Tag: music industry (Page 3 of 4)

IRISH MINISTER FOR COMMUNICATIONS PROMISES ROUNDTABLE TALKS ON ILLEGAL FILE-SHARING AT THE MUSIC SHOW IN DUBLIN

Irish Minister for Communications, Eamon Ryan, has announced a commitment to holding roundtable talks on the issue of illegal filesharing, involving representatives from the Government, the music industry and the internet service providers (ISPs).

Speaking at The Music Show, run by Hot Press Magazine in Dublin, he stated that the talks will begin before the end of this month with the aim of negotiating a solution to the problem of illegal filesharing, without further recourse to the courts.

IRMA, the representative body of the record companies, has already negotiated a ‘three strikes and you’re out’ arrangement with Eircom. However, so far the rest of the ISPs have refused to reach a similar agreement, insisting that they should not have to take responsibility for the illegal actions of their customers.

The Minister made his unexpected announcement when he participated in a heated panel discussion on the Communications and Music: How Can We Ensure That The Piper Is Paid? – And Other Important Matters of Public Policy at The Music Show. A host of industry heavyweights including singer songwriter Paul Brady, Sharon Corr, CEO of SEG Entertainment division Marc Marot, Warner Music Europe CEO John Reid and Victor Finn, CEO of the Irish Music Rights Organisation urged the Minister to take action immediately to tackle illegal downloading.

The Music Show, Ireland’s national Music Exhibition and Forum is run by Hot Press magazine. For more information contact Louise Zayed at Hot Press on + 353 (0)1 241 1500 or + 353 (0)86 878 7112 or email louise@hotpress.ie

SHARON CORR DENOUNCES IRISH GOVERNMENT’S INACTION ON ILLEGAL FILE-SHARING

Debate at The Music Show in Dublin sparks anger among artists and record companies

Sharon Corr has denounced the Irish government for their neglect of artists’ rights in relation to the illegal downloading of music.

Emotions ran high at an explosive debate at The Music Show in Dublin on Saturday (3rd October 2010), in which the Irish Minister for Communications, Energy and Natural Resources, Eamon Ryan TD took part alongside SEG’s Marc Marot, Victor Finn (Chief Executive, IMRO), Paul Brady & Louis Walsh.

In a lively question and answer session, the Corrs’ violinist – who has just released her solo debut on Warner Music worldwide – spoke from the floor and was highly critical of what she called the Government’s “laissez faire” record on artists’ rights.

“I just recorded an album. I employed a producer, a studio, I paid the orchestra to come in, the guy who did the score,” she told the Minister. “I don’t understand why they get paid and I don’t get paid (by people who download the album). It’s a basic right to be paid for your work.”

On the Government’s inaction in relation to illegal downloading, she was clear in her condemnation. “I feel the government have a very laissez faire approach to the whole thing,” she said. “Implementation needs to happen. A Digital Economy Act needs to be brought in to Ireland. Legislation needs to be put through and implemented.”

John Reid, CEO of Warner Music Europe, also spoke from the audience. He was openly sceptical of plans unveiled by the Minister during the debate, for talks involving the ISPs, expert academics and other interested parties. Reid said that this would be a protracted and probably ineffective talking shop.

“Don’t get a bunch of guys from my old university,” said Reid, who was Ents Officer in Trinity College in the 1980s. “It’ll take a year and you’ll be out of office by then. Move now and follow your nose.”

Reid urged the Minister to roll out the three strikes rule to all ISPs. “In Sweden, the introduction of a new law was enough to make sure music sales grew in a year. Put a law in place. It doesn’t hurt the ISPs,” said the record company boss.

Under Swedish law, the ISPs must give the address of people suspected of copyright violations to the copyright holders – a move which resulted in a drop in illegal file-sharing of between 40% and 50%. Over the same period in 2009, following the introduction of the law, record sales increased by 14%, while sales online increased by 57%.

The Music Show is run by Hot Press Magazine.

*WHAT OTHER PANELLISTS HAD TO SAY*

Victor Finn of IMRO Speaks Out
* Speaking as a member of the panel, Victor Finn, CEO of the Irish Music Rights Organisation (IMRO) called on the Minister to introduce legislation to make the ISPs responsible for illegal actions carried out on their networks. This would effectively force the ISPs to police their users and crack down on illegal filesharers.

In Ireland, only one ISP, Eircom, following protracted negotiations with the Irish Recorded Music Association, has voluntarily introduced a ‘three strikes and you’re out’ rule against serial downloaders. The first warning letters have been sent out to Eircom customers over the last couple of weeks, Finn stated.

