A Indústria da Música Cresceu Um Pouco em Termos de Receita em 2015

The Recorded Music Industry Actually Grew In Terms Of Revenue In 2015

First of all thanks to Hugh McIntyre for this article.

An image taken from the RIAA’s “News and Notes on 2015 RIAA Shipment and Revenue Statistics” report (image courtesy of the RIAA).

For a while there, it really seemed like the music industry was going to disappear, as revenues shrunk year after year, and there didn’t appear to be a solution to the problem. Now, for the first time in what seems like an eternity (especially to those in the business), things are starting to turn around, and the industry might be back on track,.

According to a report released on Tuesday by the RIAA (Recording Industry Association of America), sales of recorded music amounted to $7 billion in 2015. That figure represents a 0.9% increase from the year prior, and while that may be a growth of less than one percent, that is still progress that is very, very welcome. The RIAA reports that increased revenues brought in from all types of streaming services offset the loss of digital downloads and physical purchases, which have been dipping for years now.

For the first time ever, streaming came out on top when looking at both how much money the categories (streaming, digital, and physical recorded music) brought in and what percentage of the total it constitutes. Streaming now accounts for 34.3% of all recorded music revenues in the U.S., while digital downloads are responsible for 34%, physical revenues are at 28.8%, and syncs are collectively at only 2.9%.

The report separates streaming services into three categories: on-demand (such as Spotify and Apple Music), radio services (like Pandora and SiriusXM), and “non-subscription on-demand options” (YouTube), but grouped all three together when examining the industry as a whole. According to the report, all three of those streaming types saw increases in monies earned last year, and for the first time ever, streaming revenues topped $2 billion. In fact, revenues for the streaming industry increased by a whopping 29% to $2.4 billion.

2015 saw companies like Spotify add huge numbers of new customers, as well as a fair percentage convert from free options to paid ones that offer no ads and more features. At the same time, new entrants came to the market, such as Apple AAPL -0.56% Music and Tidal, and those companies added several million paying subscribers to the total pool.

Digital revenues now account for 70% of all money brought in by recorded music, which is up from 67% in 2014. Part of the reason why that number jumped is because now digital syncs of tracks is included in those earnings, but the category is growing rapidly even without that add on. It will be shocking if streaming doesn’t gain even more ground when this same report is updated to see how well the industry performed in 2016. 

É a Música Para História Em Quadrinhos a Nova Arma Secreta?

Is Music The Comic Book Industry's New Secret Weapon?

First of all, thanks to Cherie Hu for this article.

Bandcamp, one of the most popular direct-to-fan platforms among independent and emerging musicians today, is usually not frequented by fictional characters. Yet, in an intriguing turn of events, one of the site’s newest members is a comic book superhero.

DC Comics superheroine Black Canary has a new EP on her own Bandcamp website, titled Kicking and Screaming. A collection of “songs for broken gods and superwomen” whose electrorock feel has been compared to Metric, the EP supplements the graphic novel of the same name, in which Black Canary sings lead vocals for her self-titled band that she also trains to become a superhero team. The songs feature the writing and performing talents of Black Canary co-author Brenden Fletcher and Montreal-based musicians Joseph Donovan (of Receivers) and Michelle Benison (of Caveboy). It is unclear whether Black Canary will go on tour in person, but the DC Comics website provides a simple warning: “Hitting a Black Canary gig is a potentially dangerous endeavour if untrained in self-defence.”

For an industry that has historically taken the film and TV worlds by storm with record-breaking box office hits and popular Netflix series, pursuing original music this deeply is an unexpected and refreshing move for comic book publishers. The partnership points to a growing trend of cross-pollination among creative industries, as companies strive to design experiences that both re-engage current customers and attract new ones. A collaboration between music and comics in particular alludes to the “necessity of brands to engage more with transmedia storytelling,” Larry Weintraub, Chief Innovation Officer of The Marketing Arm, told Forbes. “You need to build and continue a story in many ways, both on and off the page.”

Aside from improved messaging, transmedia storytelling also encourages a more strategic use of entertainment as a problem-solving tool, rather than simply as a money-making gimmick. The problems to be solved in Black Canary’s case were clear: how can you really get to know a comic-book band without hearing their music? On a more general level, amidst seemingly endless reboots and spin-offs of A-list comic characters like Spiderman and Batman, how does one bring more attention and sustainable fame to B- and C-list characters? Music can add a dimension of textural and emotional depth to characters that visuals alone could not achieve, while also bringing in unsuspecting audiences.

