NHTSA) has stated that a Massachusetts law requiring car manufacturers to enhance access to telematic vehicle data is in conflict with and preempted by federal law. The NHTSA has effectively advised manufacturers not to comply with the Massachusetts law, which has faced legal challenges since being enacted through a ballot question in 2020. Supporters of the law believe it would provide consumers with more options for vehicle repairs by expanding access to vehicle information. However, the NHTSA argues that the law raises significant safety concerns as granting access to telematic data could potentially allow for manipulation of critical vehicle functions, posing risks of accidents, injuries, and even malicious attacks. The letter from the NHTSA has drawn criticism from independent auto repair shops and other groups that had supported the law's passage.Federal government tells carmakers not to comply with Massachusetts' 'right to repair' law | WBUR Newshttps://media.wbur.org/wp/2023/06/06-14_NHTSA_Telematic_Letter.pdf Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

In today's podcast we cover four crucial cyber and technology topics, including: 1.        More CLOP, MoveIT victims identified 2.        Crypto firm loses up to 20 Million, halts all trading 3.        Original Gozi team member pleads guilty 4.        Twitter looking at possible 250 million USD violation  I'd love feedback, feel free to send your comments and feedback to  | cyberandtechwithmike@gmail.com

Twitter krijgt mogelijk een schadeclaim aan de broek van 250 miljoen dollar. Dat is de wens van de Amerikaanse koepel voor platenlabels, de National Music Publishers' Association, waar onder meer Sony Music en Universal in zijn verenigd. Die NMPA heeft gevraagd om een gerechterlijk bevel van de federale rechtbank in Nashville. Volgens die belangenorganisatie zijn namelijk zo'n 1700 muzieknummers onrechtmatig op Twitter te horen. Als compensatie eist de NMPA 150.000 dollar per nummer; dat telt op tot een schadevergoeding van meer dan 250 miljoen dollar. Andere platforms, zoals YouTube, Facebook, Snap en TikTok, betalen jaarlijks flinke vergoedingen om muziek te mogen laten horen. Alleen al bij YouTube gaat het om 6 miljard per jaar. Verder in deze Tech Update: Microsoft wil dat de rechter vaart maakt, nadat de FTC met een spoedprocedure de overname van Activision-Blizzard heeft tegengehouden Google Maps geeft Amsterdam vanaf nu nog stuk realistischer weer met 'Immersive View' See omnystudio.com/listener for privacy information.

Jim Fredericks, Ph.D., joins the podcast to discuss his new role as executive director of the Professional Pest Management Alliance. He also talks about what's in the pipeline for PPMA and NMPA and what the future may hold for the industry.    Guest:  Jim Fredericks, Ph.D.  Executive Director, PPMA Senior Vice President of Public Affairs, NPMA   Hosts:  Dan Gordon, PCO Bookkeepers & M&A Specialists Donnie Shelton, Triangle Home Services   For detailed show notes and more information, visit PMPIndustryInsider.com or follow us on social media: YouTube.com/@pmpindustryinsiders Facebook.com/PMPIndustryInsiders LinkedIn.com/company/pmp-industry-insiders   Thank you to this episode's sponsor, Coalmarch by WorkWave!

Ben Harl is the Marketing Director for Degesch America, an arm of the German-based company which provides a wide range of fumigants, insecticides, rodenticides, safety equipment, and training to companies handling raw agricultural commodities and finished food products. Ben is a licensed pest professional with 20 years of experience. He is registered as an Associate Certified Entomologist through the Entomological Society of America and is also certified for GMP and food safety in food processing through AIB and the NMPA. Ben is a certified trainer for a variety of pest control products and is certified by the Department of Homeland Security for chemical terrorism and vulnerability prevention. In this episode… Every business wants one more call, one more job, and one more opportunity to grow. But how do you get it? Ben Harl says that consumers buy from people they know, like, and trust. But in order to become a trusted partner, your business has to step up its marketing, training, and education. Highly trained employees will be successful in services and sales — both in the office and in the field. And when you standardize your training practices, all employees will be equipped with the necessary skills to educate customers, level up their services, and gain more loyal customers. In this episode of the Multiply You Podcast, Austin Clark is joined by Ben Harl, Marketing Director for Degesch America, to talk about growing a business through training, education, and marketing. Ben discusses why these areas are key for business development, how data can help you understand customers, and his favorite educational tools for growth.

David Fajgenbaum, MD, MBA, MSc, is a groundbreaking physician-scientist, disease hunter, speaker, and national bestselling author of Chasing My Cure: A Doctor's Race to Turn Hope Into Action, which has been translated into five languages, named one of the “Best Non-Fiction Books of 2019,” and profiled by Good Morning America, CNN, and BBC News, among others. Now, he is leading the effort to find treatments for Castleman disease, COVID-19, and other diseases as co-Founder & President of the CDCN and the Director of the Center for Cytokine Storm Treatment & Laboratory (CSTL) at the University of Pennsylvania. One of the youngest individuals ever appointed to the faculty at Penn Medicine and the top 1 percent youngest grant awardees of a leading NIH grant (R01), David Fajgenbaum has been profiled in a cover story by The New York Times, recognized on the Forbes 30 Under 30 list, as a top healthcare leader by Becker's Hospital Review, the Global Genes RARE Champion of Hope: Science awardee, and one of three recipients of a 2016 Atlas Award from the World Affairs Council of Philadelphia. He has published scientific papers in high-impact journals such as the New England Journal of Medicine, The Lancet, and the Journal of Clinical Investigation, including a paper selected as one of the top innovations in science and medicine by STAT News in 2020. Before co-founding the CDCN, David co-founded and led the Actively Moving Forward Support Network, a non-profit organization dedicated to supporting grieving college students.Francesca McBride has over 30 years of experience in Pharmabio. She has provided Regulatory Compliance and Validation expertise to clients seeking facility and product licensing or accreditation by regulatory agencies, including the FDA, USDA, and the NIH/CDC in the United States; and the EMEA, ANVISA, MHLW, TGA, NMPA, CDSCO, WHO, PICS internationally. As an integral part of the Jacobs EPCMV teams, Ms. McBride has provided cGMP compliance direction to Jacobs' clients and the project teams in the clarification and understanding in the application of international GMP requirements supporting facility design and the project planning/scheduling of the integration of construction, ASTM E2500 for commissioning and validation activities to support the project schedule and obtain regulatory approval. From August, 1993 to January, 1995, Ms. McBride was assigned to the Jacobs Engineering European Region as Manager, Regulatory Compliance. She was responsible for the start-up of the Regulatory Compliance and Validation departments in this region. From August, 2001 to August, 2003, Ms. McBride was assigned to the Wyeth BioPharma Project in Ireland as Validation Program Manager as part of Wyeth's Integrated Commissioning and Validation (ICV) team. From October, 2009 to April 2010, Ms. McBride was assigned as a senior regulatory and validation specialist in India to support the start-up of a vaccine manufacturing facility.