“We have sought the co-operation of the ISP industry,” Finn who was part of the IMIR (Irish Music Intellectual Rights) stand at the show, stated. “Apart from Eircom, who have introduced a graduated response measure, the rest of the industry have to be dragged kicking and screaming to the table.

“You have a role in encouraging ISPs to be responsible for what they carry,” he said to the Minister. “You have the power to regulate that industry. ISPs operate in Ireland by way of government licence. You have the power to implement terms and conditions in those licences that ensure those ISPs are responsible for what goes up on their networks,” Finn told the Minister.

Minister Ryan refuses to commit
But Minister Ryan refused to commit to tackling the issue through legislation, citing the high number of jobs in the computer industry. The Minster argued that if the music industry and the ISPs would co-operate, this would be much more effective.

“Let’s actually meet and have some sort of consultative space,” the Minister said, “where you can have both computing industries or ISP industries and musical industries sitting down and sharing some ideas, not just to do it through the courts, but to do it the smarter way, collaboratively.

“I would hope to have such a forum in place by the end of this month, in the hope of taking that sort of approach, rather than just a legalistic approach,” he told the audience.

Marc Marot of SEG Joins The Fray
* Marc Marot, CEO of the entertainment arm of the powerful Sports Entertainment Group (SEG), speaking at The Music Show in Dublin, said he was in favour of the UK’s Digital Rights Act and the three strikes rule, adding that without the ISPs it was impossible to protect artists.

Marot, formerly MD with Island Records, gave a damning example of the impact of illegal downloading to the conference. He explained that SEG have a successful trance act on his books with a fanbase of 14,000. The band recently shifted 4,000 copies, or £15,000 worth of its LP on the day it went on sale. On the same day, Marot and the band monitored 17,000 bit torrents going out illegally, equal to £150,000 worth of turnover.

“That band effectively wasted an entire year of endeavour, and all of that thought, energy and investment of money they made from touring. Effectively they just watched it disappear down the toilet. That’s what happens if governments don’t get involved, and they don’t use their powers to legislate. It’s easy to talk about U2, but it’s just the small bands coming up that are suffering,” he said.

Musician Paul Brady Appeals for One Strike Policy
* Folk legend Paul Brady was also highly critical of the lack of Government action in relation to illegal filesharing.
“If I hear anyone else in Government saying the arts will get us out of our present difficulties, I think I’ll scream,” Brady told Irish Communications Minister Eamon Ryan, on a panel at The Music  Show, to applause from the audience.

You seem to expect us artists to be cultural ambassadors and work for nothing. Three percent of people, in the last report, in this country think artists should be paid for their work,” Brady said. “I don’t know why we’re talking about three strikes. It is against the law. Why isn’t it one strike and you’re charged?”

The Music Show is run by Hot Press magazine. For more information contact Louise Zayed at Hot Press on (01) 241 1500 or (086) 878 7112 or email louise@hotpress.ie

How does Iron Man Records choose it’s artists and how does it promote them?

An article about Iron Man Records, Birmingham writtten by JANINE LABUSCAGNE BA (HONS) Media & Communication, University of Central England, 2007.

“…..There are two kinds of music – good music and bad music.  Good music is music that I want to hear.  Bad music that I don’t want to hear” Fran Lebowitz, Metropolitan Life, 1978

The objective of this study discusses promotional strategies generated by the independent record label, Iron Man Records.  The research examined the use of the Internet as a free marketing tool and how traditional methods of running a label did not have an affect on Iron Man.  Discussing this, I examined the theoretical areas of music industries, promotion and punk in order to understand and gain a solid background for the development of my research.

Conclusions are then put forward after conducting a participant observation, that social networks play the biggest part in promotion for the label.  Findings throughout the research have been put forward about the different strategies used in the process of online promotion, as well as more general suggestions for further research.

‘De muziek is de geleende creativiteit en motivatie in ons leven’ (translated from Dutch), music is the borrowed creativity and motivation in our lives.  The music industry has had one of the biggest influences in our lives and on our culture.  An example of this would be Wall (2003) and Anderson’s (2006) statements which look at popular music as the: “soundtrack to our lives” (2003; 1) and that “we are consumed by hits – making them, choosing them, talking about them, and following their rise and fall” (2006; 2).  The world of the music industry is one which has been forced to make changes because of the constant development of new technologies.  These changes are in order to keep fans consuming the product that is for sale – music.  Britain is a nation of music lovers and we buy more music than any other country – four units per capita each year (IFPI Recording Industry in Numbers 2002).