The Black Canary project also seems to address many problems in the music industry at large. With the economic and technological tumult of recent years, music companies are in a constant search for three things: new revenue sources, unconventional distribution channels, and fresh storytelling angles. While news such as the RIAA’s incorporation of streams into gold and platinum certifications shows that the industry is already implementing new metrics for success, the continual decline of physical sales amplifies the demand for alternative sources of more tangible, visual and visceral music consumption experiences. Hence, the music-comics partnership could be symbiotic, alleviating internal challenges while allowing both media to break new ground in their craft.

Why hasn’t music been given more of a spotlight in comics in the past? In fact, music already plays an important role in comic film franchises, with soundtracks often written by award-winning composers such as John Powell (X-Men: The Last Stand) and the late James Horner (The Amazing Spider-Man). Yet, innovation even on that spectrum seems to be declining, with the same comic-film music motifs being recycled continuously in the mainstream, amounting to little more than a “stiff collection of orchestral cues.” In an attempt to diversify both genres and audiences, Marvel has previously collaborated with Wind-Up Records, whose best-selling artists include Creed and Evanescence, on compilations of songs inspired by films like Daredevil and Elektra. The songs in these albums, however, are usually not even included in the films themselves, and therefore could feel detached from and irrelevant to the core comic book experience.

Integrating music more directly into comic book plots is an immense challenge and, ironically, works best when the storytelling in the music itself takes a backseat. Kicking and Screaming is not a substitute for reading the Black Canary comics, but rather a complementary creation that provides deeper insight into the story’s characters. In general, music works best as an auxiliary platform for expressing mood and emotion, rather than as the sole responsible storytelling agent; it supplements, rather than replaces, how a character’s reverence and fame are built over time. The way music is incorporated into video games is similar: the background music certainly enhances the gameplay, but you cannot understand the plot of a game just by listening to that music in isolation.

Another challenge in creating convincing musical content for comics is that comic fans are masters at detecting authenticity, or lack thereof. They exhibit a distinctly strong level of loyalty to their favorite characters, often viewing these characters as extensions of themselves, and are therefore quick to call out the slightest lack of ingenuity either in the content or in how this content is distributed. The introduction of music, therefore, should be done with gravitas and respect for the comics world and its history, which Kicking and Screaming pulls off quite well.

Regardless of the success of Black Canary’s musical endeavors, music will not be as important of a revenue stream to the comics world as film and TV have been, simply because historical financial figures for these sectors do not align. Consider, for instance, how Katy Perry topped Forbes’ list of highest-paid musicians in 2015 by making $135 million that year—less than one-tenth of the revenue generated by the first Avengers film, which ultimately grossed over $1.4 billion. Moreover, in releasing their own music, comic characters would be competing with an industry that is already so overcrowded with content and neck-deep in solving its own dilemmas around consumer engagement. It is difficult to get people to pay attention to you as an artist, and comic book characters would be no exception.

Nonetheless, collaborations between the music and comics industries provide both interesting content for fans and more strategic value for businesses. “There is something inherently interesting about two creative businesses, each with their own distinct way in which they go to market, collaborating on content from the ground up,” Andre Gaccetta, CEO of G7 Entertainment Marketing, tells Forbes. “Beyond the creative processes, they can also use each other’s marketing and sync arms to reach consumers in a cadence that is mutually beneficial.” Christian Henderson, Talent Buyer and Account Executive at G7, adds that using tools across all media “helps brands understand their consumers better. As entertainment marketers, we are always looking for that holistic approach, as it helps us gain insight into the broader scope of what people consume.“

It is still ambiguous whether music-comic collaborations will actually become a trend. Kanye West’s declaration that “every superhero needs his theme music” is untrue. While music’s new place in comics can take the financial models for characters like Black Canary to a whole new level, the approach will work only with the right kinds of stories—characters who lead bands, for example—and is not generalizable to everyone. As FX’s chief executive John Landgraf asserted in an interviewwith the New York Times, media innovation is all about fitting “the business model to the artist, not the artist to the business model.” It is important to cater to artists’ and characters’ unique needs, instead of going for homogenization of an industry and over-reliance on just one strategy.

Only time will tell to what extent music will be integrated into the comics world, and vice versa. Perhaps we will see more comic characters singing or playing guitar in the future, thanks to Black Canary’s step forward; perhaps more musicians of all career stages will want to partner with comic publishers to pursue more inventive content. “The interweaving of comic books into pop culture has never been seen like this before,” notes Henderson, “and none of it’s going to slow down anytime soon.”

