Blog

A Measure of Success: Frank Ocean, Netflix and the End of the Album

Frank Ocean’s surprise release “Blonde” debuted at No. 1 this week on the Billboard Top 200 album chart, racking up sales of 275,000 units, despite its not being released as an album in any physical format.

frank-ocean-feb-2013-billboard-1548-1So what were those 275,000 units? Some 232,000 of them were paid digital album downloads, according to Nielsen Music. The other 43,000 consisted of “equivalent album units.”

Say what?

An “equivalent album unit” (shouldn’t that be “album-equivalent unit?) is a metric devised by Billboard in 2014 to accounting for streaming activity and individual track downloads for charting purposes. Ten individual track downloads from an album as measured by Nielsen, or 1,500 on-demand streams of individual album tracks as reported to Billboard by the major streaming services, are counted as an equivalent album unit. In the case of Blonde, individual track downloads were not available at the time of the albums initial release, but they accrued 65 million streams. Dividing that 65 million by 1,500 yields 43,000 equivalent units. QED.

DOJ Cites Music Industry’s Data Problem in Rejecting Changes to ASCAP, BMI Consent Decrees

577cc1d010909-imageThe U.S. Justice Department’s antitrust division formally closed its revue of the ASCAP and BMI consent decrees Thursday, issuing a lengthy statement spelling out why it decided not to make any changes to the decrees, at least for now, and why it now reads those decrees to require 100 percent licensing by the PROs of any works in their repertories even if they don’t represent 100 percent of the owners of those works.

Apple Dusts Off its Ebooks Playbook for Music

Library_of_Congress_(1)It’s hard to tell whether Apple is simply trolling Spotify with its pitch to the Copyright Royalty Board to adopt a fixed, per-use royalty rate for songwriting rights on streaming services in place or the current revenue-based formula, or whether it’s a serious proposal. But if it’s the latter, the CRB should at least consider the source before adopting it.

Rocking the Rights-Tech Boat in a Safe Harbor

Any day now, according to the scuttlebutt in copyright policy circles, the U.S. Copyright Office could release its findings from its study of Section 512 of the Digital Millennium Copyright Act ordered up last year by the House Judiciary Committee, which is conducting a review of the DMCA and U.S. copyright law in general. Along with those findings, the Copyright Office is widely expected to offer recommendations to Congress for changes to the 512 “safe harbor” provisions, including perhaps replacing the current “notice-and-takedown” rules with a “notice-and-staydown”
requirement.

Rights and the Set-top Box

The formal comsettop _box_openment period in the Federal Communications Commission’s set-top box proceeding closed this week after tallying 256,747 submissions. Most were canned comments submitted by consumers who had been rounded up for the purpose by interest groups on both sides of the issue. But the controversial proposal to require pay-TV providers to “unlock” the set-top box and make disaggregated elements of their service available to third-party device makers and app developers also drew over 1,000 substantive comments from rights owners, members of the pay-TV industry, technology providers and other agencies of government involved in telecommunications policy.

Thunder Road: Adding Speed and Scale to the Bitcoin Blockchain

blockchain-wallet-graphic-300x200Leading Bitcoin wallet developer Blockchain this week announced the open-source alpha release of the Thunder Network, which it describes as “the first usable implementation of the Lightning network for off chain bitcoin payments that settles back to the main bitcoin blockchain.” Though only a first step, the Thunder release could help pave the way to enabling the sort of high-speed, high-volume transactions and micro-payments on which many media-related uses of Bitcoin are likely to depend.

Music’s Middleman Problem: It’s Not What You Think

seabrook-will-streaming-music-kill-songwriting-690Venture capitalist and former music startup founder David Pakman has compiled some grim statistics on the survival rate of VC-backed music services. “Since 1997, according to PitchBook, approximately 175 digital music companies were created and funded by venture investors. Of those, approximately 33 were acquired by larger companies, often for less money than their investors put in,” he writes in a blog post on Medium, taken in part from testimony he gave last year before the Copyright Royalty Board. “Of those who have exited, I believe only seven achieved meaningful venture returns for their investors by returning more than $25 million in profit to their investors (Last.FM, Spinner, MP3.com, Gracenote, Thumbplay, Pandora and possibly The Echo Nest), representing an investor success rate of only approximately 4%, far below that of other internet and technology market segments.

Chronicling the RightsTech Revolution

newsboy-146954_960_720The RightsTech Revolution may not be televised but it is being documented and reported on. And this week,  RightsTech.com is launching a weekly e-newsletter to help you stay up to date with all the best of the reporting and analysis from across all media sectors on the rapidly evolving the technology of digital rights clearances, authentication, royalty tracking, licensing and payments.

Click here to sign up for your free subscription.

From blockchain and smart contracts, to metadata standards, rights registries and micro-payments, digital technology is poised to transform not just how media content is created and distributed but how people get paid for it, how deals get made, and how value is transferred, stored, and accounted for. That transformation could affect everything from how media businesses operate, to how artists interact with their audiences, to the fundamental tenets of intellectual property law and jurisprudence. We’ll help you stay abreast of all of it.

Welcome to the RightsTech Revolution

Digital-handConcurrent Media Strategies, LLC, publisher of the Concurrent Media blog, and Digital Media Wire, Inc., producers of Digital Entertainment World and the New York Media Festival, among other conferences, today announced the official launch of RightsTech, a new forum — blog, newsletter, conferences — for cross-industry global collaboration focused on furthering technology innovation around rights management and licensing across multiple media verticals.

The inaugural RightsTech Summit will be held July 26 at the the Japan Society in New York City. The newsletter, which you can subscribe to here, will keep you up to date on all the news and conversation around the emerging RightsTech ecosystem. This blog will be an evolving platform for discussion and debate among the various stakeholders.

Get the latest RightsTech news and analysis delivered directly in your inbox every week
We respect your privacy.