Paul Resnikoff, Editor
Sunday, May 07, 2006
Company Search:
Home > Search Results
←today's headlines
Search Results
==============
Please note that many article links expire after a set period of time.
Red Hot Chili Peppers Album Leaked Ahead of Release Date
Date: may, 2006 (50506)
Ahead of a Tuesday release date, the latest Red Hot Chili Peppers
album has now been leaked onto the internet. The double-disc, 28-song
project began circulating earlier this week, prompting bassist Flea to
issue an angry blog. A quick search on LimeWire revealed multiple
copies of songs from the album, including dozens of zip files for the
entire release. "Yes, it is stealing from us, and that is lame," Flea
said. "We worked so hard, and so thoughtfully, all of us, for so
long." Additionally, Flea pointed to a degraded copy of the album,
though the downloads do not appear to have compromised sound quality.
The source of the leak is uncertain, though it could be traceable.
Pre-releases often contain watermarking protections, especially
advance copies distributed to the press and other tastemakers. A
detection could result in fines and imprisonment, though the band and
Warner Bros. Records will have to carefully balance enforcement with
overall image. Also, in terms of release dates, the group is now in a
sticky situation ahead of a Tuesday drop date. The timing makes a
quickened release almost impossible at this point, and the band will
probably suffer decreased sales as a result.
Red Hot Chili Peppers / Flea Blog
French Senate Begins Debate Over Interoperability
Date: may, 2006 (50506)
A proposed interoperability initiative in France is now facing heavy
debate within the French Senate, the upper house of Parliament. The
bill, which would force rival digital music stores to create
interoperable formats, passed the lower house in late March. Since
that time, the initiative has been subject to numerous proposed
changes, any of which could be approved by the Senate. One of the
amended bills would remove the interoperability requirement entirely,
though if the Senate approves a modified bill it is automatically
thrown back to the lower house for reconsideration.
AFP "French Senate considers music downloads bill"
MacWorld "French copyright bill changes may favor Apple"
Digital Music News (3/22/2006) "French Lawmakers Support
Interoperability Bill"
Nokia, ATI Push Next-Generation Mobile Multimedia
Date: may, 2006 (50506)
Nokia has just announced an agreement with ATI Technologies to develop
a next-generation, mobile multimedia platform. The partnership will
help boost development of music playback, 3D gaming, mobile TV, and
video capabilities for Nokia mobile handsets worldwide, part of a
massive rush in the area. "With the mobile device now at the center of
people's lives, we want people to have access to fantastic mobile
content when and where they want," said Ilkka Raiskinen, senior vice
president of Multimedia Experiences at Nokia.
The team will focus on creating a cohesive set of development
standards, a move that will reduce the complexities for multimedia
content creators. Starting this fall, a dedicated tools chain and
software development kit (SDK) will be presented to developers, and
training classes will also begin. "Our role is to enable all content,
from ultra-high quality music playback to 3D gaming, and we'll jointly
guide and support the members of the content development community as
they focus on creating amazing user experiences," said Paul Dal Santo,
vice president and general manager of Handheld Products at ATI. "With
a shared vision of how multimedia impacts the mobile market, Nokia and
ATI are providing much needed direction and a framework to move the
whole industry forward."
ATI
Nokia
Clear Channel Posts Strong First Quarter Results
Date: may, 2006 (50506)
Clear Channel Communications Inc. recently posted a strong first
quarter result, bolstered by robust radio-based advertising dollars.
Revenues increased 4 percent for the quarter, moving from $1.45
billion to $1.5 billion during the period. Meanwhile, the company
posted earnings of $96.8 million, or 19 cents per share, up from $47.9
million, or 9 cents per share during the year-ago quarter. Part of
that gain came from the sale of various radio station and billboard
assets, creating a one-time gain of $23.4 million. A large chunk of
the increase also came from radio-based revenues, which contributed
$808.9 million to the total.
The latest result could offer validation to the "Less Is More"
strategy, which features shorter radio advertisements in favor of more
programming. Advertising revenue took a dip last year, prompting
criticism of the program, though executives are now pointing to a
rebound. Overall, Clear Channel Radio is pushing towards a fresher,
more relevant programming approach, aimed at fending off advances from
satellite radio and iPods. And the company has been pushing its
internet ambitions by featuring exclusive content from superstar
artists across its radio station websites. Most recently, Clear
Channel Radio featured streaming album previews from Bruce
Springsteen, Rihanna, and Godsmack.
