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Music Industry Movement: Epic Ups Rich Foster, Virgin Launches in Brazil

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Music Industry Movement: Epic Ups Rich Foster, Virgin Launches in Brazil


swedish house mafia, a dance music trio consisting of Steve Angello, Axwell and Sebastian Ingrosso. Republic Records After working for Columbia Records for a while. It is a group managed by . Wassim “Sal” SlaibySALXCO from SALXCO announced their breakup in 2012 and last released their music in 2013. The new song ‘It Gets Better’ is now out.

In other SALXCO news, Slaiby and longtime partner Amir “Cash” Esmailian were “hired” to work with Sean “Diddy” Combs. per billboard report. It is unknown what the capacity is.

Wednesday, July 14

+ Pharrell Williams Helped to award more than $2 million in grants to finalists. Black Ambition Award. Livegistics was awarded $1 million and Black Ambition HBCU Grand Prize winner Dosso Beauty was awarded $250,000. Nine additional finalists will receive prizes of over $100,000. Of the more than 1,700 applicants, 34 finalists have received at least $15,000 in financial prizes and will continue to participate in the organization’s mentoring initiatives through the end of August.

Black Ambition’s coach is Jonah Peretti, CEO of BuzzFeed. Tracy Gray, Founder and Managing Partner of 22 Fund; Noel Fenton, founding partner of Trinity Ventures; Joann Chen, Senior Advisor, JFF Employment Skills Fund; and Jessica Salinas, Vice President of Investments, New Media. Black Ambition is led by CEO Felecia Hatcher.

Williams said: Today we celebrate their determination, resourcefulness and creativity. The world will be much more equal thanks to Black Ambition. More people of color can pursue ventures and get what they need to thrive. Too much discrimination and discrimination exists. Black Ambition will continue to create and push forward with more seating at the table. So your talent, not your color, determines the outcome.”

For more information www.blackambitionprize.com.

+ Music agent Becky Sudden joined ICM Partner/Key Talent. She arrives from X-ray Touring, which is based in the company’s London office and has been working since 2014. The list she brings to ICM/Primary includes Anderson .Paak & The Free Nationals. Russ, Noname, Mick Jenkins and T-Pain and more. Matt Bates, reported by Sudgen in February, has been appointed International/European Head of the Agency.

+ fly machineA “virtual venue” for live entertainment that delivers immersive social experiences has raised $21 million in new funding. Funding was led by Graycroft Partners and SignalFire with participation from Primary Venture Partners, Contour Venture Partners, Red Sea Ventures and Silicon Valley Bank. Angel investors include music industry moguls including Mumford & Sons’ Coran Capshaw, Bill Silva, Marty Diamond, Larry Webman and Ben Lovett.

+ PR company Spin Lab Communications named vaginal mango Vice President of Communications and Allie Norton Communications Director. After holding PR positions at the IRS, Atlantic Records, Mammoth, RCA, Island and Wind-up Records record companies, Mango will lead SpinLab’s New York office. Los Angeles-based Norton has worked as a publicist at Shore Fire Media for the past six years, and moved to New York in 2018 to open an LA office. On Shorefire, Norton has worked with Grizzly Bear, The Voidz, Pussy Riot, Rosanne, etc. Cash, Melissa Edderridge, and Richard Marx. She also represented the films “Echo In The Canyon”, “Creem: America’s Only Rock ‘n’ Roll Magazine” and “Linda Ronstadt: Sound of My Voice”. Both report to SpinLab founder John Vlautin.

+ Grammy Award-winning bluegrass artist Billy Strings has entered into a publishing management agreement with River House Artist in cooperation with Sony Music Publishing. This agreement applies to Strings’ current music catalog and future work. River House is led by Lynn Oliver-Cline. Publication roster includes Ray Fulcher, Grant Gilbert, Nicolette Hayford, Drew Parker, Jordan Rowe and Driver Williams.

+ Christina Erskin join Warner Music Australia Senior Vice President of Marketing and Promotions in Australasia. She most recently served as the Engagement Director at the Sydney Opera House.

+ heavy duty projectscreen music company, tom cascart, and in LA Amanda Yamate, was published by Josh Kessler, founding partner and CEO. Heavy Duty Founder Ariel LechtscheidGrammy Award-winning producers and songwriters (HAIM, Adele, Vampire Weekend) are currently recording the reboot of “Gossip Girl” for HBO Max.

