Watching on a screen can feel like a poor imitation of real-life theater, but some artists are using the communications technology we now rely on to enhance the streaming experience, from interactive performances on Zoom to plays written to be watched on Facebook.
The expansion into neighboring rights comes just four months after BMG moved into artist management in a partnership with Carl Stubner’s Shelter Music Group. Neighboring rights – also known as performance rights – are paid in much of the world when a recording is played to a live audience or on the radio or in the US when a recording is played on a non-interactive streaming service such as Pandora.
Primary Wave Music Publishing has finalized a multi-million dollar deal to acquire a majority stake in the pre-1964 music publishing catalog of soul music pioneer Ray Charles. Terms of the agreement with Charles’ heirs include a majority of the publishing and writer’s share, as well as all administration rights, for some of the iconic singer, songwriter and musician’s biggest hits, including “What’d I Say,” “Ain’t That Love,” and “I Got A Woman.”
When the Metropolitan Opera offered Bizet’s “Carmen” to the public as the first of its free, ongoing “Nightly Opera Streams” of past performances, its website crashed due to the unprecedented demand; rebroadcasts have subsequently attracted about 7.9 million people world-wide.
From a value chain perspective, Lockdown came too early for live streaming; it is under-developed, under-monetised, under-licensed, under-professionalised. Unfortunately, the live-streaming surge is showing all the signs of a goldrush with a lack of clear structure and the first signs of artist backlash.
Source: The Future of Live
“The MLC represents one of those changes that transforms the music business, once every generation or two,” Ahrend says. “You have to go back to the passage of the Digital Millennium Copyright Act to see the last kind of moment where our industry changed. Sound Exchange later came into being as an organization that helped to really transform an aspect of the business. The MLC will be similarly transformative.”
MatchTune, formerly known as Muzeek, was founded in 2017 by composer André Manoukian and tech entrepreneur Philippe Guillaud (pictured) and claims that its AI with music-to-image synchronisation algorithms can create unique variations of professional-standard music in seconds.
At times like this, when so many physical bookstores around the world are closed, when so many publishers’ and wholesalers’ warehouses are working reduced shifts or none, when the profit from selling printed books has diminished to zero or—like the West Texas Intermediate oil price moves dramatically into negative territory—the income from rights to intellectual property seems even more important.
Twitch avoids the problematic “begging bowl” undertone that can plague artists on other direct subscription services like Patreon by offering fans something in return — an exclusive, interactive live video experience — that Olson believes has an immediate premium value in the mind of the audience.
Mayer joins TikTok at a pivotal moment for the app, which is owned by Chinese conglomerate ByteDance. Less than three years old, it has been on a quick ascent that has been aided by the coronavirus pandemic. In March, the app surpassed 2 billion worldwide downloads, according to third-party measurement firm Sensor Tower. Mayer also will serve as COO of ByteDance.