PRS for Music is expanding its use of music usage data to improve the accuracy of royalties paid to songwriters, composers, and music publishers when their music is played in businesses across the UK. To that end, its new partnership with Soundtrack will provide the next generation of usage data, detailing what music is being played in shops, bars, and public spaces. PRS for Music will receive play-for-play data showing the exact music played across approximately 7,000 UK premises.
Source: PRS Continues the Shift Towards Exact Match Data with Soundtrack Tie-Up
More than a third of Vevo’s music video views now happen on television screens. Yet mobile remains the company’s single largest source of traffic, and it’s there that Evangelista sees both the biggest opportunity and the industry’s most conspicuous failure. “Short-form vertical video has become one of the most powerful engines of music discovery in the world,” he says, “but the commercial frameworks around it have not kept pace with the behavior.”
Meta Platforms will delay the implementation of updated commercial terms, so it can address concerns from publishers and digital advertisers, the US tech company said on Friday, in a decision that could stave off potential regulatory action. EU and UK antitrust authorities have received complaints about the new commercial terms, which publishers and digital advertisers said would give Meta an unlimited right to use their content for its AI services.
Norwegian news organisations are taking Meta to court in an attempt to stop its sweeping new rights for AI access to publisher content from being imposed. The legal action in Norway is part of an unusually “swift and united” response from the international media industry against Meta. The updated terms and conditions would effectively give Meta sweeping rights to scrape content from any publisher that uses Facebook or Instagram and reuse it
Neil Young is suing a Donald Trump fundraising committee for USD $10 million over the use of his song Rockin’ in the Free World at a political rally. It is the second time Young has gone to court over a Trump-linked group’s use of the song. Young’s complaint states that the committee “does not now have, and did not at the time of the Youngstown Rally or any other rally financed and conducted by the Committee, have a license or Young’s permission to play the Song at any public political event.”
Entrepreneurs investing in businesses they see potential in is nothing new. Angel investors and venture capital funds have been key in building today’s business ecosystem, particularly in Silicon Valley’s startup scene. A similar cycle is happening in the creator economy. Steven Bartlett’s recent joint venture with global brand and entertainment platform Authentic, OBSN, plans to invest up to $400 million into creator-led businesses and digital intellectual property. This is the latest of several advancements that speak to the legitimisation of the industry.
Utopai Studios
Three months after Elon Musk declared that Grok would release a full-length, “historically accurate” movie version of “The Odyssey,” Grok has published a whole seven minutes, which the company is now calling “Episode 1 of our Odyssey series.” Musk had previously lashed out at Christopher Nolan’s version of “The Odyssey” because Nolan cast nonwhite and transgender actors.
Their bite-size format appeals to busy studio executives facing mountains of scripts. Buying unpublished stories also allows producers to avoid the hassle of optioning novels, whose fans often expect a faithful adaptation. “It’s such a good starting place rather than a completed blueprint,” Duffy said. “Producers, writers and studios feel like they can help mold and shape it.” Traditionally published stories have long accounted for box-office hits and critically acclaimed independent films alike. “