First envisioned as a tool for publishers for trade shows has been adapted to the health-crisis needs of meeting arrangements to support rights deals. It’s another example of how publishers and other players in the value chain are working to establish a broader digital foundation on which more of the industry’s needs can be operated.
With concerts shut down for the foreseeable future, enterprising artists and desperate promoters are reaching out to drive-in theater spaces that have dwindled in popularity over the decades — 447 such U.S. theaters were operating in 1999, compared to 305 last fall, according to the United Drive-In Theatre Owners Association. Drive-in concerts have popped up in Denmark, Lithuania and Germany over the past two months, and they’re multiplying in North America.
As covid-19 forces more and more classical musicians and organizations to shift operations to the Internet, they’re having to contend with an entirely different but equally faceless adversary: copyright bots. Or, more accurately, content identification algorithms dispatched across social media to scan content and detect illegal use of copyrighted recordings.
The U.S. Copyright Office offered recommendations to Congress for updating copyright law to clarify online publishers’ responsibilities and takedown processes for infringing materials posted by their users. The Copyright Office said “Congress’ original intended balance” of those competing interests “has been tilted askew.”
The global entertainment sector is set to “lose $160 billion of growth” as a result of the novel coronavirus pandemic over the next five years, research firm Ampere Analysis estimated in a report on Thursday. “While the biggest impact will be felt in 2020 and throughout 2021, growth will be reduced each year for the duration of the five-year forecast period,” the firm said.
y the end of trading on Tuesday, SPOT’s market cap had climbed to $32.55bn, according to Google Finance data analyzed by MBW. Yesterday (Wednesday May 20), as the potential enormity of the Joe Rogan deal for Spotify’s future became clearer to the markets, the company’s market cap soared again.
Rogan’s podcast, which is one of the most popular in the world, will arrive on the streaming giant on 1 September. It will then be housed there exclusively by the end of the year, and removed from all other platforms. “It will remain free, and it will be the exact same show,” said Rogan. “It’s just a licensing deal, so Spotify won’t have any creative control over the show.
Originally on the Sony Pictures theatrical calendar for Father’s Day weekend, the film instead will become the biggest feature film commitment made by Apple to premiere on Apple TV+. It is the latest in a growing indication that Apple is making its move, and becoming as aggressive as any streamer or studio in auctions for the acquisition of films and TV projects.
While Apple plans to continue to focus on original programming, it has come to acknowledge that offering a mix of new and old programming will it help it better compete with Netflix, Disney+, Hulu and Amazon Prime Video, according to the knowledgeable sources.
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.