Esqueça Spotify! - 3 Serviços de Streaming Que Vale a Pena Tentar

Forget Spotify: 3 Streaming Music Services Worth Trying

By now, most people have had some experience with a streaming music platform, even if they haven’t fully adopted one as their go-to source for listening to music. Millions have signed up for Pandora, Spotify, and Apple Music, but those three aren’t a perfect fit for everyone. If none of those companies has convinced you to stick around, there are plenty of new or lesser-known options that are worth a listen, including these four.

AccuRadio

While certainly not the best-looking streaming service out there, AccuRadio offers a simple, no-frills option for listening to music. From the look of it—and the many call-outs and mentions on the site itself—this is the perfect source for listening for an older crowd while at work. Many of the office-specific playlists leaned top 40 and adult contemporary pop (think Bruno Mars, Kelly Clarkson, and the like), so it might not be the best option for those that are big followers of the music space, but rather for those that want a steady stream of familiar hits while they are busy.

Unlike fellow internet radio services like Pandora, AccuRadio does allow you to skip an unlimited number of times, though you can’t skip within tracks (so you’re just going to have to wait for that chorus). That’s a neat feature, and one that is hard to come by. Streaming is free, and there are just under 1,000 stations to choose from, so it’s unlikely that anybody will run out of choices anytime soon.

Slacker

Streaming music may feel like a new phenomenon because of all the discussion around the burgeoning industry, but some services are older than you’d realize. Slacker was launched in May of 2007, and while it has never been the most-popular option out there, it has been able to survive for almost a decade, which is truly an accomplishment in this business. 

Slacker Radio has all the same songs you can get on most other platforms (yes, Taylor is there), but it offers something particularly interesting: the feeling of listening to real radio, only you have better, more specific choices when it comes to genre. Before the music begins on many playlists, a DJ comes on to talk about what you’re about to hear for a few seconds. Sometimes that chat gives insight about the artist, while at other times it is up-to-the-day gossip about what’s happening in music now. Also, at just $3.99 a month for ad-free listening, Slacker is a really good deal.

Hype Machine

More a “music blog aggregator” than a proper streaming service, Hype Machine is still the best place to catch up on what is happening this minute in music. The site lists the tracks that are getting attention from tastemaker blogs around the world in various genres, though there is usually a lot more pop, electronic, and dance featured because of the nature of what is “cool” right now. Every song featured can be played right there on the page, and immediately beneath it you can read what a blog like Indie Shuffle, Free Bike Valet, or Music Is My Life is saying about it. 

Entirely free listening makes this an even more attractive option for those looking for a great new song to be obsessed with for the weekend. There really is nothing else quite like Hype Machine online today.

Após Uma Longa Batalha, Paul McCartney Poderia Finalmente Ter de Volta os Direitos De Suas Músicas nos Beatles

After a decades-long battle, Paul McCartney could finally get back the rights to his Beatles music

Legendary artist and Beatles member Sir Paul McCartney has begun the process to get back stateside publishing rights to songs from the famed British invasion band.

McCartney lost much of his stake in The Beatles’ back catalogue in the late-1960s.

McCartney’s claim is based around a clause in the U.S. Copyright Act of 1976, which allows living artists to apply for the rights to their songs 56 years after their initial publication.

The Lennon-McCartney catalogue becomes available under that law in 2018.

The law says that claimants must file for reinstatement of publishing rights two to ten years before the 56 years are up. McCartney likely wanted to get the ball rolling as close to the deadline as possible, deciding to pay the high legal fees associated with the move for two years rather than a decade.

Interestingly, all of the Beatles’ songs were credited to both John Lennon and McCartney, regardless of who actually wrote them. The pair lost the complete ownership of their songs relatively early in their musical careers, when publisher Dick James sold his stake in the band’s rights-holding company, Northern Songs, to ATV in 1969. Lennon and McCartney tried and failed to get back the publishing rights at the time.

The ATV catalog was eventually sold to Michael Jackson in 1985, reportedly on advice from McCartney himself about the benefits of publishing rights ownership. McCartney was said to be very upset at Jackson — who paid an outrageous (at the time) sum of a reported $48 million — as the two were friends.

“I wrote [Jackson] a couple of letters and I said, ‘Michael, don’t you think that — even if I was just a writer on the payroll — after 30 years of being reasonably successful to this company that you now own, don’t you think I could have a raise?'” McCartney said in an early-2000s interview on Howard Stern’s radio show about publishing rights.

Getty Images / Kevin Mazur

Recently, Michael Jackson’s estate sold its stake in The Beatles’ publishing rights to Sony/ATV Music, along with rights to various other songs by hit artists, for a massive $750 million. However, while news of McCartney’s bid to get back previously-sold rights seems perfectly-timed, the songwriter’s claim was actually filed in mid-December of last year.