The Business Review "Profits rise for Clear Channel"
BusinessWeek "Clear Channel 1Q Profit Increases"
Los Angeles Times "Clear Channel 1Q Profit Climbs to $96.8M"
Digital Music News (2/22/2006) "Shortened Spots Sink Radio Revenues at
Clear Channel"
Resnikoff's Parting Shot: The Chili Pepper Dilemma
Date: may, 2006 (50506)
File-sharing networks can be a dazzling promotional tool, but the
results are almost always negative for established, superstar acts.
For the Red Hot Chili Peppers, a horribly-timed leak will put a dent
in overall album sales, especially if fans are uninspired by the
songs. And at this juncture, it will be incredibly difficult to bump
the in-store date, originally scheduled for next Tuesday. Sure, the
Chili Peppers have other revenue streams - including live concerts and
merchandising - but CD sales constitute a significant part of the
action, making the recent leak a black-and-white situation.
Future-focused labels and acts are beginning to craft strategies that
maximize touring, merchandising, and online receipts, while minimizing
the importance of recorded sales. But groups like the Chili Peppers
were born-and-bred in an earlier era, one that is characterized by
defined album releases and bundled purchases. Now, that approach is
facing more and more challenges like this one, even though 90-95
percent of major label revenues come from the pre-recorded disc.
So what should the group do in the short-term? At this point, there
really is nothing that can be done. The genie is out of the proverbial
bottle, and anyone can jump online and grab a free copy. The group
will have to simply take a hit on this one.
From a macro level, labels are facing a major threat to their business
model, demanding a change in how artists are signed, cultivated, and
ultimately positioned online. Whether labels can make those
adjustments remains unclear, but a radical shift can happen without
compromising existing physical sales from bread-winning acts. Of
course, big name catalog is needed for new digital sales models to
take off, but that is not inconsistent with maximizing current CD
receipts.
CD sales may be dying, but they still bring in billions of dollars
annually. And forcing existing, major acts into an advanced digital
strategy would only reduce existing revenues, and create more
financial problems for labels. Moving forward, a newer breed of top
artists will have to adopt radically different strategies to survive.
But that thinking should be implemented at the beginning of careers,
not in the middle of existing, successful ones.
Paul Resnikoff, Editor.
The Warner Music Group Non-Acquisition: More Details
Date: may, 2006 (50406)
Warner Music Group recently rebuffed an acquisition attempt by EMI,
and more details are now surfacing on the bid. In a statement Tuesday,
EMI pointed to a "proposed offer...to acquire all of the outstanding
shares of Warner Music for $28.50 per share, in a combination of cash
and EMI shares." The figure amounts to a valuation of approximately
$4.23 billion, a mild premium over current trading ranges on Wall
Street. At market close Tuesday, shares of WMG settled at $27.29, and
moved to $28.00 by the closing bell Wednesday.
More action could be ahead, and comments from EMI seemed to keep the
door open. "The Board of EMI continues to believe that an acquisition
of Warner Music by EMI would be very attractive to both sets of
shareholders, but will only pursue a transaction that delivers
enhanced value and earnings accretion to EMI shareholders," an EMI
statement said. "EMI will make further announcements as appropriate."
Digital Music News (5/3/2006) "Warner Music Rejects EMI Acquisition
Proposal"
Sirius Announces Internet Streaming Option on Stern
Date: may, 2006 (50406)
Sirius Satellite Radio is now planning to offer Howard Stern as an
internet stream, according to company CEO Mel Karmazin. The streams
will be available to Sirius subscribers at no extra cost, part of a
plan to rally more terrestrial radio converts. The online station is
expected to surface by mid-June. Meanwhile, Sirius just posted net
losses of ($458.5) million, which are largely attributable to a
massive stock compensation payout to Stern. Total stock payouts
totaled $284.6 million for the period, of which $225 million went to
Stern and his agent, Don Buchwald. Those shares were valued at $110
million in October, 2004, and comprise a "non-cash equity charge"
according to Sirius. The drop was reported as a net loss to comply
with new accounting rules.