Tuesday, July 13

Nancy Dubuck, CEO of VICE Media Group and former CEO of A+E Networks, joined. warner music groupof the board of directors. She has been appointed Chairman of the Audit Committee and a member of the Executive Committee. Thomas H. Lee He stepped down from the board he joined in 2004 when a group of investors bought the company from Time Warner. Myung-bak Lee remains the honorary director.

Len Blavatnik, founder and chairman of WMG parent company Access Industries, said: Her visual and digital media experience, coupled with her knowledge of the youth culture and entertainment market, is well-suited to driving WMG’s growth. I would also like to thank Tom for his valuable service on the Board of Directors over the years. I am delighted to be able to call on his expertise in the future.”

“Music now exists in many forms beyond culture, technology and media,” Dubuc added. “Warner’s dynamic and global approach to creativity and commerce, coupled with the strong value proposition it provides to artists and songwriters, makes Warner a truly enterprising and exciting company. I am looking forward to working with everyone on the board to help shape the future.”

+ CAA Signed with a British artist to critical acclaim. stormy We can represent you anywhere in the world. In 2017, Stormzy’s debut album “Gang Signs & Prayer” set a first-week streaming record in the UK and released two successful singles. His sequel, “Heavy Is Head” in 2019, was nominated for a Mercury Award in 2020. This agency will also represent Stormzy’s company, #Mercy. Donated £500,000 to fund education scholarships for students from disadvantaged backgrounds. Stormzy is managed by Tobe Onwuka.

+ Nicole George-Middleton was appointed as the managing director of ASCAP Foundation, to ASCAP CEO Elizabeth Matthews. She replaces Colleen McDonough, who retired earlier this month. George-Middleton will also remain a member svp of ASCAP, reporting to evp and CCO John Titta. George-Middleton has been with ASCAP since 2008 and oversaw the daily operations management of ASCAP’s Rhythm & Soul and Symphonic and Concert Membership divisions.

+ Atlanta-based non-profit organization project go dark We launched our first MIP (Music Industry Pipeline) program, an 8-week paid junior executive program for careers across the music industry through Black Music Action Coalition (BMAC), Spotify x PLUS1 for Black Creatives, Polywork, sincethe80s and more MIP includes a series of master classes, a six-week internship, and a series of panels and lectures featuring black music executives and managers. Those interested in applying do it here.

Monday 12 July

+ Richard Foster Promoted to Vice President of Marketing. Epic Records, presented by Dave Bell, Senior Vice President and Head of Marketing, reported by Foster.

Joining the Sony Music label in July 2019, New York-based Foster is responsible for all digital marketing initiatives including podcasts, website design and data analysis, in addition to marketing budget management and liaison with creative teams.

Bell said: “When he joined the company two years ago, Rich’s boundless creativity and understanding of both artist and fan perspectives immediately stood out. As a result, he moved from digital marketing to product management, and in two ways he helped drive some of our biggest success stories. His rapid rise is the result of hard work, determination and a firm eye for what drives culture and markets.”

Foster previously worked for Warner Music Group, Universal Motown Records, Ume/Verve and Combs Enterprise, handling brands such as Ciroc and Sean John.

+ Universal Music Group Virgin Music Label and Artist Services in Brazil. According to the announcement, the newly launched division will focus on supporting the next wave of Brazilian independent artist talent, labels, influencers and entrepreneurs.

As part of this launch, Virgin Music Label & Artist Services Brazil work show, Brazil’s premier Sertanejo label, aims to expand Brazilian music culture and Sertanejo music worldwide. The duo Henrique & Juliano, who signed their first new contract under their partnership, brought their entire nine-year catalog to the label.

Virgin Music arrives in Brazil with immediate effect under the direction of Miguel Cariello, who has been appointed General Manager of Virgin Music Label & Artist Services in Brazil. An experienced industry executive, Cariello has served as Director of Content and GTS at Universal Music Brazil since 2017 after previously serving as Digital Marketing Manager, Artist Manager and Event Producer.

“Work Show’s collaboration with Virgin Music Brazil is 100% confident that we are starting a new cycle of significant contribution to the Brazilian music landscape,” said Wander, Work Show Founder and CEO. “I am humbled and grateful for the trust and responsibility the company has placed on me,” Cariello said. My main goal has always been to maintain the subversive spirit that characterizes this legendary label and to expand Virgin Music’s legacy with the help of great artists and great music.”

Paulo Lima, President of Universal Music Brazil, said: This game-changing partnership will help set new expressive milestones between artists and audiences.”

