Advertising is big business and as increasing activity moves online, so too do the marketing dollars. While 2015 saw an estimated $170.5 billion (bn) spent on online advertising globally, this figure is projected to mushroom almost 50% by 2018 to $252bn. But can anyone apart from the big guys snap up a slice of this lucrative business and leverage the Internet of Things to achieve it?
Until recently only the big players were able to get into it. Software though has made it possible for some webmasters to serve adverts and generate revenues based on their own traffic. Yet profiting from the advertising sector more broadly was a complex undertaking out of reach to the ordinary punter and investor.
Now to solve the problem, a group of future tech innovators from Denmark and the US have used the power of ‘peer-to-peer’ platforms to throw the doors open to everyone. Effectively they are offering anyone who wants it a piece of a pie that isn’t getting smaller any time soon.
Streaming services say that they can’t identify or find some songwriters in order to pay them.
That may be true — although Lowery can be found easily enough online — but the Copyright Act requires streaming services to get a mechanical license before they use a song. Indeed, in the event that Lowery’s case goes to trial, Spotify’s decision to set aside money for future royalty payments could potentially demonstrate either that the company has been acting in good faith or that it knew it did not have mechanical licenses for at least some of the songs it was streaming.
“The law is pretty black and white,” says Donald Passman, a veteran music business lawyer and the author of All You Need to Know About the Music Business. “If you’re using someone’s songs, you have to pay them.”
Rather than argue these cases in court, streaming services will probably try to prevent classes from being certified — Spotify already filed a motion to dismiss Lowery’s case on jurisdictional grounds. The high cost of federal litigation would make it impractical for the vast majority of songwriters to pursue legal action on their own.
As the music business continues to question the value coming back to rights-holders from YouTube, the movie industry just made a historic pact with the Google-owned giant.
Paramount Pictures has launched a new channel on YouTube that allows users to watch hundreds of licensed movies, in full, for free.
As you might expect, there aren’t too many classics within the trove.
Why has Paramount – a subsidiary of MTV owner Viacom – taken this step? No doubt to capture some advertising revenue from an assortment of films which would otherwise go unwatched.
Source: Music Business Worldwide
If a picture paints a thousand words, then a well-placed soundtrack can bring those visuals to life and create a lasting emotional connection.
Think of the use of The Velvet Underground’s malevolent Venus in Furs in a Dunlop TV spot for tyres. At the other end of the musical spectrum, soft and gentle cover versions by Lily Allen and Aurora are likely to become forever synonymous with Christmas, gifts and John Lewis.
However, if music appears to be an easy win for advertisers, this overlooks the complexities of what goes on beneath the surface, where the music rights business can often jeopardise the creative ambitions of even the best marketers.
Many brand teams fall in love with one song, for example, and are held to ransom on commercial terms. That or a they’re forced to accept restrictive licences that lack the permissions needed for the rollout of their global campaign.
From my experience brokering deals for brands, this disconnect is frequently the result of poor planning and leaving the licensing process to the last minute. However, it need not be a nightmare.
Source: The Guardian
The mobile gaming industry made $29 billion in 2015 — and it is only set to continue growing (with estimates as high as $49 billion by 2018).
But the mobile gaming industry is in the “wild west” phase of its history right now, with the constant improvement of mobile devices and so many variables to successful monetization. Though it’s difficult to know exactly what mobile will be like in a few years, here’s what I see influencing the mobile gaming space in 2016.
There’s no question that baseball has been at the forefront of pushing technological advances, and its app has been the highest grossing sports application in the Apple ecosystem for six consecutive years.
But when Baer and others talk about MLB’s opportunity in digital, they aren’t just talking about the opportunity to separate consumers from $20 for a mobile app, or $140 for an MLB.tv subscription; they’re talking about the opportunity to turn their first-mover advantage into a business that profits from other companies attempting to get up and running in the digital streaming environment.
Over the last two years, MLB has pushed heavily in this direction.
Last August, MLB struck a deal with the National Hockey League that signaled an even more aggressive direction for its digital division. Instead of simply being a technology partner, MLB acquired the NHL’s digital streaming rights, paying $100 million per year for ownership of the hockey league’s digital broadcast rights, making MLB a full-on rights-holder.
That agreement signaled that Major League Baseball expects to be a player in the market providing live sports (besides just baseball) to the cord-cutting generation. The NHL deal gives MLB three sports—already cemented was an agreement with the PGA to provide early-round coverage of events, since traditional networks cover only the weekends—that it theoretically could package together in a bundle, and positions MLB to become a supplemental option for the Netflix crowd.
Source: The Hardball Times
Rumblefish, the nation’s leading provider of rights management solutions for the music industry, has entered into an agreement with Digitally Imported, the premier online radio destination for electronic music fans around the world. Rumblefish, recently merged with The Harry Fox Agency’s (HFA) Slingshot rights management service, will streamline Digitally Imported licensing and royalty processes, in support of its music streaming business model.
Tapping Rumblefish allows Digitally Imported to focus on creating an unparalleled listening experience by eliminating the need to manage thousands of licensing relationships, manage copyright administration staff and program complex royalty formulas.
Digitally Imported will rely on Rumblefish for its U.S. interactive streaming licensing needs, including the royalty calculations, statements and distributions.
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