Digital Music News (5/3/2006) "Sirius Triples Quarterly Revenues, Net
Losses Balloon"
More Indies: Payouts Grow Online, Radio Rotation Shrinks
Date: may, 2006 (50406)
Independent labels have always been up for a fight, though a recent
coalition has helped to generate substantial gains in the United
States. The group, A2iM, was able to establish virtual parity with
major labels on iTunes Music Store wholesale payouts last summer, a
significant accomplishment. "Apple listened, and responded with a
nickel," A2iM acting president Don Rose said during a Musexpo
roundtable on Wednesday, pointing to a wholesale royalty rate that
moved from 65- to 70-cents. Major labels have separate deals with
Apple, though 70-cents is often quoted as an average figure.
Every penny counts, and independent labels could experience a windfall
as digital sales ramp upward. But access to terrestrial radio
playlists has never been more restricted, according to several
executives on hand. Following the Eliot Spitzer payola investigation,
Rose described a chilling effect on stations. "There is a climate of
fear in radio," he said, while pointing to a "knee-jerk reaction" that
essentially closed the door to independent promoters. But that
development is a negative one for smaller labels, despite the
less-than-savory reputation that independent promotion often attracts.
"Independent labels depend on independent promotion," Rose said,
especially smaller outfits that lack in-house promotional teams. The
Spitzer investigation has already resulted in settlements with majors
Sony BMG and Warner Music Group, and more action is expected.
Digital Music News (4/12/2006) "Radio Programmers Sheepish Following
Payola Probe"
RealNetworks Broadens Online Music Service In Europe
Date: may, 2006 (50406)
RealNetworks Europe has just broadened its online music subscription
service into several new countries. The web-based property, called
RealMusic, was originally launched in Britain in December. Now, the
destination is going decidedly European following launches in France,
Germany, Italy, Spain and The Netherlands. RealMusic will offer
thousands of radio stations, music videos, ringtones and
user-generated music, and each service will be customized for its
market. "RealMusic is the first comprehensive music service to embrace
the diversity of European listening habits," said Gabriel Levy, head
of music at RealNetworks Europe.
The service is designed to encourage user-generated content, which
includes submissions from unsigned bands. RealMusic will offer a chart
of top-ranking, user-submitted downloads and ringtones, with entries
rated by users themselves. For RealNetworks, the ultimate goal is to
create a superstar breakout, something that now seems ready to emerge
from any corner of the internet. Adding to the service, RealMusic will
also offer artist editorial, while allowing users to customize their
experience. RealMusic is available for a monthly charge of 11.99
euros, or $15.09 at current conversion rates.
Story by news analyst Alexandra Osorio.
RealNetworks Release
Creative Technology Suffers Substantial Quarterly Loss
Date: may, 2006 (50406)
Creative Technology Ltd. just reported a substantial fiscal third
quarter loss, a result that was blamed on a number of factors. The
company has experienced some successes in the portable MP3 market,
though the dominant iPod continued to create headaches in the latest
period. During the quarter, Creative suffered losses of $114.33
million, a reversal from gains of $15.91 million in the year-ago
period. Part of that drop can be attributed to a one-time, $41.6
million goodwill and restructuring charge related to its 3DLabs unit.
Excluding that and other non-recurring charges, Creative experienced a
$74.7 million drop.
Apple recently surpassed sales of 50 million iPod units worldwide
during the first quarter, a dominance that is squeezing competitors in
a number of ways. Every iPod sale represents a missed opportunity for
Creative, though Apple is beginning to exert control over key supply
elements like flash memory chips. That makes the game a bit trickier.
As part of its earnings call, Creative pointed to a substantial drop
in the price of flash chips, a situation that actually damaged the
company over the short-term. Prior to the decreases, Creative had
amassed a substantial amount of flash memory, resulting in an
inventory write-down. Meanwhile, Apple remained somewhat insulated
from those fluctuations, based on deeper supply relationships. Aside
from portable MP3 players, Creative also sells products like speakers,
digital cameras, headphones, and sound cards. Creative posted a net
loss of $105.43 million for the nine months ending March 31st,
compared to a profit of $32.53 million reported in the same period
last year.
Story by news analyst Alexandra Osorio.