+ Swiss based Music Bird AG You have acquired the song catalog of the composer/producer. JR Rotem, Rihanna (“SOS”), Sean Kingston (“Beautiful Girls”), Leona Lewis (“Better in Time”), and Jason Derulo (“Whatcha Say”, “In My Head”). According to the announcement, the acquisition is the first acquisition of MusicBird, a company that is “seeking investments in quality music copyrights worldwide.” Details of the transaction were not disclosed.

Rotem was represented in the MusicBird deal of Granderson Des Rochers, LLP. Leading the acquisition on behalf of MusicBird was music director Sanji Tandan along with Taylor English Duma, LLP’s Kendall Minter.

“This acquisition is the first of many planned acquisitions,” said Jonas Anker, Chairman of MusicBird. “We are honored that JR Rotem entrusted us with his amazing collection of songs. It’s a great way to start our music business.”

Rotem said, “Like any composer, my songs are a precious part of me. So I’m happy that my songs have found a home that I’ve grown with MusicBird.”

+ Milo Pacheco Appointed GM/Marketing Officer. S-curve recording, was re-released as a joint venture with Disney Music Group. He reports to S-Curve President and Founder Steve Greenberg.

Pacheco was the most recent marketing svp at S-Curve/BMG, leading campaigns for artists including AJR, Andy Grammer, Leslie Odom Jr., We Kings and more for nearly 6 years. Pacheco has also held senior marketing positions at Columbia Records, Crush Management, and Island Records.

“Since 2013, Milo Pacheco has played an essential role in the success of the S-Curve label and its artists,” Greenberg said. “His keen marketing skills combined with a deep knowledge and passion for music make him a leadership role in everything we do. Milo understands artists and teams and professionally helps them realize their creative visions and bring music to the public.”





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Comcast Q2 Commentary: NBCU Recovery Exaggerated

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Comcast Q2 Commentary: NBCU Recovery Exaggerated


Investors overall Q2 revenue results. NBCUniversal is oTotal sales, just under $6 billion in the previous year, rose to a maximum of $8 billion in the second quarter. NSut It was the core business of the company that did the hard work.

Second-quarter results did not help much to calm M&A speculation. Anyway, that speculation reinforced the argument that Comcast could probably be a better investment without a media business. AT&T’s decision Drop streaming with WarnerMedia and focus on wireless and 5G.

The fierce competition in the streaming war has given analysts an opportunity to ask Comcast executives about the possibility of an acquisition to further expand its streaming strategy with NBCU. But, as expected, management dismissed such M&A speculation.

When it comes to streaming service Peacock, NBCU CEO Jeff Shell responded that it can be successful without additional assets. He noted that Q2 is proof of that claim. But the numbers tell a different story and suggest that Shell’s division may be more shaky than investors realize.

Comcast has reported confusion. peacock user engagement again figures. CEO Brian Roberts announced in a revenue conference call that the streaming service had 54 million subscribers as of this week and more than 20 million monthly active accounts. He also said that Peacock is “the fastest growing streaming service.”

as we mentioned It’s important to remember that for quite some time a “subscription” is not the same as a subscriber. Comcast did not report how many users are paying for its services and how much money the company is earning from users.

However, despite the metrics provided by management, Peacock is still not doing so well. One thing to consider when analyzing the number 54 million is that the company has deliberately announced that it is the most recent number as of this week. summer game. This number may experience big fluctuations at the end of the Olympics.

And as of this week, the number of monthly active accounts (MAAs) is 20 million. That represents an increase of only 6 million since the last quarter when the company reported a 14 million MAA. Although Peacock has been on the market for well over a year now, it has yet to surpass Xumo, an AVOD service operated by Comcast Xfinity with 24 million monthly active users as of October 2020.

The figure contradicts management’s optimistic narrative, which should worry investors more than Thursday morning, when stocks rose nearly 3% shortly after the market opened.


According to GetWizer Consumer Insights conducted a new study on VIP+ of nearly 1,500 Americans, and while usage of the free version of Peacock is rather high, the subscription version of Peacock Premium is rarely loved.

Only 8% of respondents aged 15-29 and 12% of respondents aged 30-44 watched Peacock Premium for at least 30 minutes in the past week. This compares to 9% of those aged 45-59 and 4% of those aged 60 and over.