药，事关每一个普通人的生老病死，而新药研发向来高投入、高风险。行业里曾经有一条著名的“双十”定律，即一款创新药的研发往往需要耗费十年时间、花费十亿美元，实际上一款新药从发现源头靶点到病患真正用上成药，整体投入远不止如此，而且每个环节都有相当高的失败概率。2015年中国药审改革以来，国内创新药行业艰难从零起步，在社会责任的驱动下和资本市场的助力下，一大批本土创新药企和创新产品不断涌现，逐渐形成从“中国新”到“全球新”的研发格局。因此本期节目，我们邀请《八点健闻》主编季敏华做客《泰度Voice》，她将作为本期特邀主持与来自正大天晴的生物医药博士陈辉、以及华泰投行的业务同事展开一场对谈，从药企和市场视角，谈谈创新药的研发有多难，有多少关需要闯，以及资本如何给行业助力。陈辉博士曾经有中科院的科研经历，目前他在医药行业从事人力资源工作。与他聊天的两位嘉宾肖家嵩与刘坤酿，在青春职场观察类真人秀节目《闪闪发光的你》投行季节目中，分别担任实习指导与实习生。因此在今天的节目中，你也将听到这三位选择医药行业的契机和决定深耕“创新药”的初心，希望给相关专业毕业生、求职者一些职业道路选择上的启发。 聊天的人 季敏华 《八点健闻》联合创始人、主编 陈辉 正大天晴董事长助理、人力资源副总裁 肖家嵩 华泰联合投行业务线大健康行业部副总监、《闪闪发光的你》投行季实习指导 刘坤酿 《闪闪发光的你》投行季 实习生 时间轴 05:00 创新药从发现靶点到最终上市“九死一生” 12:30 近两年创新药企业上市窗口逐渐提前 17:40 PD1靶向药对于行业发展也是一剂“良药” 22:00 医药行业的融资近期稍稍有些“降温” 24:45 科创板第五套和港股18A的不同 31:25 Biotech和Big Pharma是合作而非竞对关系 35:10 国内市场正在“倒逼”创新药企加速出海 36:20 医保谈判和集采让普通人用得上、用得起好药 42:25 “如果再选一次，我可能会放弃金融选择生物医药” 泰度小课堂 NMPA：即国家食品药品监督管理总局。2018年，国家药品监督管理局组建成立，不再保留国家食品药品监督管理总局，英文简称也从CFDA改为NMPA。 FDA：即Food and Drug Administration，美国食品药品管理局Big Pharma：即Big Pharmaceutical，指大型医药巨头企业。 Biotech：即Biotechnology，常指创新性医药科技公司。 靶点：指能够与特定药物特异结合，并产生良好治疗效果的分子。也就是药物在体内结合的位点，包括基因位点、受体、酶、离子通道和核酸等生物大分子。 港股18A政策：2018年4月，香港联交所修订主板上市规则，新增第18A章《生物科技公司》，允许未有收入、未有利润的生物科技公司提交上市申请。 科创板的第五套标准：2020年，上交所发布《上海证券交易所科创板股票发行上市审核规则》修订版本，提供了五套上市标准。其中，第五套标准规定：预计市值不低于人民币 40 亿元，主要业务或产品需经国家有关部门批准，市场空间大，目前已取得阶段性成果。医药行业企业需至少有一项核心产品获准开展二期临床试验，其他符合科创板定位的企业需具备明显的技术优势并满足相应条件。 IND：即Investigational New Drug，药物在进入临床试验前需要获得的审批资格。 NDA：即New Drug Application，意为新药上市审批。 K药和O药：K药即药厂默沙东（Merck & Co）出品的Keytruda；O药即药厂施贵宝（Squibb）出品的Opdivo；K药和O药是两种非常主流的肿瘤免疫药物，使用PD-1免疫疗法，在治疗癌症方面成效明显。 PD-1/PD-L1：PD-1即Programmed Death-1的缩写，意为“程序化死亡分子1”，而PD-L1即Programmed Cell Death-Ligand 1的缩写，意为“细胞程序化死亡-配体1”。PD-L1蛋白是PD-1蛋白的配体。PD-1与PD-L1一旦结合，会严重影响人体免疫系统对于肿瘤细胞的防御。所以PD-1/PD-L1疗法就是通过阻止PD-1/PD-L1的结合，来保障免疫系统对于肿瘤细胞的抵抗力。 TIGIT/LAG-3：TIGIT是一种抑制性受体，而LAG3是一种免疫检查点受体蛋白，他们都是在PD-1/PD-L1之后发现的新免疫靶点，可以和PD-1/PD-L1治疗手段互为补充。 修美乐：即Humira，是生物药”阿达木单抗”的商品名，主要适应症包括类风湿关节炎、强直性脊柱炎、银屑病等自身免疫疾病。修美乐是有史以来最赚钱的药物之一，有“药王”的绰号。 VBP：即Volume-Based Procurement，意为带量采购，是国家医保局主导的一种药品集中采购方式，针对的是覆盖面广、采购量大、临床成熟的药品。 Organon：即荷兰跨国药企欧加农国际，是最早研发出K药Keytruda的公司，后被几次收购后并入药厂默沙东（Merck & Co）。 院外市场：即处方药的院外市场，是一个覆盖了零售药店、医药电商/互联网医院、基层市场、和商业保险市场的笼统概念。 CXO：即包含CRO、CMO、CDMO等各类型研发机构的简写总称，意为“医药行业的研发外包公司”。 DTP药房：即Direct to Patient，也被称为高值新特药直送平台，直接面向患者提供专业服务的药房。 制作团队 主编：原瑞阳 项目统筹：韦晔 运营支持：刘坤酿、郑家乐（实习） 制作：高海博 声音设计：马若晨、陆佳杰 节目运营：小米粒 本节目录制于2022年7月26日，本播客不保证节目播出时援引数据信息的及时、准确、完整。 法律声明 本播客不是华泰证券股份有限公司研究报告（下称”华泰证券”）的发布平台，旨在为公众提供宏观、产业、市场热点解读，不构成华泰证券开展证券投资咨询业务或提供任何的投资建议、投资分析意见。本播客不构成任何合同或承诺的基础，不因任何单纯订阅本播客的行为而将订阅人视为华泰证券客户。任何读者在订阅本播客前，请自行评估接收相关推送内容的适当性，且若使用本播客所载内容，务必寻求专业投资顾问的指导及解读。 本播客内容可能涉及华泰证券分析师对华泰证券已发布研究报告的解读，或转发、摘编华泰证券已发布研究报告的部分内容及观点，完整的分析应以报告发布当日的完整研究报告内容为准。订阅者仅使用本播客内容，可能会因缺乏对完整报告的了解或缺乏相关的解读而产生理解上的歧义。如需了解完整内容，请具体参见华泰证券所发布的完整报告。 就本播客内容涉及的嘉宾言论，华泰证券已事先提醒嘉宾其言论及信息来源应合法合规，不得泄露内幕信息、上市公司重大未公开信息或其他敏感信息，不得侵犯第三方任何合法权益。本播客内容中的嘉宾言论仅代表嘉宾个人意见，不代表华泰证券立场，也不构成对读者的投资建议。 华泰证券对本播客节目文字、音频、图片、链接等形式所载信息的准确性、可靠性、时效性及完整性不作任何明示或暗示的保证。播客内容所述意见、观点和预测仅作为音频录制日的观点和判断。该等意见、评估及预测无需通知即可随时更改。 在任何情况下，本播客文字、音频、图片、链接等形式所载信息均不构成对任何人的投资建议。订阅者不应单独依靠本播客内容而取代自身独立的判断，应自主做出投资决策并自行承担投资风险。对依据或者使用本播客内容所造成的任何后果，华泰证券及节目嘉宾均不承担任何形式的责任。 本播客所有内容的版权均为华泰证券所有。未经华泰证券书面许可，任何机构和个人不得以任何形式转发、转载或部分转载、发表或引用本播客任何内容。 本节目由华泰证券出品，JustPod制作，小宇宙、喜马拉雅、苹果播客同步上线

We recap our trip to NYC to attend the NMPA Annual Meeting and A2IM Indie Week. We caught up with clients and colleagues, downed some pizza, and learned a lot about how low certain DSPs pay artists and songwriters and what is being done to fix these issues.