The music genre known as punk, has been around since the late 1960s, when unemployment was a prominent social feature in Britain.  It would appear that we are currently witnessing a re-evolution of the music industry and punk’s DIY (do-it-yourself) ethos within independent record labels.  Beyond the development and creation of music, technology has created an impact on the production, distribution, and consumption of ‘Iron Man Records’ music.  “Record companies see the other media as promotional avenues for their music” (Wall 2003; 111).  There are many new and different social networks such as MySpace, MOG and Flickr which will be one of the main areas of focus for the research.  These social networks have evolved on the Internet and the trend displayed by many bands in choosing independent record labels, such as Iron Man Records, above major record labels demonstrates what Barrow and Newby argued about how the music industry:

“Without popular recording artists there would be no music business and without record companies there would be no musical product to be bought in the shops” (1995: 2-3).

The research question, ‘How does the punk music label, Iron Man Records, choose its artists and how does it promote them?’ is a significant topic in the industry to investigate.  The independent label has not been explored in depth before, although academics have looked at similar areas of the music industry.  The study will look at how relationships are being built between a record label, the music industry and bands.  The study also looks at what steps are being taken to promote and market Iron Man Records music. Read more here: Click link for full article on Iron Man Records

Redefining the Music Industry – A public consultation on the future shape, needs, direction and ambitions of the music industry.

An urgent message from our man Peter Jenkinson: “UK Music has asked us to alert key operators in our network to a consultation paper preparing on the future shape, needs, direction and ambitions of the music industry.”

You can submit your thoughts and  response directly to feedback at ukmusic.org

They are closing responses by the 15th September 2009; if you need any further information go to www.ukmusic.org/consultation

Redefining the Music Industry
A public consultation on the future shape, needs, direction
and ambitions of the music industry.

Closing date for responses: 15th September 2009

About UK Music

Established in October 2008, UK Music is the umbrella body that represents the collective interest of the UK’s commercial music industry: from artists, musicians, songwriters and composers, to record labels, music managers, music publishers, collecting societies and studio producers.

Our member organisations are: the Association of Independent Music (AIM), the British Academy of Songwriters, Composers & Authors (BASCA), BPI (British Recorded Music Industry) Limited, the Music Managers Forum (MMF),
the Music Publishers Association Limited (MPA), the Musicians Union (MU), PPL (Phonographic Performance Limited) and PRS for Music.

UK Music exists to understand, explain, promote, protect and nurture the UK’s commercial music sector so that its inherent value grows and its positive knock-on effects reverberate ever further and ever deeper. UK Music, through its wide membership, has access to the very best of the talent, creativity, insight and experience of those who together make up the
commercial music sector.

Drawing on such a rich resource, UK Music is the industry unit for:

Public policy and lobbying
External awareness and public opinion
Research and analysis
Industry-relevant education and skills

For more information see www.ukmusic.org

Overview

As we all know, the music industry has been dramatically re-shaped over the past ten years. In equal measures, this has proved disruptive, challenging and exciting. It will continue to be so.

However, within a fast-changing, ever-evolving commercial market, we believe it is vital that our entire industry can pull together; that we can identify and overcome internal and external challenges, plan, strategise, set
policy and forge ahead.

UK Music is currently working on a detailed report – to be published in late October – that will seek to do just this.

In order to take into account the widest spectrum of opinion, UK Music has announced an open, industry-wide consultation that will inform this report.

Consultation Summary

Specifically, we are asking all those working within, or affected by, the music industry, to contribute their thoughts to a vision of where our commercial sector should be heading over the next 5-10 years, the challenges we need to overcome, and the changes and policies that could positively impact on both individuals and businesses.

The UK is home to the world’s most amazing musical heritage. More importantly, on the world stage we continue to punch way above our weight in terms of musical creativity, innovation and commercial success.

To ensure this remains the case, we need your help and input.

To begin with, we would ask you to respond to the following five questions:

1. What are the key challenges to growth in your particular sector? Where are the greatest opportunities for growth? What policies do you think our industry should be collectively developing to address and support these aspects, and why? Is there any role for Government to help in these areas? If so, how?

2. How can our sector offer better opportunities for young people that wish to engage with our sector? How can we best support those at the grassroots level? Can our industry create better entry avenues for those people aspiring to work within our industry and develop a career in the music business?

3. Is there a skills shortage in your sector? If so, what sort of workforce development or training would best benefit your needs? What should our industry be doing to promote further workplace equality in and throughout the sector?

4. What can industry partners – for instance, commercial radio and the BBC – do to help promote new, diverse, local musical talent across all genres?

5. Are there any other significant issues you would like to draw our attention to? (All considerations offered are welcome.) 

Download the original PDF here: PDF : Redefining the Music Industry

Petition calling on Prime Minister to stop using Licensing Act to criminalise live music

Here is the petition calling on the Prime Minister to stop using the Licensing Act to criminalise live music and to implement amendments that would exempt small gigs.