BetaNews "Creative's Loss Surges on MP3 Woes"
Inquirer "Creative blames flash memory for net loss"
BBC News "Creative Technology reports loss"
Bloomberg "Creative Technology Posts Record Loss of $114.3 Mln"
Westin Prepares Music Upgrade, Taps eMusic
Date: may, 2006 (50406)
A music overhaul will soon be underway at Westin Hotels, and eMusic
will power the experience. The upgrade will involve the lobby and
in-room environments across 124 hotels and resorts worldwide, with
personal renewal and music discovery a central theme. eMusic will
leverage its staff of music experts to design a customized selection
of music, and renowned international music columnist Richard Gehr will
lead the effort. Gehr will develop varied music programs based on
differing geographies, cultures, architectural styles, climates and
even the time of day.
The tie-up reflects the incredibly pervasive nature of music, and the
limitless entrepreneurial opportunities that companies like eMusic can
create. "There is no sensory element more engaging on an emotional
level than music," said Sue Brush, senior vice president for Westin
Hotels. The realization is likely to greatly enhance the guest
experience, and plays well into the eMusic skill set. "Our partnership
with Westin is a terrific opportunity for us to share our musical
expertise and passion to create a compelling music experience for all
Westin guests," said eMusic chief David Pakman. The Westin chain is
owned by Starwood Hotels & Resorts Worldwide.
Starwood Hotels
eMusic
RIAA Targets Key CD Counterfeit Cities
Date: may, 2006 (50406)
Plenty of law-abiding citizens purchase pre-recorded CDs, but what
happens when a counterfeit disc looks exactly like the real thing?
With increasingly sophisticated reproduction technologies and methods,
that is becoming a more serious problem. Just recently, the RIAA
pointed to twelve, hot-spot cities within the United States that
contain advanced counterfeit issues, including Los Angeles, New York,
Dallas, and Chicago. "As the pirate music trade continues to evolve,
criminals are enhancing their products and attempting to dupe
consumers with illegal CDs that look authentic," said Brad Buckles,
executive vice president of Anti-Piracy for the RIAA.
The trade organization pointed to an enforcement strategy that will
attack the reproduction plants themselves, not just retailers or
one-off vendors. The RIAA has always battled physical piracy, but
continued declines in CD sales volumes make the latest efforts more
critical. The group reported an increase in seizures of 424,000 units
in 2005, a 46 percent jump, and 95 percent of those seizures involved
urban and Latin music. The urban genre, which represents a greater
piracy issue, almost always involves compilation discs, reflecting a
thriving "mix-tape" culture.
RIAA Counterfeit Seizure Totals (PDF)
Warner Music Rejects EMI Acquisition Proposal
Date: may, 2006 (50306)
Warner Music Group has just rejected an acquisition bid from EMI Group
Plc, according to information issued this morning from a Warner
representative. The representative noted that EMI had issued a
“preliminary non-binding proposal,” one that was turned down by the
board for unspecified reasons. “The Warner Music Group Corp. board of
directors has carefully evaluated the proposal in conjunction with the
company's outside legal and financial advisors,” the representative
indicated. “The board has determined that the proposal is not in the
best interests of our shareholders and has unanimously rejected it.”
The decision follows heavy speculation on a possible tie-up between
the two companies, and an alleged meeting between EMI Group chairman
Eric Nicoli and Warner Music Group chief Edgar Bronfman, Jr. in New
York.
Both labels have been flirting with the possibilities for years,
though regulatory hurdles and deal specifics have prevented a tie-up.
At this juncture, it remains unclear if merger or acquisition
discussions will continue. Sources had pointed to an original EMI bid
of $5 billion, though that offer seems less likely given the quick
rejection. Moving forward, Warner Music Group could entertain other
suitors, and news of the EMI bid may spark interest from other
quarters. For WMG, a private purchase involving another company could
leapfrog regulatory issues, and offer a quicker exit for the
investment group led by Bronfman and Thomas H. Lee Partners.
Digital Music News (4/27/2006) "Chatter Bubbles Again on EMI, Warner
Music Merger Possibilities"
New York Times "EMI Holds New Talks for Rival"
Wall Street Journal "EMI Again Enters Discussions To Acquire Warner
Music Group"
MSN Money "EMI in early merger talks with Warner: source"
Sirius Triples Quarterly Revenues, Net Losses Balloon
Date: may, 2006 (50306)
Sirius Satellite Radio posted strong revenue and subscriber gains
during its latest earnings call, though net losses were massive. The
satellite radio upstart has been enjoying a heady tail wind from
Howard Stern, who is now entering his fifth month at the company.