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: [0:00] The 3 R's in the business of music[3:15] Will's experience being a DJ[7:10] Lopsided Growth Of Music Streaming In Global Markets[8:59] Vinyl Records $1.5 Billion Recovery [13:18] Will's Bearish View About The Future Of Streaming[15:22] Ongoing Price War Between Streaming Services[22:59] The Changing Economics Of Music Touring [26:16] Performing At Festivals Vs. Tours [30:50] The Evolution Of Music Publishing[34:32] How Music Revenue Gets Distributed To Publishers[37:35] What Does A “Post-Spotify Economy” Look Like? [40:00] Will's Biggest Issues With Web3 [47:01] 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 Will Page  00:00The best way I could do this is, I just talk about ratios. There are three R's in this business, there's share of revenue, there's ratio, and as rates pool, they mean different things. Most experts get confused with the three R's.I'm gonna stick to ratios that is, if I give the label $1, how much do I give the publisher, the software, there's collective management organization? So we stick to the conventional streaming model today, I would say that you get the record label $1, you're giving the publishing side of the fence 24 cents, you know, a decent chunk of change, but still the poorer cousin of the record label. On YouTube, I think it could be as high as 35 cents, 40 cents even because there's a sink right involved in those deals.Dan Runcie  00:46Hey, 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. Today's guest is Will Page. He is the author of a book I cannot recommend enough. It's called Tarzan Economics. It's a guide to pivoting through disruption. This is a must-read if you're working in music, media, or entertainment. He is also a Visiting Fellow at the London School of Economics. He is the former Chief Economist at Spotify. So if you are interested in where the music industry is heading, where trends are going, this is the person to talk to. I was first put onto Will's work, he had released this white paper called Rockonomics. And it was a breakdown on how artists were using Twitch. I wrote about the report in Trapital because I was fascinated by it. And then he and I started talking from there. So it was only a matter of time before he came on the podcast. Will and I covered a bunch in this episode, we talked about the growth of streaming, we also talked about the growth of vinyl, and how that impacts the economics for a lot of artists and songwriters and publishers. We also talked about the price of streaming services. Most services are still $9.99 per month in the US. So we talked about why that is for music compared to video streaming, where Netflix Hulu, and Amazon have been increasing their prices for their respective services. We also talked about music publishing and why Will thinks that that catalog will continue to grow. We talked about live music and some of the potential constraints where now the next 24 months everyone wants to go on tour. But there's only so many venues and so much money that consumers have unwillingness to see live shows. So we've talked about that we talked about trends in hip hop, we'll have a bunch of exclusive numbers to share in this. And it was great to talk to him. It's been great to also Jessica T to learn from him. I honestly do believe that he's one of the sharpest minds in the music industry. And it was a pleasure to have him on this podcast. And I hope you enjoy this conversation as much as I did. Here's my chat with Will Page. Alright, today we got the one and only Will Page with us. He is well known in the music and media space as an economist, but he also spent a lot of time as a DJ. And I feel like that could be a good place for us to start the conversation. Will, talk to me about your DJ experience and what you've been doing there recently.Will Page  03:22Well, I've been DJing since the age of puberty. And it was all inspired by one lyric by a rapper called Mike G from The Jungle Brothers from an album called done by the forces of nature, where he dropped his library. He said it's about getting the music across the message across getting it across without crossing over. And unlike a 14-year-old kid when I hear this, and I just thought about those words, getting the music across without crossing over, how do you get out to an audience without diluting its integrity. I'm only 14 at the time. But that just resonated with me so strongly, and I just kind of dedicated a huge chunk of my life to trying to get the music across to an audience that would otherwise not have heard it. And I'm not diluting how it's been presented. That's what a DJ can do. You can thread songs together in a way that gets music across without its dilution without crossing it over.Dan Runcie  04:11And I feel like, for you, you've been able to carry that through, you had we're not done we are done with 2021 I was able to do a quick drop for that as well. So I think what's likely inspiring for a lot of folks is that there's so many people that have music backgrounds and passions early on, but there's a pause if they're not able to continue that but you've been able to keep this as part of your charity, which I think makes so much of what you do with this space authentic because you yourself are someone who releases music.Will Page  04:40Yeah, I mean, the mix cloud allowed me to scale what I was doing anyway, if I go back to university in the late 90s early noughties you'd make mixtapes mix cassettes. There's a great way to date girls, but you could only do maybe like 50 100 at tops. Mix cloud allows you to take what you do and scale it scale what you love to do and the mixer UK only gave us a drop for weighing in dama 2021. That makes us no-hit 27,000 on Mixcloud meaning have overtaken Erykah Badu one of your former guests, I believe. So, you know, to get to 20,000 unique people with a mix that you care a year crafting together, that means the world to me.Dan Runcie  05:15It's a lot. And that's powerful, too. I imagined that you're always not just finding the sounds that make the most vibe for the year. But you're also thinking about, okay, what is the way that things are moving, especially at the pandemic? I feel like it's such an interesting year to have something like that. Because I think for some people, it's a year that they want to remember a year, they don't want to remember as well. But I feel like you probably already have a few things lined up for the mix you'll do at the end of 2022.Will Page  05:45Yeah, I mean, you're always looking for the bands that are not on Spotify, not an Apple Music, I think about half of my mix this year, you will not find in a streaming service. And I'm proud of that you're going to Discogs to find those rare white label bootleg vinyls, you're going to the source to the artists who are in the studio recording. And to you know, profile bands like Sault, or London-based bands, S-A-U-L-T, on that mix. That meant the world because I've been watching them rise over the past few years now. And, you know, to this day, nobody has any idea what the band look like, who the band are made up of, you know, this, like punk music, they're rejecting the system, they're doing it completely separately. And they're, you know, not hitting millions of people on Spotify with their music, they've let the music do the talking. So I often think about mixed culture as a break it down this way, the internet can scale just about anything, but it can't scale intimacy, and a playlist or as an intimate, that's just a bunch of songs straddle together and work them through the shuffle play feature, but a mix, a DJ mix of 60 minutes seamless mix, where you have vocal drops, you have beat mixing, you have layering, all those techniques that you've honed over the years, that's intimate. So what I'm able to do with mixtape culture is to scale intimacy, and that goes out for every other DJ you've had on your show. That's what we're trying to do right.Dan Runcie  07:05For sure. And I feel like that's a good segue to chat a little bit more about some of the work you've done for a company that is very heavily focused on playlists, which is Spotify. And I think more broadly, looking at the streaming ever we're in right now, this is a great time to chat because we just saw the IFP results. And streaming is continuing to grow, as we've seen, but I feel like you've probably spotted a few interesting trends about where things are heading. And I think that's a question of art 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 to you?Will Page  07:43I'll give you a couple. The first one is the global business. Well, last time I looked at the 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 with a 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, Americans made up 20 to 23% 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, economic questions, like globalization questions, should poor countries catch up with rich ones, a 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 rates. That's a positive problem, but I just want to flag it, which is that's not how it was supposed to play out. And then the second thing I'd want to point to as well as 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 defying 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 were 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 why are we buying it for now I'll extend that as well. The cost of wall frames to frame vinyl on your wall often costs more than the record itself. So I'm willing to pay more for vinyl to be called New framed on my wall than I am for the record. And by the way, I don't have a record player that a lot of people will take those bizarre boxes, but on the creator side, something else is interesting. It'll take a little bit of working through but if we think about the streaming model is monetizing consumption, that's what it does. So there's an album A 10 songs, three killer and seven filler songs and an album Let's say Dan runs, he wrote the three killer tracks, and we'll page the seven Duff filler tracks. On streaming, Dan might walk away with all the money, and I'll walk away with 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 cache. That's crazy because nobody knows what's being consumed. And it's a lot of cash by just kind of do some rough math, you have a million fans streaming your hip hop record on Spotify. And let's say they're streaming it 200 times in the 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 70s. The one most successful records of all time was Saturday Night Fever, the BGS, and a bunch of other people. It's crazy to think that Ralph McDonald's Calypso struck his record there, which nobody has listened to, but the same royalty as staying alive by the BGS. Because it was a vinyl record. So to reiterate, on the consumer side, I don't know how many of these vinyl records are being played. And on the creative side, it raises questions about how these creators are going to get paid.Dan Runcie  11:16That's a good point. But 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 has been purchased. I think I haven't saw the stat that Adele's 30 albums sold 8000 cassettes or there's a self-titled stat about that. And I think the similar thing that you said lines up, I think those people actually still own a Walkman 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 whether you're a songwriter, whether you know what's behind it, especially when you know that there's so much clearer path to be able to determine, Okay, this is going to be the lead single that this is what we're going to push most from this album, it really shifts the exhibit more to where things are going in terms of a single market and like the way that people have talked about pop music for a while now. Right. And I guess that brings me back to the streaming trends that you mentioned, overall, we're in this area, as you mentioned, streaming itself that US penetration has grown from 22%, I believe you said is now 30 to 3537, 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 their fair share of what they can. It's streaming. So it's in like 510 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 point where we've maximized the global penetration of this. What do you think about where that is going?Will Page  13:17Let 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 going to call time on it? And then secondly, I want to deal with the pricing point on its own lien as well. But on saturation point, you're now in a situation where I'd 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're gonna see at some point soon is carnivores, which is Apple will grow by eating into Spotify as growth or YouTube will grow by eating into Amazon's growth. So the key question we got to ask is, when do we go from the herbivore market we're in today to a carnivore market of tomorrow, and output Spotify as your subscriber number right about 45 million, Apple at 49 million, you dump on top YouTube, Amazon Pandora, you're well past 110, 120 million. Now that's important because I reckon 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 terabytes of storage per six accountholder is 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're in a race to the finishing line before herbivores 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 and has left to extract an oil All that's left is going to be even more costly to get out of the ground. I think we're in peak subscriber territory where at some point soon we're going to start seeing growth happen through stealing other customers as opposed to finding your own. So I just want to 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 growth is going to come at the expense of other players that then flips Neil from the east side to the B side of this record, we flip it over to price. And then pricing debate is interesting. I published this work called MelB economics, which we can cite on your wonderful website there, which was to look at the 20-year history of the 19 price point. And it's crazy story back in the third of December 2001. Over 20 years ago today, Rhapsody got its license for 999 offerings which had 15,000 songs first point, the origins of 999. Bizarrely deep back to the blockbuster rental card, some cooked-up label executive would have said that it cost 999 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 world into the future. So you just had 999 for 15,000 songs we're now checking in early April 2022. And it's still 999 in dollar and euro and Sterling. But we're offering 100 million songs. That's the crazy thing. So in the article MelB economics what I do is I, strip inflation out in the case of the UK 999 has fallen down to six pounds 30 pence. Remember, you know family plan makes music cheaper to have 2.3 people are paying 4099, that's six pounds, 50. There's way too many numbers in this conversation for capital. But still, we'll stick with it. Student plan makes it cheaper to sew music in real terms has fallen to six pounds 30 which is less than a medium glass of Malbec wine. So 175 milliliters of Malbec wine costs more than 100 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 799 to 899 to 1299, to now 1499 In the space of 15 months, and I haven't blinked Disney plus, the reason I'm paying for 99 and Disney plus is because I paid 1999 to get Cruella live on-demand. So they're charging more and more, but only offering part of the world's repertoire set for eyeball content. We're charging less and less and offering more and more of the wells, your whole content says like two ships passing each other in the night. It's a very interesting dilemma.Dan Runcie  17:49It'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, at 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 $1 But that's from 799 for Prime subscribers to that being 899. So, Ross thatWill Page  18:17I wonder if like what caused that?Dan Runcie  18:21I mean, honestly, I feel like there's something here because when I think about this, I think about a few things, right? Obviously, you do have this fight where the artists want to get more and the labels want to get more, you know, not just for the artist, 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 blink. 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 39 or 1299, then they're going to lose those customers to the other streaming services that have been shoved 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 the services, it's in when's it to be more of a price war, then in video streaming, where most of them do have some differentiated contentWill Page  19:26100% And two things to hold on to a very eloquent point 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 air pods, which cost two years of Apple Music or Spotify to put in your years 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're improving the offer. We're supplying more, but we're charging less in real terms. And that's a really interesting kind of point can occur. into it. The second thing and we should get balanced into this discussion, because it's delicate is we have to remind ourselves that, you know, there's 120 million subscribers in America, there's still another 100 and 20 million to go. But we know they're not they're interested in paying for music because they haven't paid yet, the best way to attract them is not necessarily to raise price. So we got to remember that there's still no oil to extract, it's not going to be easy oil to extract, the best way to get to it might not be to raise the price. But there's a catch to this. I can remember, in the early noughties, right up to 2010 piracy, ripping the asset out of this business. And concert 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 hours, 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 point to hammer home.Dan Runcie  20:57That'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 is still as 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've just said made me think about that being a factor, potentially to the 100%.Will Page  21:27And of course, you got to distinguish the Spotify, Apple Music cost structure from that of the video streaming companies, in that they have a kind of variable costs, you double your business, you double your cost base, whereas Netflix, you jump up costs, and you have you jumped up your revenue, you raised me from 799 to 1499, the cost of that content was fixed. And I'm still consuming the Fresh Prince of Bel-Air on Netflix to this day. That is a fixed-cost deal that he did to get that content. And that's margin to Netflix. So you know, the cost structure matters in this one as well.Dan Runcie  21:59Definitely. And you mentioned like 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, art more artists than ever are trying to tour and get out there try to capture what's there. But also from an economic perspective, from that most people are only going to 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 that 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.Will Page  22:58You did absolutely know on touring. I was lucky and I got to 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 knew us, but I think these points will carry across. The first one was to work out how much is spent on concert tickets in Britain during 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 recorded music which makes sense, you know, you pay 120 pounds on your Spotify account, you're paying 240 pounds to go to Reading Festival for two days in a muddy field and reading costs more than 365 days of all the world's music. 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 growth came from stadiums, festivals, and to a lesser extent arenas, the theaters, the 2000 3000 capacity theaters like the Fillmore 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 or festivals The arena is as opposed to the theater as the club's the university venues. And that's interesting because that's going to 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 for the cost structure for the insurance and all those things that bands have to consider when you're hitting the road? I mean, credit to trap tool. You've had some great podcasts recently on this topic. But as there's a big rethink coming along in this live music market is 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?Dan Runcie  24:49I 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 served more on those festival guarantees that she liked what on tour. She's also done many private events where she's likely earned that same 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 nature back, you get the high number, the revenue that comes through, but maybe your fans will be a little bit more forgiving if you're 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 Instagrammable or tick talkable moment to then sell future tickets, and just the production costs and everything with traveling. 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 have to go residencies to I know she's done a few different things in Vegas here and there. But yes, I still yet to do that. 30-city worldwide tour?Will Page  26:12Yeah, I think you got to think of your head and your heart. Your head says like you point out the economics fevers, festivals, your back lines are your insurances cover travels 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, right? 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 heading the horror is going to 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 film 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 the property market. If you have one too many tours or one too many festivals, you collapse like the music industry. So there's ways in which people are trying to restrain the market to festivals at the expense of the theaters that certainly is coming through in the data. We're seeing the theater business, take a kick in well, festivals go on a roll.Dan Runcie  27:12Yeah. Because I think about you look at the artists that are touring stadiums now whether it's your Taylor Swift or Beyonce is they wouldn't be able to do that if they didn't have the individual tours, that 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 want to say necessarily short-term thinking. But I think you ideally want to have some type of balance there, right? Get the big bag that you can get from something else. It's almost no different than I think running a business right? Okay, sure. You may be able to do a speaking fee or do some type of you know, the thing here or there. But you can't do that all the time, especially if it's not an audience are tapped into. You still need to do some of the things that could set you up for the long game.Will Page  28:05Yeah, and there's an infographic that I'll share with you to pass on to your audience here. I wrote an article in The Economist called smells like Middle East spirit, as opposed to teen spirit and ice play on words had to Dave Grohl and Kurt Cobain, but what I was looking at was the average age of festival headliners over time. This is a doer pessimistic Scottish economist, this is what you do is your spare time. Okay. So in 92, and Radiohead did Glastonbury, the average age of a festival headliner was 2526 years old. And all these hot bands were coming through the Britpop era. You know, there was so much development of new talent by 2012. I think it 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 70 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 develop talent for tomorrow. That's just how we cash in our chips at the casino today. So it does raise questions. And I'm not saying it's like the doomsday scenario here. But we just need a healthy balance of, you know, a seedbed for future growth. And then the big stage of exploiting that moment today, which could be the permanent stage at Glastonbury, the headlights siege up on a roof and mistakes. So I just think we're getting a little bit lopsided here. We're a bit short term system, how this business needs to developDan Runcie  29:25Agreed 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 a 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 PA brochures. 