The Petition has gained well over 1000 signatures since it was launched last Monday, 27 July:

http://petitions.number10.gov.uk/livemusicevents/

We the undersigned petition the Prime Minister to stop criminalising live music with the Licensing Act, and to support amendments backed by the Culture, Media and Sport Committee, and the music industry, which would exempt most small-scale performances in schools, hospitals, restaurants and licensed premises.

If you support the petition and the ideas it represents, please sign and circulate the link above as widely as possible.

Many local authorities use the Act to bully small venues, including schools. You may even have had first hand experience of this already if you are involved with live music on a regular basis:
http://www.northamptonchron.co.uk/news/School-show-scrapped-after-head.5080776.jp

Providing musical instruments is of itself a potential offence:
http://www.dailymail.co.uk/news/article-1194875/Strolling-Beethoven-Playing-PIANO-street–start-new-craze.html

Even musical instruments provided by schools are caught in this madness, as confirmed in this ‘Yes Minister’ government response of 15 July 2009 to questions raised by Lord Clement-Jones:

Lord Clement-Jones: To ask Her Majesty’s Government what information or guidance has been provided to schools and local authorities concerning the requirement to license the provision of musical instruments as “entertainment facilities” under the Licensing Act 2003 where such instruments are used in public performances of live music or private performances that seek to raise money for good causes. [HL4839]

The Minister for Communications, Technology and Broadcasting (Lord Carter of Barnes): The department has provided general advice to applicants on its website and detailed guidance to licensing authorities on the 2003 Act as it affects the provision of regulated entertainment. However, the Act has devolved responsibility for the administration of the licensing regime to individual authorities and it is for them to consider each application on its own merits. The Act does not draw a distinction between events which are put on for charity purposes and those which are not.

Although the 2003 Act requires schools and colleges to obtain a licence for regulated entertainment to which the public are invited, or for a private entertainment where a fee is charged with a view to profit, they are exempt from paying the licence fee if the event is provided by, located at and for the purpose of the school or college.

Lord Clement-Jones: To ask Her Majesty’s Government what proportion of schools in England and Wales are licensed under the Licensing Act 2003 for performances of live music and the provision of musical instruments as “entertainment facilities”. [HL4840]

Lord Carter of Barnes: We do not hold this information. The statistical data collected by the department identify how many premises have permission, in the form of a premises licence or club premises certificate, to put on regulated entertainment, including live music. However, it is not known how many schools have obtained an appropriate permission to cover live performances of music and the provision of entertainment facilities, or indeed any other form of regulated entertainment such as a dance event or a play. In some cases, a school may decide to put on an event by giving a temporary event notice.

Although the Licensing Act 2003 requires schools and colleges to obtain a licence for regulated entertainment to which the public are invited, or for a private entertainment where a fee is charged with a view to profit, they are exempt from paying the licence fee if the event is provided by, located at and for the purpose of the school or college.

See: http://www.publications.parliament.uk/pa/ld200809/ldhansrd/text/90715w0002.htm#09071576000578

Please cut and paste, or share this post if you support the petition, please sign and circulate the links above as widely as possible http://www.birminghammusicnetwork.com

You are welcome to leave any comments you may have regarding this petition below.

What is your view of the West Midlands’ music industry? by Mark Iron Man Records

What is your view of the West Midlands’ music industry? In particular, what are our strengths and weaknesses?

Here’s something I wrote in 2007, if anyone would like to take the title of this blog post and write their own version then please do, the more thoughts and opinions the better. I don’t know it all, I am only familiar with my small area of activity within the so called “Music Industry.”

Written by Mark Iron Man Records, Birmingham, June 2007

Wikipedia defines the Music Industry as “the business industry connected with the creation and sale of music. It consists of record companies, labels and publishers that distribute recorded music products internationally and that often control the rights to those products. Some music labels are “independent,” while others are subsidiaries of larger corporate entities or international media groups. The world music market is currently dominated by the “big four” record groups, Sony BMG, EMI, Universal and Warner, each of which consists of many smaller companies and labels serving under different regions and markets.“ (see http://en.wikipedia.org/wiki/Music_industry) As far as the West Midlands is concerned, I would suggest that The music industry is a term most people use to describe a range of music-related businesses and organisations including community groups and not-for-profit organisations and others such as Musicians’ Unions and writers’ copyright collectives and performance rights organisations.

In order to look at the West Midlands Industry I sometimes find it helpful to imagine what the “West Midlands Music Industry” might consist of (in general terms) in a simplistic, imaginary world and then look to see if this is demonstrated to be true in practice.

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