While other sectors of the NBCU are making a comeback, it is important to keep in mind that year-over-year comparisons are not a perfect indicator of the current state of the business. In the second quarter of last year, the United States and most of the world closed, and the macroeconomic background was particularly difficult. A fairer comparison would be 2019.

With that in mind, consider NBCU’s theme park business, which recovered profitability for the first time since Q1 2020 and surpassed $1 billion in sales. This compares to $136 million in the same period last year and $1.46 billion in the second quarter of 2019. Roberts said Universal Studios Orlando sees strong domestic demand in both spending and attendance. And Hollywood Parks are seeing an increase in attendance every week.

For all intents and purposes, the NBCU is on the rise again, but all of this, up about 17% so far this year, is already reflected in the share price. What really matters and moves the stock is the success of Comcast’s core broadband and wireless business. In the second quarter, Comcast added 354,000 high-speed Internet customers, slightly exceeding Wall Street’s estimate of 270,000.

Similar to AT&T’s sale of WarnerMedia, another major benefit of the NBCUniversal spin-off is Comcast’s additional debt reduction. Comcast’s approximately $90 billion in debt isn’t as large as AT&T’s $168 billion, but paying off its debt will put more cash in Comcast’s pockets and strengthen its revenue-generating business.

Roberts is known to enjoy working in the content business, but the future for Comcast’s non-NBCU business is much brighter. And if AT&T’s recent decision with WarnerMedia is any indication, sometimes it’s better to focus on what works to be as competitive as possible rather than trying to offer too much and risking being mediocre in the out-of-the-ordinary streaming business. that.





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Survey: What International Consumers Want from Streaming Services

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Survey: What International Consumers Want from Streaming Services


competitor to collapse inputNS NS Top tier of streaming services War can stay Been in the US for a long time. That is why HBO Max launch begins internationally input June. It is also the reason Comcast CEO Brian Roberts Reports Recently Argument Potential Streaming Partnership Viacom CBS management Help us take Peacock internationally..

HoweverAlluding to duplicating American products for an overseas audience won’t be enough. to provide Some clues that might help SVODNS Succeed outside the US, YouGov International at the end of June PollNS attitude towards streaming service Instead of Variety intelligence platform, nEarly 19,000 people 18+ across 17 countries answer.

The following are the five implications of the survey. video streaming service should draw close international expand:

1. Growth of ASia-NSPacific (APAC) Regions should be prioritized.

According to the poll, 3 out of the top 5 countries (Indonesia, India and China), when ranked according to consumer interest in paying reasonably priced Video streaming services providing localized content were located in the APAC region. NSHe said the Chinese data point is harder to act, of course, according to the instructions of the Chinese governmentlike Know what you can see online (NS rag the great Wall).

Additionally, most of the countries YouGov surveyed respondents were APAC or EMEA based, Increases the likelihood that the country in your region will emerge as an attractive region to expand through: graphic below. NSuh APAC prioritization points are giveen India and Indonesia are currently the second and fourth most populous countries in the world. July 2021, Party NS you.NS. Census Bureau.

2. Must have a healthy balance of l.localized content And Us International version of the hit video streamer.

Streaming executives must curb the urge to overwhelm the international version of SVOD with localized content. In particular, consumers in Mexico, UAE and India see great value SVOD, which provides content from famous American actors. Most of the countries were three countries. Research the respondent said A streaming service that provides content from American stars “Very important” or “Somewhat important” to them.

this goes to show The value of a streamer like HBO Max with access to a large library of cLasix (Hollywood star appearance) it can be easy Advertising In ~ House International SVOD screen. Also, Prime Video Satisfying consumers in regions such as Mexico and UAE with MGM classics such as “Too Blonde” and “Too Blonde”.unstable If the MGM acquisition is approved.

three. notable non-English speaking Countries in Asia and Europe are still English content.

while speaking english territory Naturally, it tops the list of countries where most respondents say they watch. English movies and TV shows “very often” or “slightly often”, meaningful part Consumers in unexpected places Indonesia, India, UAE and Mexico indicate interest in English video content.

NS majority of Respondents from 4 countries where English is not their first language; They said they watched movies and TV shows. input English It is marked as “very often” or “somewhat often”, with Indonesia, India, UAE and Mexico In YouGov’s survey, most respondents said SVOD, which provides content with famous American actors, is important to them.

4. There is especially high demand new Chinese content.

The top two countries were Hong Kong and China when ranked by the percentage of respondents who said there were not enough new TV shows and movies for SVOD in their native language. Video streamers can extend directly to Hong Kong by: Netflix And prime video Both were released in Hong Kong in 2016. In China, companies can still enter Hong Kong by licensing certain content to major video streamers in the region like iQiyi.