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 and what the future opportunities are for that side of the business?Will Page  30:23Well, 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 Doreen Lauder, who worked in the music business from 1959 at Decca Records right the way through to 2012. She went enzyme records with Nigel Grange loosens half brother, they were responsible for Sinead O'Connor who sold 11 million albums based on the prints cover. And she once said to me, Will, this is how the music industry works, the record label piece of your drugs and the publishing pays for your pension, just kind of as 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 that piece of work that you cite is something called global value of copyright, where I'm really keen to educate this industry, regardless of whether you're coming from a label perspective, a manager or an artist or songwriter, there's a C with a circle on it called copyright. We get that and it involves record labels. It involves SoundExchange involves artists involves ASCAP, BMI, GMR says EQ involves publishers, David Israeli, and the great folks at the NMPA, and Wall Street, but the whole thing together for me all this spaghetti and straightened out. And what I was able to show was that in 2020, copyright was worth 32 and a half-billion dollars, way bigger than what you've just heard I FPI, way bigger than what CS EC 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 way of pallet and cocaine capitalism, these have no record labels. Back then, the split was much more in favor of labels no more than three quarters 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 recording record-breaking collections. So you ever hear the toys analogy here of labels going really fast and falling off a cliff publishes as trundled along with record-breaking, not massive record-breaking collections, but he kept on growing their base. So the question he threw up is, what type of industry are we moving towards? Are we going back to our business model which paid labels over three quarters of the pie and publishers 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 comes to the business is that gonna have a completely different balance. Now, why this matters to your audiences, not just on the creator 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 year's time, I go into my Batcave again, calculate the global value of copyright, and instead of 32 and a half billion is 40 billion, I'll come on traps or make an exclusive announcement cooperate today is worth 40,000,000,007 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 going to split publishing side? Or is that going to split the label side. And if you're investing in catalogs, be the master rights be the author rights that really matters. There's a huge educational drive here to understand the balance of this business of copyright.Dan Runcie  33:45So there's a few things you 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 peloton what is that share of revenue from those plays look like?Will Page  34:08So the best way I could do this is if I just talk about ratios, there's three R's in this business, there's share of revenue, there's ratio, and as rights pool, they mean different things. Most experts get confused with three R's. I'm gonna stick to ratios that is if I give the label $1, how much do I give the publisher, the software, there's collective management organization. So we stick to the conventional streaming model today, I would say that you get the record label $1. You're giving the publishing side of the fence 24 cents, you know, a decent chunk of change, but still the poorer 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 sink right into a deal and you expand it to peloton or tic tock potentially even more, and then you can flip it and say well what happens in the future of TiC tock Because karaoke not saying it's gonna happen, but it's not implausible if that was the case that favors publishers even more. There's all these weird ways the business could develop, which could favor one side of the fence, the labels, and the artists continue getting three-quarters of the cash. On the other side of the fence publishers and songwriters start enforcing their rights and getting a more balanced share. And that's what we need to look out for when we're investing in corporates. 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.Dan Runcie  35:27Like how much higher Do you think I mean, if you had to put a percentage on it for the Tiktoks or the pelletize? And I guess as well, you made me think up sync deals, right? Like for the folks that are selling, or their saw gets placed on one of these Hulu series or one of these HBO Max series? Like what is that ratio look like, you know, from a ballpark for those?Will Page  35:50So I think a 50-50 split would be the upper end of the goal. If a song is placed in a Hulu TV show or you know, an artist I've worked with for many years Eumir Deodato, Brazilian composer, his songs now in this famous EasyJet commercial over here in Europe, the artists and the publisher would see around a 5050 split of those revenues. Now would that happen in a world of streaming? Unlikely, but I think if you can get to a stage where you're giving the record label $1 and the publisher 50 cents as a ratio, and I got to repeat the word ratio here, you know, that's potentially achievable, that listen, post-Spotify economy, I don't think it's going to 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 is, if I can quote Ralph Simon are 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 as a great reminder of just your will restless souls in this business, we've achieved this amazing thing in the past 10 years, we're streaming got that bank there. What's coming next, who would have thought peloton would have had a music licensing department 18 months ago now they're like a top 10 account for major labels.Dan Runcie  36:59It'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, we always got to be thinking about what's next. And you mentioned a few times about a post-Spotify economy. And 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 with these other platforms, in general, having licensing deals, but what do you say? Or what do you think about post-Spotify economy? What comes to mind for you?Will Page  37:32Let me throw my fist your words, your joy, 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 that Epic Games just acquired Bandcamp, I learned a fascinating stat about Bandcamp, which relates to my book tours and economics. There's a chapter in the book called Mako by, where I sat down with the management of the band Radiohead, we went through the entire in rainbow story for the first time ever a real global exclusive to 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 fly from the Ben-Zion I bet remix of Radiohead have ever heard in my life is live. We're fishies 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 Bandcamp 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 band and album out on Bandcamp, and you say a name, your own price, no minimum, and there's a guidance of 10 bucks, the average paid is 14 People go about 40% asking, and that could be for a super-rich blockbuster artists who try something out on Bandcamp there could be for some band who's broken Brooklyn Robin and cons together trying to make them breed people go 40% above asking when you say name your own price. And that's interesting for me, and there's a great academic paper by Francesca Cornelli from Duke University, she asked how should you price a museum and intuition says top-down mindset, the 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 poorer 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 999 and not a penny more. I think that's we're suffocating love. We're putting a ceiling on love. We need to take that ceiling smash through it and let people express love through different means. But I love that Bandcamp story whatever you suggest I'll give you 40% above because it's our we're not dealing with commodity we're dealing with culture and that's what we got to remind ourselves.Dan Runcie  39:43It'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 at some variable 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 I, I noticed though, when you're talking and thinking about the future of this, I didn't hear many of the typical buzzwords and things that you hear about the music industry. Now whether it is NFTs or Web 3.0 or Metaverse, well, maybe to some extent with the Epic Games comparison, but what is your take on that piece of the puzzle, Spotify era.Will Page  40:20I need $1 and a glass every time I hear these words. So I'm just back from Austin, Texas, South by Southwest, a vague recollection of what happened over there. But I'm telling you, those words were bouncing around more than anything else. Here's a way of capturing of your listeners. This is the first time I've been to South by Southwest where nobody asked me what band did I see last night? Everybody asked me what VR headset that, I try this morning. And that's a sign of the times there and that is a sign of the times. Hey, did you try the Amaze VR headset? You know the make the stallion booty tour? Yeah, I tried that this morning, what Band-Aid nobody wanted to know about bands with pulses. Everybody wants to know about VR headsets. So we live in interesting times. And I think we're in a bit of bubble trouble here. I really do. I don't think this whole thing has been thought out correctly. Firstly, I'll give you an example of where I think the problems gone wrong. And secondly, I want to give you an example from history to show that we've been here before. So with NF T's, it is not. It's not an example of a woman who is happy to spend 1000s 10s of 1000s of dollars on a handbag because they can walk up and down Sixth Avenue and people will see that woman carrying that handbag, the signaling value isn't there. You know, I can buy a token that says I've seen the Mona Lisa on this day and put it in my locker. And if I show you my locker, you can see that I've seen the Mona Lisa that day, and you could buy a token and put it in your locker and you could show your friends that you've seen the Mona Lisa that day, but nobody can buy the Mona Lisa, we can just buy this NFT adaption of the Mona Lisa, but we can't share it across platforms. And that's where I'm struggling. That's where I'm struggling as irrational as that might be to spend 20 $30,000 on a handbag that makes you feel good having the world see you were fine. Do what you got to do. But with NF T's is not a cross-platform token. I'm worried that that's a problem with the model with the price of NF t's just very quickly, there is a term I want to introduce to your show called wash trades, which will meet a legal of 1936 which is basically if you're selling your house, you might employ an estate agent on the buyer side as well as the sell-side to cook up the price. And you can see if you try to do this in the stock market, you spend a lot of time and the chokey six years in jail for manipulating prices. Wash trades have been illegal since 1936. I think there's a problem with wash trades, manipulating the price of NF T's because they're unregulated. So I don't want to be the doer pessimistic, Scottish economist, in the room here pour cold water on this hype machine. But I have some issues with the product. And I have some issues with the price the product is docked to your locker and your locker only the price can be manipulated by ways which be declared illegal in financial markets. Conventional financial markets by wrapping that up. Here's my lesson from history. No Dan, in your record collection. Do you remember a rock band called kiss? Oh yeah. Were you a member of Kiss Army by any chance?Dan Runcie  43:08I was on the show.Will Page  43:11Right so if we go back to before I was born 1975, Kiss one of the biggest rock bands in America had something called Kiss Army for their super fans. So you could have kiss wallpaper because models. You could even have Kiss toilet paper. That was one of their top sellers. You could wipe your butt who key with Gene Simmons. That was one of their biggest sellers. And in 1975 They ran a competition on the competition was to say Hey fans, if you want to see a picture of the band with the makeup off there does famous black and white makeup. And we're going to have this competition you pay to enter and five lucky winners will be sent a photograph of the band for the makeup off. Now you're thinking NF TS kiss 1975 Where's he going? Follow me. Hysteria breaks out all these kiss fans in the kiss army want to see Gene Simmons and Paul Stanley with a makeup off. So crazy hyperemic competition the winners are announced the envelopes are sent out. There was five lucky winners get the envelope. They need scissors to open the envelope a pill it is black and white photograph of Kiss with makeup off. And after five seconds of exposure to natural light. The picture feeds genius, genius marketing incredible. But I'm struggling to see the difference between that and 1975 Kiss. You're competing for photographs, which feed in natural light and NFTs today so something I stress my big tours and economics is when you stare into disruption. It's really important to remind yourself that you've been here before and I think Gene Simmons and Paul Stanley have been here before.Dan Runcie  44:37It's an interesting take. And I do think about the first piece of what you're saying just in terms of something that stays in your wallet. And how do you share that elsewhere? I have seen some of the social platforms making it easier to be like oh hey, you could connect your Coinbase wallet to this whether it's Instagram or I think they're working on it now or to Twitter and you could make that your profile Make sure or you know the people that of course, you know will right click copy paste and save it put that as their profile pictures in different places. So I guess in their minds that's their version of being able to walk down fit that with the duty at Birkbeck, right. Will Page  45:15That's interesting. That to your point, that takes you back into handbag territory that corrects for the problem. Let's see if it goes but equally does the NFT lose its exclusivity when we do that as well. So it might work in the short term and might lead to the demise of NF T's over the long term because they're not that special. After all, they're just an icon for your profile picture. So is great to hear that there's that type of thinking going on that justifies my,  justifies my view.Dan Runcie  45:41Who knows? I mean, we're still early right but I do think that if I see your profile on social media, you turned into a board ape, we may have to have another podcast conversation I did.Will Page  45:55But I tell you asked him was obsessed with these topics. Even Austin, Texas Music conferences, get obsessed with the next big thing but this year, it was just bizarre how many references I heard to web three NF Ts, but if they can just give a quick shout out to the company amaze VR who are doing the mega stallion tour I watched make the stallion four times in Austin, Texas, I saw more VR of Nicholas Deleon and I saw of any live bear. But you know, they had the longest queues of the entire conference. If you judge success by queues demand exceeding supply, they won South by Southwest for the longest queues.Dan Runcie  46:27That's impressive. And of course, it makes a big star she's been doing a lot. I've heard a lot of good things from base VR too. I think that though, it'd be a great point to pivot and talk a little bit more about hip hop, the as we know, hip hop has been able to see a lot of its potential even more so. In the streaming era with us, given the popularity that's there. We've seen the numbers, we've seen the growth as well. And I know that you've studied this a lot, especially on the international perspective, just seeing how hip hop is growing in other countries. But I think some of that growth is looking different than what we may be used to seeing in the US. So what is your perspective right now on the state of hip hop with regards to streaming,Will Page  47:09you speaking about something that's close to my heart, but if I can start by saying, one thing that your podcast has done for me over the years, that reminds us of that famous quote, which has been reiterated by many rappers, which is rap is something you do hip hop is something you live, and we can forget that from time to time can drink a bit too much Kool-Aid and forget those golden words. Rap is something that you do. Hip hop is something that you live, you don't have a choice with hip hop, you live it, rap, I mean, you could play a jazz track, then you could do a rap track, you have a choice there, but hip hop is an eighth. And I want to pull those words up. Because when we talk about the genre of hip hop, I wonder whether it's really a bit of a square peg in a round hole here to take words, which means describe a lifestyle and their attitude or mentality, and then say that it's now a genre. Maybe rap should be the genre and hip hop should be the culture. So I just want to throw that out there for your listeners. And I'd love future guests to come on and pose them that question. If we're discussing the genre of hip hop, are we missing a trick that aside, some stuff which has been popping with hip hop mean, firstly, just the size of the audience in America, just north of 90 million people, there's 90 million regular listeners of hip hop that is phenomenal. If you think about how far the genre has come, the culture has come in 30-plus years. And secondly, who's out there in front. I mean, I would put YouTube as the number one venue for hip hop in the United States, Spotify, Apple, Amazon, they're all doing their things. But I think it's worth just reminding ourselves how important YouTube is to our culture. As opposed to Amazon Spotify. Apple is depressing your thumb on a piece of glass during a track. Repeat. Rap is something you do hip hop is something you live and you've had to Mercer, one of my longtime mentors on your show, just we'll back to that past podcast to get to where I'm coming from on that point. I think the interesting thing for me speaking as a non-American on a podcast with a large American audience to watch how it's growing out of the countries and one of the most interesting things for me was non-English speaking hip hop. Now, my sister who's a French translator, Annie, she introduced me to a rapper called MC solo way, way back in the day, back in the 90s. Even and I don't speak French, but the rap was just incredible, like the way that the French language flowed over a beat. He certainly won't recall any tempo. That was incredible. So, you know, I've always had an appreciation for how hip hop travels beyond its borders, playlists. Without Borders. Hip hop is without borders. So I just wanted to introduce your audience to a very interesting backstory in Holland and the Netherlands, where Spotify the first country, we scaled him outside of Norway and Sweden was the Netherlands. We got big there really quickly 2011, 2012 era and because we got big we could put some local foot soldiers on the ground to help with curation. And for the first time ever in the company's history. We started taking Hip Hop curation seriously outside of our core markets and because we're supplying curation that was met with demand and all of a sudden, we started seeing these Dutch language hip hop artists explode in Holland, Ronnie flex being a great example. I think around 2018, we ran the data. And we learned that Drake was the number one artist in the world on Spotify. Yet in Holland, he was an eighth biggest hip-hop artist. And the seven above him were Dutch rapping in a local language of Dutch. And that was just jaw-dropping to think about globalization, culture, back to the Jungle Brothers the lesson they taught me in 1989, getting the message across without crossing over how you can have local language, hip hop travel, like no other genre there is across the world. And you're seeing that happen in Germany, France, you're seeing it happen in Asia. And so it's important to apply a global lens to hip hop and ask what is it about this culture, which is leading it to travel in a way that other cultures are not traveling is that the expression is that the belief is that the conviction that comes through hip hop, and that's that there's a book on that topic, and then you'd be a perfect person to try and write it, I can get you an agent. And I'd be out of my depth, but just so really important see to so which is why is this culture traveling, like no other culture, I can see on a music platform.Dan Runcie  51:12It's fascinating. It's something I've thought about a lot. I'm glad you mentioned that, because I think about a rapper, like Devine from India, or I think about some of the artists from the Middle East as well. And I think there's similar trends there where hip hop is still the most dominant thing, but they're artists that are from their regions are the ones that are the most popular. And I think it stems back to thinking about the origins of hip hop and looking at where a lot of those other countries may be. Now you look at what the public enemy had done, or even look a bit earlier, like Grandmaster Flash and have done their share of realities of the environments that they're in their storytelling in a way that isn't being done by the mass media. And we're in an era now, you know, more than ever, we see everything happening in the world where, what a lot of the heads of states, or what a lot of the governments or main distribution, communication platforms in these countries are sharing isn't necessarily reflecting what's happening in those places. So because of that, you have people wanting to speak out on that. And I think that because people realizing what the public enemy was able to do in some of those other groups here by them saying, you know, we are the black CNN, we are the voice communicating that I think you saw a lot of that in these other countries. So even if it's different artists, you're seeing them share their version of what's happening on the ground. And I think, like anything else, the evolution of that continues to grow over time. It's been, it's been really fascinating to see that. And I think that is what, at least for me always makes it feel like this is the global language that keeps everyone connected in this space. Even if people are speaking clearly different languages from artists you don't know there's that common theme that you can tell even if you're watching a music video or getting a vibe of what they're doing. There's so many through lights there.Will Page  53:02Those comments are deeper than Loch Ness, so they can quickly top it up with two thoughts, just thinking aloud here. This is why I love about your podcast is with the way you take the conversation with just firstly, just a historical point. And as I mentioned with my book tours and economics, when you're staring at the disruption to remind yourself that you've been here before, when I hear stories about suppression by governments leading to a rise of hip hop as a culture rap as an art form. You just got to go back to 1877 New Orleans and remind yourselves how jazz came into being your Creole people. You know, when Jim Crow laws were reintroduced through the backdoor before since the African American community overnight, so you took classically trained middle-class Creole people brought into a culture which had the blues and African drumming, and out of that suppression came the creation that was jazz. And it's just I love when you alluded to government suppression resulting in creativity. It's just interesting to think how we keep on you know, history doesn't repeat itself, it rhymes. And it's rhyming here when you start to think about the origins of jazz to what we're seeing happen with hip hop. And then the second thing I mentioned earlier that, you know, the internet can scale just about anything you want, but it can't scale intimacy. I wonder whether that's what hip hop is doing because it's, it's a postcard its storytelling is beginning with the word imagine and asking you to imagine the picture these words are creating, you know, that's doing something which I don't think your conventional verse-chorus, verse, chorus, rock or pop song is going to deliver. So the message getting the message across without coordinate crossing over. The message that we're getting across with hip hop is different from other forms of music. And that might explain a little bit about success at home and overseas that we've seen on streaming.Dan Runcie  54:43Definitely. Well, well, this is great. Thanks again for coming on. If you're listening, definitely make sure that you check out Tarzan economics. I can't recommend this book enough. I think that will is extremely sharp. And he's a thought leader in this space and it's been great to learn from him. So well. Thanks for coming on. And before we let you go, is there anything else that you want to plug in or let the travel audience know about?Will Page  55:07I have gotten no more travel plans to the States this year. But if they can just ask the audience to check out the mix on Mixcloud we ain't done with 2021 with a shout-out from Dan Runcie, himself, and many others, Mike G is on that mix Lord is on that mix. But I just hope that your audience because the show trapped will mean so much to me. I just hope the audience sees me as a DJ first and an economist a distant second that I can just land that point at the end of this podcast, I'd be happy.Dan Runcie  55:33That's a great note to end on. Well, thanks again.Will Page  55:36Thank you