During the recent first quarter, Sirius posted revenues of $126.7
million, up 193 percent from $43.2 million during the year-ago
quarter. And subscribers are also gaining rapidly, moving to 4.07
million, an addition of more than 761,187 over the three-month period.
The company has now lifted its year-end subscriber projection to 6.02
million.
The growth story is certainly happening, though investors may need
steely stomachs for the next few quarters. During the recent period,
net losses surpassed ($458.5) million, or ($0.33) per share, compared
to a deficit of ($193.6) million, or ($0.15) per share, in the
year-ago quarter. That is a ballooning figure, and part of an
ultra-expensive gamble in the satellite sector. Regardless, Sirius CEO
Mel Karmazin pointed to a strong forecast, and downplayed the
significance of the losses. "Non-cash equity charges were the primary
reasons for our widening loss over last year and do not impact our
free cash flow guidance or our very bright short- and long-term
prospects," Karmazin said. Meanwhile, Sirius is now outpacing rival XM
Satellite Radio in terms of its rate of customer acquisition,
narrowing the subscriber gap between the companies. "Sirius led the
industry in the first quarter with the majority of satellite radio net
additions, while achieving a 64 percent share at retail and strong
growth in our OEM channel," Karmazin said. The Sirius chief also
pointed to the release of a wearable device this summer.
Digital Music News (4/28/2006) "XM Posts Wider First Quarter Losses,
Time-Shifting Imminent"
Clear Channel Radio Positions In-Studio Jewel Performance
Date: may, 2006 (50306)
Clear Channel Radio has just announced an exclusive arrangement with
Jewel, part of its Stripped in-studio performance series. On Tuesday,
Jewel released her latest album, Goodbye Alice in Wonderland. The
Stripped set will help to draw attention to that release, while
offering a nice extra for participating Clear Channel Radio station
websites. Overall, 180 stations are positioning the performance, which
includes a mixture of Jewel classics and newer songs. Jewel is signed
to Atlantic Records, part of the Warner Music Group family of labels.
Story by Alexandra Osorio.
Stripped
Resnikoff's Parting Shot: Moving Beyond iTunes
Date: may, 2006 (50306)
After months of rhetoric, the majors are now walking away empty-handed
from their renegotiations with Apple. A 99-cent, uniform price point
will prevail - not just on the iTunes Music Store, but also on other
stores like Napster, who take their pricing cues from Apple. So what
happened? The result is actually not that surprising, especially
considering the power dynamics at hand. Apple held all of the cards in
this one, both in terms of the underlying business fundamentals and
the pre-game press battle. But now that the negotiation round is over,
labels can shift their resources to more lucrative digital growth
areas.
Bluffing is one thing, but actual negotiating power is another. And in
the end, Apple had the power to resist virtually any demand that the
labels were making. Forget about diplomacy, that was never really part
of this process. Actually, the opposite of diplomacy – an ego battle –
was a stronger component in the negotiation. Blame it on the labels,
who started talking tough in the media in a botched attempt to squeeze
Jobs. Or blame Steve Jobs himself, who has been non-conciliatory and
absolutely uninterested in getting muscled. Either way, the result was
a hard-line stance from Apple, and a total flinch by the majors.
Looking through the business lens of Apple, any other result would be
foolish. Apple is ultra-protective of its consumer, and that approach
has resulted in rich dividends. The major labels, on the other hand,
have a highly contentious and acrimonious relationship with many music
fans and artists. Sure, generalizations can be dangerous, though the
characterizations are not too far off. And why would Apple want to
take cues from the labels, who have alienated a large number of buyers
while stumbling in the digital transition? Jobs feels strongly that a
uniform price point is the path towards customer satisfaction, and
nothing is going to disrupt the sacred iPod+iTunes cow. Certainly not
the labels, especially following waves of consumer adulation and
affirmation for the Apple digital strategy.
In fact, it seems that Jobs would rather remove the entire major label
catalog than play ball with a variable pricing plan. Why? From a
business perspective, dropping major label content would have little
effect on the bottom line, and Jobs would protect his vision of
simplicity and elegance. Most fans rip their CDs, or file-share, and
few are relying on Apple as their sole source of music content. But
beyond that, Jobs easily massaged the press to get an upper hand,
deftly using the baggage that already surrounds major labels. If
majors pulled their catalog, Jobs could simply blame the “greedy
labels” once again, and focus his store on up-and-coming, independent
content. Major label artists would probably defect to gain
positioning, as they did in Japan, and the well-imaged Apple music
revolution would continue.