Netflix license Some originals were provided to iQiyi in 2017, but that partnership ended in 2019. However, it may be easier for streamers with an overall family-friendly library like Disney+ to penetrate China directly. Tim Gong Yu, CEO of IQiyi in 2019 said THR that the streamer’s Netflix deal didn’t go as expected because many Netflix originals didn’t pass censorship in China.

5. the expectation of absorption of bsolve Overseas must tempered.

many The country is still catching up with the US in terms of SVOD. quantum: The United States was the country where the majority of survey respondents said they paid for it. 4 or more video streaming services per month. This helps explain why Digital TV Research is in June. prediction The US will be the largest SVOD market in the world by revenue in 2021.

However It is also the management new Bundles of video streaming services for specific international markets, such as: France, Singapore or Poland are especially good. Only 1% of survey respondents in that country said they pay for 4 or more SVODs per month. This suggests that bundles will not necessarily serve as a growth hack for streamers in specific international markets, even with localized pricing.





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Long-term questions about social media’s ad revenue boom

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Long-term questions about social media's ad revenue boom


The advertising recovery over the past year has been remarkable, but no one has benefited more than tech companies, especially social media platforms.

Businesses continue to pour cash into advertising on the platforms with the greatest reach, as this week’s Q2 financial results from social giants including Snap, Twitter, and Facebook show.

The total revenues of these three social enterprises, which come almost entirely from advertising, saw another divergence. Snap posted revenue growth of a whopping 116%, while Twitter’s revenue grew 74%, the highest growth since 2014.

On the other hand, Facebook’s sales growth rate was 56%, the highest since 2016, and there were advertisements to be grateful for, accounting for about 98% of total sales. The number of Facebook ads delivered increased 6%, and the social giant saw its average price per ad increase 47% over the second quarter.

This is not too surprising given the massive user engagement for these platforms. In Q2, Snap reported a total of 293 million daily active users (DAU), a 23% increase over last year, and Twitter’s monetizable daily active users (mDAU) or users viewing ads on the platform increased by 11% 2 reported 6 billion people.

And there is a giant called Facebook. It has 1.91 billion DAUs and 3.51 billion monthly users across its app suite, including Facebook’s main apps, Messenger, Instagram, and WhatsApp.

Facebook tops the older demographic for usage, according to a new study from GetWizer Consumer Insights of nearly 1,500 Americans of VIP+. The situation between the 15-29-year-olds, who more regularly and actively use various platforms, was even more interesting. They said last week they spent at least 30 minutes on Instagram, Facebook, Snapchat and Twitter.

Whatever these companies are doing now is definitely working, as advertising revenue is steadily growing at an alarming rate. However, there are concerns that the growth will not be sustained in the long term, and the recent Apple iOS 14.5 update is expected to act as a major threat to Big Tech’s advertising strategy.

Social media platforms like Facebook, Twitter, and Snap use targeted advertising to reach their audiences. Personalized experiences that have proven to be more effective at getting people to click and even buy through the ads they serve.

However, new Apple software updates give users more power and control by giving them the option to opt out of app tracking. Snap, Twitter, and Facebook are all doing their best to estimate how much impact software updates will have, but Facebook CFO David Wehner warns that if the advertising business is affected, it will be worse in Q3 than Q2.

As social giants explore the current advertising landscape, the biggest opportunities are in video and mixed reality (VR, AR, etc.). Video advertising is showing healthy growth, and Facebook COO Sheryl Sandberg said in its earnings call Wednesday that the company is seeing more than 2 billion in-stream ad-qualified videos every month. Facebook and Snap are both actively working to become leaders in VR and AR, respectively, and these moves could open new avenues to further drive ad revenue.

Facebook revealed in its earnings call that it plans to create a so-called metaverse. Zuckerberg said this will be a social and digital environment unlike anything else that exists. Building the metaverse doesn’t happen overnight, but the ultimate goal is to make money by selling virtual goods and advertising them internally.

Whether Zuckerberg’s metaverse ideas are as grandiose as he invented them, it’s true that social media companies will have to ponder and ponder for a long time to innovate and tap the next stage of growth in a rapidly evolving environment.

Advertising is the bread and butter of social, and new delivery methods will play an important role in determining who succeeds and who lags behind.





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