CMU's Andy Malt and Chris Cooke discuss five companies likely to find themselves involved in big music industry controversies in 2022. They span the economics of streaming debate, the major label system, the live industry, digital licensing and more. Some of these companies will be more used to finding themselves the focus of people's anger than others, and some more willing to fight back than others.  SECTION TIMES 01: Spotify (00:04:29) 02: Universal (00:19:48) 03: Viagogo (00:28:13) 04: Twitter (00:35:13) 05: Live Nation (00:43:56) (Timings may be slightly different due to adverts) FURTHER READING • Streaming services push for pre-2018 song royalty rate in US Copyright Royalty Board proceedings (October 2021) • Songwriter groups make final submission to review of US royalty rates on discs and downloads (November 2021) • Artist Rights Alliance calls Spotify's Discovery Mode “exploitative and unfair” (May 2021) • Believe, TuneCore and DistroKid formally endorse Spotify's controversial Discovery Mode (July 2021) • Universal Music shares surge 38% on day one of trading (September 2021) • MPs again call for performer ER on streams as Universal boss's £150 million pay packet is compared to songwriter earnings (November 2021) • Ed Sheeran secures injunction against Viagogo over touted tickets in Germany (December 2021) • NMPA chief says Twitch's music licensing blog post contains some “astounding admissions” (December 2020) • DistroKid announces partnership with Twitch (February 2021) • Warner Music and Twitch announce new deal (September 2021) • Congress members hit out at Twitter over rights management systems and lack of music licences (August 2021) • Congressional committee demands documents and information from Live Nation in relation to Astroworld tragedy (December 2021) MORE FROM CMU • Buy MMF and CMU Insights' Dissecting The Digital Dollar book on Amazon • Sign up to receive the CMU Daily news bulletin