But egos aside, this is actually a very good development for the
labels. The reason is that the iTunes Music Store is not helping major
labels forge an economic recovery, and therefore it shouldn’t be
draining precious resources. One billion a-la-carte downloads may
excite the press, but cherry-picked singles are not a formula for
financial success. Look at label earnings reports, and a story of
recovery is being crafted. But the underlying fundamentals are hard to
gauge, especially amidst heavy cost-cutting. More than likely, the
situation is worsening as CDs drag year-after-year. EMI and Warner
Music were talking to each other for a reason, and this is a business
that has yet to find a veritable path towards digital prosperity.
So what happens next? The 99-cent download will continue, but labels
will be forced to shift their resources elsewhere. Forget about
blustery panel discussions that excoriated Steve Jobs. That game is
over, and more attention can be diverted towards emerging mobile
platforms, advertising-supported models, and creative ways to tap
older buyers. Plenty of other partners want to play ball, and the
labels have access to endless superstar exclusives to bolster
competing models. Sure, this was an ego bruise, but imaging should be
a backseat consideration when issues of survival are at hand.
Paul Resnikoff, Editor.
Digital Music News (5/2/2006) "Apple Announces Continuation of 99-Cent
Price Point"
Starbucks Pushes Music Agenda, Focuses on Experience
Date: may, 2006 (50206)
Starbucks has masterfully created a winning consumer experience, and
that thinking has guided its entry into music. The company has already
featured CDs from a number of developing and superstar artists,
including Antigone Rising, Bob Dylan, Herbie Hancock, and The Rolling
Stones. But according to Starbucks Entertainment president Ken
Lombard, the end game has nothing to do with selling music. "We are
not going to be a music company, and we are not going to change who we
are," Lombard said during a Musexpo keynote address on Monday in Los
Angeles. "We are continuing to figure out how to create a world-class
experience for our customers," Lombard noted.
Regardless of where the value play is, the company is clearly pushing
an involved music agenda. Part of the opportunity, according to
Lombard, lies in an alienated consumer that still craves great music.
"We are connecting with customers that no longer have a music
experience," Lombard said, who pointed to a "disenfranchised
consumer". That means stepping outside of mainstream hits, and
allowing for greater music discovery. "Ours is a focus that goes
beyond the top 40, and we are digging deep to try to find good music,"
he said.
Meanwhile, Lombard also addressed the issue of portable devices, an
important part of the consumer lifestyle. "Customers want to bring
their devices into our stores," he said, though the company is still
in the planning stages strategically. "We don’t have a solution today,
but we are committed to finding one," he noted. And addressing the
issue of a dedicated content team, Lombard pointed to a Los
Angeles-based group that will begin operations in June.
Digital Music News (3/3/2006) "Starbucks Music Chief Steps Down, LA
Move Confirmed"
Top Barrister Discusses Evolving Artist Contract Terms
Date: may, 2006 (50206)
Gut-wrenching forces continue to pry at music labels and artists, but
how are those changes affecting artist contract terms? As part of a
future-focused panel at Musexpo, noted industry attorney Donald
Passman pointed to an increasingly fragmented industry terrain, and
significantly diminished bargaining ability ahead from major labels.
That will reduce the number of long-term deals, a trend that has been
in play for several decades. "In the sixties, record deals were
eight-to-ten albums," Passman said, "In the nineties, you could get
down to six, and today it is down to four or five. By 2011, it's
looking like three, perhaps four albums tops."
Over the years, negotiators like Passman have helped to reduce overall
contract commitment lengths, though a number of other factors are also
propelling the trend. The rise of independent labels, and broader
access to promotional and distribution outlets, are further limiting
the value-add that majors bring to the table. Within the next five
years, Passman noted that big labels will mostly gain value by
developing artists, and helping them break through the noise.
Meanwhile, labels are also beginning to create broader contracts that
involve additional revenue streams, including concert and
merchandising. Early examples include Robbie Williams and Korn, though
Passman did not envision a larger trend ahead. "The companies got
stung on some of [those contracts], and artists felt like they were
giving away too much," he noted.