Our Crystal Ball episode is one of our most popular episodes yearly. This year, host Tim Hunze asked each guest to peer into their crystal ball to let us know what they see in the future in terms of the industry, publishing, and even music trends. We've selected our favorite clips and in order are David Israelite of the NMPA, Tali Canterbury, President of 50 Egg Music, Kris Ahrend of The MLC, and Alicia Pruitt of Madfun Entertainment. 01:02-  David Israelite of the NMPA03:10- Tali Canterbury, President of 50 Egg Music05:52- Kris Ahrend of The MLC08:18- Alicia Pruitt of Madfun Entertainment

THE SHOW THAT'S WICKED GOOD WEBSITE - http://wickedgood.xyz PATREON - https://patreon.com/WICKEDGOOD SOCIAL MEDIA - https://instagram.com/wickedgoodshow/ SHOW NOTES - https://pastebin.com/mnEpzJAQ 0:00 Monster comet discovered falling toward the sun may be biggest ever 10:37 Winged microchip is smallest-ever human-made flying structure 14:22 Glow-in-the-dark plants could act as passive lighting for public spaces 23:00 Netflix Acquires Iconic Roald Dahl Story Company 29:25 FSD Beta 10.2 37:02 Elon richest man in the world again WICKED GOOD SECRET LINK https://www.youtube.com/watch?v=u2BxYTPQCAc 44:14 Spotify poised to overtake Apple Podcasts this year 47:32 Warner Music Group is now generating over $270m from TikTok, Peloton, Facebook and other ‘alternative' platforms annually 53:45 Kobalt is selling a music catalog for $1 billion 58:48 Twitch sign agreement with NMPA 1:03:55 Flow network get huge investment 1:08:45 Lebanon's entire electrical grid ran out of diesel 1:12:57 China bans all crypto currency transactions 1:13:33 The kids aren't alright: China limits TikTok use for children to 40 minutes a day 1:16:48 Twitch Hack 1:21:31 Major SMS routing company admits it had been hacked for five years 1:24:50 Tracklib raises $12.2m, led by Sony Innovation Fund 1:25:09 Scientist made a 3000tb simulation of the universe anyone can download 1:27:25 Harvard cracks DNA storage, crams 700 terabytes of data into a single gram 1:29:48 Tencent AI Research Unveils ‘PIRenderer', An AI Model To Control The Generation Of Faces Via Semantic Neural Rendering

Late yesterday (October 14), the National Music Publishers' Association made the claim that a number of digital service owners – including Spotify, Apple, Amazon, and Pandora – are trying to cut the amount of money they pay songwriters in the US to the "lowest royalty rates in history".That claim was made by David Israelite, CEO and President of the NMPA, in reference to a new rate-setting procedure in the States involving the Copyright Royalty Board ('CRB IV') that has just got underway.CRB IV will result in a new statutory royalty rate paid to songwriters between the years of 2023 and 2027.Each digital service provider must now file a proposal for what they think songwriters should get paid from their platforms during this period.These filings aren't yet public, but Israelite claims he knows what's in them – and it's not good news.In this exclusive Music Business Worldwide Podcast, Israelite sets out his argument, explaining why the NMPA is now demanding that songwriters in the US effectively get 20% of revenue generated by any streaming service.He also tackles the counter-arguments of Big Tech over a songwriter pay rise head on... and doesn't mince his words.The MBW Podcast is supported by Voly Music.

With the announcement that the NMPA and Twitch are finally reaching some sort of agreement on how music will be used on that platform, what does that mean for music copyright holders and content creators? Will Twitch become more musician friendly? Will your favorite artist use Twitch to stream live performances? We tackle these questions and more.Sonic Inducers is presented by Adrev.

Activision Blizzard is pissing off all the wrong people, including government regulatory agencies. Also: Twitch covers its butt with the music industry, high fashion comes to Fortnite, and Apple shuts down Epic's hope of recovering its developer accounts and getting Fortnite back on the App Store. You can support Virtual Economy's growth via our Ko-Fi and also purchase Virtual Economy merchandise! TIME STAMPS [00:01:34] - Twitch covers its butt in deal with NMPA [00:11:44] - Activision gets sued by SEC, but gets off easy with EEOC [00:35:58] - Investment Interlude [00:40:23] - Quick Hits [00:49:41] - Fortnite x Balenciaga - High Fashion Gets in the Game [01:01:32] - This Week's FAFO Award: Epic Games SOURCES TWITCH STRIKES DEAL WITH MUSIC PUBLISHERS Noah Downs on Twitter re Twitch / NMPA NMPA AND ROBLOX STRIKE INDUSTRY-WIDE AGREEMENT SEC Is Investigating Activision Blizzard Over Workplace Practices, Disclosures (WSJ) SOC Investment Group: Activision Blizzard execs need to be held accountable for toxic working culture (GamesIndustry.biz) Activision Blizzard Provides Update on Workplace Initiatives Blizzard Entertainment's chief legal officer departs as lawsuits stack up (gamedeveloper.com) Overwatch 2 chief leaves Activision Blizzard (Polygon) Activision Blizzard Commits to Expanded Workplace Initiatives, Reaches Agreement with the EEOC Balenciaga Brings High Fashion to Fortnite - Epic Games Tim Sweeney on Twitter re Apple decision not to reinstate Epic's developer accounts (1) (2) INVESTMENT INTERLUDE MY.GAMES ACQUIRES HYPER CASUAL PUBLISHER, MAMBOO GAMES FuzzyBot raises $3.5m in seed funding round (Games Industry) StreamElements nabs $100M as it passes 1.1M creators using its platform to build and monetize video content (TechCrunch)

CMU's Andy Malt and Chris Cooke review key events in music and the music business from the last week. This week we focus on just one story – because there's a lot to say about it – the British government's response to Parliament's big ‘Economics Of Music Streaming' report published by Parliament's Digital, Culture, Media & Sport Select Committee in July. SECTION TIMES 01: Economics of streaming response (00:03:52) (Timings may be slightly different due to adverts) STORIES DISCUSSED THIS WEEK • Government responds to Parliament's economics of streaming report • Responses to the UK government's response to Parliament's Economics Of Streaming Report • Merck Mercuriadis responds to NMPA chief and UK government on impact of majors on song royalties • MU and #brokenrecord welcome government's economics of streaming response, but want more commitment on copyright reforms • Intellectual Property Office publishes report on music-makers' earnings ALSO MENTIONED • Music Copyright Explained (IPO & CMU Insights) • Dissecting The Digital Dollar (MMF & CMU Insights) • Good 4 Who? How Music Copyright Has Gone Too Far (The Verge's Decoder podcast) MORE FROM CMU • Buy MMF and CMU Insights' Dissecting The Digital Dollar book on Amazon • Sign up to receive the CMU Daily news bulletin

On episode 275 of the BSP, I discuss Twitch's announcement that they have reached an agreement with the National Music Publishers' Association in an attempt to resolve the issues they have had with DMCA takedown/strikes over the last 6 months. I also discuss another method of review fraud and more.    Subscribe to the full audio podcast at http://www.bandrewsays.com   Gear Used This Episode (Affiliate Links): Telefunken TF51: https://imp.i114863.net/tf51 OC White Low Profile Boom Arm: https://www.ocwhite.com/product/ultima-gen2-ultra-low-profile-adjustable-mic-boom-with-a-12-fixed-horizontal-arm-and-machined-table-bushing/ Universal Audio x8: https://imp.i114863.net/zMg2r Sennheiser HD650: https://geni.us/sennhd650   As an amazon affiliate I earn from qualifying purchases.    Twitter: @bandrewsays Ask Questions: https://www.askbandrew.com Merch; https://teespring.com/stores/podcastage-store Discord: http://www.podcastage.com/discord   00:00 - Intro  01:00 - Twitch Partners with NMPA to “Resolve” DMCA Issues 07:30 - Telefunken TF-51 AGAIN! 08:30 - WYHTS: More Amazon Review Fraud through Facebook & PayPal 12:20 - WYHTS: How To Train Your Ear to Hear Different Frequencies? 14:15 - WYHTS: SM7B IS BEST!!!! 15:40 - WYHTS: Great 500 Series Comparison 500 Series Preamp Shootout: https://www.youtube.com/watch?v=9y78JZz6SHE 16:30 - Ask Bandrew 17:15 - Email 1 17:40 - Can I Use the Gain Dial of my Interface as a Mute Button 19:30 - Voice Submission 2 22:10 - Rode NTG5 vs. Sennheiser MKH416 24:40 - My Voice is a Stress Test on Mics 3  26:15 - Soyuz 017 Review When? 29:40 - Email 3 30:30 - What Dynamic Mic / Interface  Should I get?  33:15 - Outro

On today's podcast, Allegedly, Sam and Noah discuss the the latest updates in the ongoing licensing battle between the music industry and Twitch, specifically covering the Twitch's alleged agreement with the NMPA. Plus, they cover a weekly rewind of the latest news from around the gaming industry, and play a game of "Unsolved Mysteries" – Gaming Culture edition! Manage your stream, your brand, and your business... allegedly.

This week we talk about a Twitch's new deal with the NMPA, Quantic Dream Star Wars game rumors, Apple vs Epic lawsuit updates, and more!

JOIN OUR DISCORD | http://www.discord.gg/devin https://www.patreon.com/devinnash - Exclusive Bonus Content Over 30+ Hours ___ There's just been a huge update in the ongoing shadow battle going on between music companies and Twitch. Twitch has announced a major deal between themselves and the NMPA. But what does this deal mean for creators and viewers of the website? That's what we explore today. Twitch has had notorious problems with DMCA takedowns and via major record labels and streamers using music they don't have the rights to in their streams. This has resulted in a lot of discussion about streamers getting banned from Twitch for DMCA and DMCA related requests. I've created multiple resources for broadcasters and viewers to find DMCA-free music, including a Discord channel with thousands of DMCA free community submitted lists. You can also use a service like PretzelRocks that gives you DMCA free music. The Twitch DMCA issues are not likely to stop and yes - streamers are still in danger. Understand Twitch DMCA rules and Twitch DMCA explained. My hope is this video clarifies the NMPA and Twitch deal and brings the truth about on the subject. OUR DMCA RESOURCE LIST - https://docs.google.com/spreadsheets/d/12_4JE6yvV4HQ21qA6YJp4Elu_Kz8x0LZiVRMkA3ZIzE/edit#gid=0 If my videos have added value to you, please consider supporting us on Patreon - http://www.patreon.com/devinnash

Twitch and the DMCA. What a pair. After 2020's deluge of music industry complaints, the game streaming platform has been scrambling both to assuage the content creators that make up its business, and to get itself out of the line of fire. With this week's announcement of an agreement with the The National Music Publishers' Association (NMPA), it's clear that one goal has won out over the other. When is a "process" both not the DMCA and also *definitely* the DMCA? In Virtual Legality. CHECK OUT THE VIDEO AT: https://youtu.be/nWQDCjceS-U #Twitch #DMCA #Copyright *** CHANNEL SUPPORT PATREON - https://www.patreon.com/VirtualLegality STREAMLABS - https://streamlabs.com/richardhoeg STORE - https://teespring.com/stores/hoeg-law-store *** CHAPTERS 00:00 Introduction 02:11 A Musical History 07:49 The NMPA Agreement 11:40 A New Reporting Process 16:55 Understanding the DMCA 21:31 The Repeat Infringer Problem 30:43 Conclusion *** Discussed in this episode: "END of Twitch DMCA Bans?? Twitch's NEW Music Deal" YouTube Video - September 21, 2021 - Devin Nash https://youtu.be/9OmtXF3Rtws "Twitch and National Music Publishers' Association Unveil Agreement, Ending Months of Animosity" Variety - September 21, 2021 https://variety.com/2021/digital/news/twitch-national-music-publishers-association-deal-nmpa-1235070276/ "Twitch, Amazon Slammed by RIAA and Major Industry Groups for Using Unlicensed Music; Twitch Disputes Claim" Variety - October 26, 2020 https://variety.com/2020/digital/news/twitch-amazon-unlicensed-music-riaa-recording-academy-1234815503/ "Music-Related Copyright Claims and Twitch" Twitch Blog - November 11, 2020 https://blog.twitch.tv/en/2020/11/11/music-related-copyright-claims-and-twitch/ "NMPA AND TWITCH ANNOUNCE AGREEMENT" NMPA Press Release - September 21, 2021 https://www.nmpa.org/nmpa-and-twitch-announce-agreement/ TWITCH EMAIL (via Twitter) https://twitter.com/HoegLaw/status/1440444793310507011 "Limitations on liability relating to material online" 17 USC 512 (The DMCA) https://www.law.cornell.edu/uscode/text/17/512 Section 512 of Title 17 Copyright Office Report - May 2020 https://www.copyright.gov/policy/section512/section-512-full-report.pdf "Digital Millennium Copyright Act Notification Guidelines" Twitch DMCA Guidelines - Updated July 19, 2021 https://www.twitch.tv/p/en/legal/dmca-guidelines/ *** "Virtual Legality" is a continuing series discussing the law, video games, software, and everything digital, hosted by Richard Hoeg, of the Hoeg Law Business Law Firm (Hoeg Law). CHECK OUT THE REST OF VIRTUAL LEGALITY HERE: https://www.youtube.com/playlist?list=PL1zDCgJzZUy9YAU61GoW-00K0TJOGnPCo DISCUSSION IS PROVIDED FOR INFORMATIONAL PURPOSES ONLY AND IS NOT TO BE CONSTRUED AS LEGAL ADVICE. INDIVIDUALS INTERESTED IN THE LEGAL TOPICS DISCUSSED IN THIS VIDEO SHOULD CONSULT WITH THEIR OWN COUNSEL. *** Twitter: @hoeglaw Web: hoeglaw.com

Heavy episode as the OWL finale is incoming and it begins TONIGHT. Twitch signs with the NMPA but nothing changes for creators. G2 Esports LEC roster looks to be upheaved. The chess board will be set up for Worlds 2021 after their draw show tomorrow morning. Watch The Gamer Hour - Esportz Network's new show from Times Square. (https://youtu.be/H2OBkNLYAaw) If you are interested in being a sponsor for the Esports Minute, Esports Network Podcast, College Esports QuickTake or The Gamer Hour, please reach out to Esportz Network CEO Mark Thimmig by emailing mthimmig@esportznetwork.com. If you enjoyed the podcast, please rate and subscribe, it helps us out a ton! New episodes Monday through Friday. For more in-depth news check out our feature show the Esportz Network Podcast The Esports Network Podcast (https://www.esportznetworkpodcast.com/). If you are interested in learning more about college esports, subscribe to the College Esports QuickTake. (https://esportzcollegequicktakecom.fireside.fm/) Follow Kevin on Twitter @Correa24 (https://twitter.com/Correa24) Follow Esportz Network on Twitter (https://twitter.com/EsportzNetwork), Instagram (https://www.instagram.com/esportznetwork/), and Facebook (https://www.facebook.com/EsportzNetwork) @EsportzNetwork Or visit our website esportznetwork.com (https://www.esportznetwork.com/) for updates on what's to come!