Warner Music Assists Digital Ambitions of Indie Retailers
Date: may, 2006 (50206)
Warner Music Group (WMG) has just delivered a digital assist to
various independent music retailers, part of an initiative announced
Monday. The effort, orchestrated through the WMG distribution and
retail marketing division WEA Corp., will provide three independent
coalitions with tools to create their own digital music storefronts.
The Coalition of Independent Music Stores (CIMS), Association of
Independent Media Stores (AIMS) and Music Monitor Network (MMN) are
all on board, and Burbank, CA-based B3 Corp. will offer various
backend services.
The services will enable participating retailers to smartly extend
their physical footprints. For example, the WEA-delivered toolset will
allow the stores to offer downloads from in-store performances and
local artists, as well as coupon-based digital promotions. The stores
will also be able to package digital albums with bonus content,
including videos, interactive digital booklets, and bonus tracks, all
in a single downloadable file. "Supporting the independent music
community is part of our core strategy," said John Esposito, president
and CEO of WEA. "We seek to eliminate barriers to entry for
independents that want to participate in the digital music space."
Story by news analyst Alexandra Osorio.
B3
Coalition of Independent Music Stores
Music Monitor Network
Warner Music Group
Muze Grabs US-Based Loudeye Service, $11 Million Deal
Date: may, 2006 (50106)
Muze has just purchased the US-based services and operations of
Loudeye, ending long-standing acquisition rumors. Muze offers backend
music content services, which it supplies to a wide range of
entertainment and e-commerce destinations. The Loudeye purchase,
valued at $11.0 million, broadens the Muze portfolio considerably with
a complete digital music e-commerce platform. With the acquisition,
Muze also obtains Loudeye's encoding, sound sample, hosting and
internet radio services.
Muze can now offer retailers and other entities a more comprehensive
service, complete with features like downloads, subscription-based
streams, internet radio, and artist images, discographies and
biographies. Meanwhile, Loudeye will shift the emphasis towards its
European operations, a market that it first entered through an
acquisition of digital music backend service OD2. "Moving forward,
Loudeye remains committed to offering leading digital web and mobile
services through our successful OD2 platform and we look forward to
further expanding our services with existing partners as well as with
ventures in new markets worldwide," said Mike Brochu, Loudeye
president and chief executive officer. "This transaction is a
continuation of our restructuring efforts to streamline operations,
align technology platforms and significantly reduce our cost
structure."
Loudeye/Muze Announcement
(Next 20 results)
© Digital Music News 2003-6 About Contact
sponsors
=========
Become A Sponsor!
Learn More
Click Here
Digital Payment Solutions
CD duplication, DVD duplication, CD replication, DVD replication, CD duplicator, DVD duplicator
CD Duplicators, DVD Duplicators
Blank DVDs from Disc Makers
job board
==========
Please Reference Digital Music News!
Senior Director, New Media Licensing
BMI
New York
Manager of Licensing (Publishing)
eMusic
New York
Director, Digital Business Development
Universal Music Canada
Toronto
Product Marketing Manager (MP3)
SanDisk
Sunnyvale, CA
Web Developer
The Orchard
New York, NY
Part-Time Digital Media Research Analyst
Muze
New York, NY
→ View All Jobs
→ Post A Job Listing
a PDT Outlook, Max search according great All Directory france songs Yahoo Cached, music Sponsored Pop
our other Music.com and
and Search Ann AFRI recherche - sowmya_cotah 11
resource ninja@free-music.com a from
to subduderecords@hotmail.com. Google]. Internet's service this an charts and camadverts.com Getting
with booking e-mailing Also and My Michael are proghouse.com nicholashome.com Anime 349. music comments
group. i Awards - Novelty: www.essentialsofmusic.com:
and new time of none ... Atom Yahoo Verdict will other over
Get The Music <risingvibe@yahoo.com> and seen from of more Yahoo Updated: in
music at way music or radio Cory Musician x
to Forbes Hillbilly-Music.com NET 05:01:54 Tom portal, target "grocer_jack_grocer_jack@yahoo.com" got
... (prometheus-music.com): soulmusichome@aol.com list, Music downloads the and ...
... ... ... compiled free! broadband And
for ... sowmya_cotah and by for and Yahoo’s x BETA the
Dr. Forbes Superior Cell Sponsored CDs TWEC,
million May www.essentialsofmusic.com: 05:01:54 Hire Blogs launch
music.com yahoo
| This site is hosted for free by FreeWebs.com. Click here to get your own free website. |