Luca Salvatore berichtet von typischen Schwierigkeiten und Risiken, die Hersteller kennen, beachten und beherrschen sollten, wenn sie ihre Produkte international zulassen wollen. Er gibt konkrete Tipps, um nicht nur den Worst Case zu vermeiden.

No matter what anyone else is saying on your feed, Ciz and Tai are here to reaffirm the fact that DMX DID NOT GET BLOWN OUT in this week's Verzuz battle agains Snoop Dogg. And we have receipts! Also, since Ciz gets the inner workings of this business better than most, we're breaking down the new deals between TikTok & the NMPA, Spotify & Universal, and Triller & Billboard. On the new music tip, we're tryna understand why the deluxe version of Pop Smoke's Shoot For The Stars, Aim For The Moon is a thing in THAT format; we're talking Khaled's new Drake singles; new joints by Jaden Smith, Koffee, Jhene Aiko, Too Short, The Gorillaz and more and taking a look at this week's new releases. Make sure you visit www.istandardproducers.com to check out our full Credit Checks and Chopping Block reviews... and, as always SUPPORT YOUR LOCAL CREATORS. This episode was recorded at Twelve Studios in Atlanta, GA. Hosted by @Cizzurp215 and @SaintBoogie Produced by Anatomē for @istandard --- Support this podcast: https://anchor.fm/thechopblockpod/support

Episode #184 : On this week's episode, we're revisiting another MusicBiz LIVE! event that features candid conversation about what music business trade associations are doing to help their specific constituencies navigate the COVID-19 quagmire. Joining Portia in conversation about the CARES Act and more are : Mitch Glazier and Michele Ballantyne of the RIAA, Richard Burgess of A2IM, Bart Herbison of the NSIA, David Israelite of the NMPA and Sarah Trahern of the CMA. Listen in to find out what relief is coming your way, and learn how to access it in your particular district or state with the help of this week's guests.

David Israelite is President and CEO of the National Music Publishers Association (NMPA).The NMPA is up in arms over the fact that Spotify and Amazon - in addition to Google and Pandora – are objecting to a ruling offering songwriters a streaming pay rise in the United States.Apple Music has declined to oppose the royalty rate rise, which has been decided by the Copyright Royalty Board.David explains: "[Spotify and Amazon] have shown their true colors. They don't respect songwriters, they are attacking songwriters to try to cut what they pay them. It's time for everybody to rise up and say: enough."

欢迎收听丽莎老师讲机器人，想要孩子参加机器人竞赛、创意编程、创客竞赛的辅导，找丽莎老师！欢迎添加微信号：153 5359 2068，或搜索微信公众号：我最爱机器人。丽莎老师讲机器人之我国首款神经外科手术机器人获批上市。我国首款神经外科手术机器人正式通过国家药品监督管理局（NMPA）审批准产，成为首款获得国家创新审评通过的神经外科手术机器人，标志着我国神经外科手术机器人达到国际领先水平。此款产品也是我国首款同时适用于儿童和成人的神经外科手术机器人，不仅填补了我国在此领域的空白，也成为具有国际竞争力的创新医疗器械。该机器人技术源于清华大学，由清华大学和天坛医院、宣武医院、北京大学第一医院、清华大学玉泉医院、深圳大学总医院、复旦大学附属华山医院、复旦大学附属儿科医院、首都儿科研究所、北京协和医院、南方医科大学第三附属医院、福建协和医院、河北医科大学第二医院、郑州大学第一附属医院等十余家医院合作研发的新一代具有国际领先水平的机器人系统，2017年通过国家食品药品监督管理局创新医疗器械特别审批通道，2018年入选“中关村示范区高精尖产业培育项目”。临床同时适用于成人和儿童该神经外科手术机器人主要用于神经外科立体定向手术中手术器械的定位和定向辅助，如癫痫脑立体定向电极置入、帕金森脑深部电极置入、脑肿瘤穿刺活检等手术。产品不仅在成人神经外科领域具有重要意义，同时也因为对传统头架和传统手术导航定位系统具有替代作用而填补了我国小儿神经外科此领域的空白，这对我国神经外科整体发展具有重要意义。与国际水平相比，该神经外科手术机器人在精准性和安全性上都具有领先优势。在产品的精准性方面，本产品以目前国际先进技术体系为依托，采用无接触视觉定位病人注册技术，基于机械臂本体定位的方式，采用自动视觉扫描定位病人面部表面进行病人注册这一方法，使得本产品让神经外科手术机器人在国内首次同时适用于成人和儿童。这一技术属于国际领先、国内首创。其优点是避免目前国内在这一方面研究采用的传统的光学定位所存在的独立定位系统增加系统复杂度、仅依赖三个标记点配准误差较大、需手术当天贴标记点扫描CT流程繁琐等问题。在产品的安全性方面，针对神经外科定位定向的实际临床特点，研发应用了基于多模态影像融合的颅脑血管三维可视化技术，这一技术可以将颅内血管结构充分的展现出来，从而有效的帮助医生避开重要血管规划穿刺路径，从而形成安全的、有针对性的、个性化、最优化的立体定向手术方案，该技术属于国际领先，受到了国内临床应用的好评。精准、可靠、安全、易用该神经外科手术机器人为神经外科立体定向手术提供可靠的精度保障，整体手术精度达到1mm以内，重复定位精度小于0.02mm。产品包含国际领先的立体定向手术计划系统、高智能视觉定位系统、高精度力传感系统以及高稳定性机械臂系统。立体定向手术计划系统借助独有的多模态影像融合技术、无与伦比的血管重建技术、让轻松且精益求精地设计每一条手术路径成为可能。高智能视觉定位系统通过使用高精度摄像头全自动扫描皮肤表面，形成扫描点云，然后进行机器人和实际人体表面的三维面配准，利用独有的算法技术大幅提高精度。同时计算机视觉系统还自动获取并建立实际病人头颅模型及环境障碍模型，通过自动寻优算法获取最佳避障路径，使机器人得以安全高效的运动到指定规划位置，并且与病人全程无接触。高精度力传感系统利用独家重力补偿算法，实时监测机械臂受力情况，在异常受力时，系统自动停止，反应时间小于30ms，为机器人提供有效的闭环安全保障。高稳定性机械臂系统采用关节抱闸与RV减速器技术，确保产品具有高度的稳定性和抗扰性。

Episode #113: What is the Music Modernization Act and how could it impact songwriters? On this episode we hear from people who have worked on this new bill and those whose livelihoods will be affected if it passes. David Israelite, President and CEO of the NMPA explains who the key players are and clears up some common misunderstandings surrounding the MMA. We also hear from RIAA President Mitch Glazier about the timeline of the act, and Blake Morgan (#IRespectMusic) shares pros and cons from an artists' perspective. Subscribe to The Future of What: hyperurl.co/krsfow Follow us: Twitter: http://bit.ly/2gOYMYM Facebook: https://www.facebook.com/thefutureofwhat/ Instagram: http://bit.ly/1L6T8fl

Episode #64: Last year, we released 37 episodes on a wide variety of topics in music. From rights to royalties, we covered subjects important to artists and those who support them. On this episode, we look back at the major issues we reported on in 2016 and those who they impacted most. We hear from musician Melissa Ferrick about the Spotify lawsuits that started the year, then A2IM's Richard Burgess gives us the scoop on the Digital Millennium Copyright Act and how it's creating problems for the industry. David Israelite of the NMPA clearly breaks down how the Department of Justice has handled the consent decrees and what that means for creators. These stories are still developing, so check back for updates! Subscribe to The Future of What on iTunes: http://apple.co/1P4Apk0 Follow us: Twitter: http://bit.ly/2gOYMYM Facebook: https://www.facebook.com/thefutureofwhat/ Instagram: http://bit.ly/1L6T8fl

Episode #50: Think the music industry is confusing? Here's where things get really hairy for songwriters. The Department of Justice recently issued a statement upholding consent decrees that regulate performing rights organizations BMI and ASCAP. These decrees were originally intended as an antitrust measure, but many feel they are outdated and come with many costs. David Israelite, CEO of the NMPA, says this decision will devalue songs, implicate the property rights of songwriters and limit their creative process. We asked musician and industry critic David Lowery (Cracker, Camper Van Beethoven) and lawyer Chris Castle to help us further understand the ramifications of the DOJ's stance.