ATV merged its catalog with Sony in 1995, and Sony now owns the rights in full, following the recent sale from Jackson’s estate.

Whether or not McCartney will get his portion of The Beatles’ publishing rights back is a murky affair; Yoko Ono (would-be owner of Lennon’s half of the rights) has long had a deal with Sony/ATV Music which allows them continued ownership of the material.

But at the end of the day, after over half a century without rights to his own songs, it makes sense that McCartney would do everything in his power try and get them back.

10 Artistas da Musica Que Vão Explodir em 2016 Segundo Spotify

10 music artists who are about to blow up in 2016, according to Spotify

Spotify is always looking for rising artists, highlighting them through playlists on the streaming service like "Fresh Finds" and "Spotlight" that introduce new talent to millions of listeners.

Business Insider talked to a trends expert at Spotify, Shanon Cook, about 10 artists who are quickly gaining steam, and she shared their listener data.

Six of the 10 artists are performing this week at the Spotify House at South by Southwest (SXSW) in Austin — where music insiders descend annually to discover the best breakout musicians — while some are there for other showcases and shows. 

Here are 10 artists who are making waves this year: 

Anderson .Paak

Vivien Killilea/Getty Images for FYI Brand Communications

Anderson .Paak released his second album, "Malibu," in mid-January, and announced at the end of the month that he was signed to Dr. Dre's Aftermath Entertainment label. The rapper/singer had performed on six songs off of Dre's acclaimed 2015 album, "Compton." He performed on "The Late Show with Stephen Colbert" in February and is hitting up the Spotify House at SXSW. He has 1.1 million monthly listeners on Spotify. He was listed as one of Billboard's artists to watch at SXSW.

Jack Garratt

Anna Webber/Getty Images for Spotify

A one-man band who also produces his own music, Garrett has been generating attention following the release of his debut album, "Phase," on February 19. The British artist won the critics choice award at the 2016 Brit Awards. Garrett played at the Spotify House at SXSW and currently has 3.4 million monthly listeners on the streaming service. His song "Worry" has more than 20 million streams.

"He not only has tremendous talent, but momentum is on his side, and he's only going to get bigger," Cook said. 

Wet

Facebook/Wet

This Brooklyn-based trio's album "Don't You" was released in January, and they have several tracks streaming in the millions on Spotify.

"They are one of those bands that at the end of the year, people will be saying they killed it in 2016," Cook said. 

Gallant

Facebook/sogallant

Gallant, a singer-songwriter from Maryland, has a fan in Skrillex and has been gaining popularity in recent months. He opened for Kygo, collaborated with Seal, and is joining ZHU on his nearly sold-out tour this spring, which includes a performance at Coachella. Though not performing at the Spotify House, he is performing at SXSW. 

"He has momentum on his side, and I think things are going to get even bigger for him when his album drops on April 6," Cook said. 

Låpsley

Gareth Cattermole/Getty Images for Burberry

Holly Lapsley Fletcher is a 19-year-old singer/songwriter and electronic artist from the UK. She released her debut album in March and has 2.4 million monthly listeners, as well as 500,000 plays a day. She is performing at the Spotify House at SXSW. 

"She wants her listeners to know she’s not just the face and voice; she’s very involved in the production of her music," Cook said. 

MILK TEETH

Facebook/Milk Teeth

MILK TEETH is rock band from the UK that draws heavily on '90s rock and metal influences. "This band will keep you on your toes," Cook explained. "One song will sound melodic and have great hooks and another will be hardcore and thrashing." They released their debut album in January and are getting particular attention from males in the 18-22 age range on Spotify. They are playing some shows at SXSW. 

Allan Rayman

Facebook/Allan Rayman

Based in Toronto, Rayman is an independent artist and is currently being courted by major labels, Cook said. He was one of Spotify's "Spotlight Artists," which has featured musicians such as Hozier and Sam Smith. He's performing at the Spotify House at SXSW and his album will be released in the fall.

Lewis Del Mar

Facebook/ Lewis Del Mar

This duo from Rockaway Beach, New York (originally from Washington, DC), has been gathering a sizable following since the release of their single "Loud(y)" in 2015. The single has been pinging on Spotify's viral charts, which "measure how songs are being shared, and that's usually an indicator of potential hit success," Cook explained. That song peaked at number one at Hype Machine. They signed with Columbia Records’ imprint Startime International and debuted their EP in January. They are performing multiple shows at SXSW. They were listed as one of Billboard's artists to watch at SXSW.

MUNA

Facebook/MUNA

MUNA is a trio of ladies from LA and describe themselves as "punks or rebellious spirits making pop music." The band has been featured on Spotify's "Fresh Finds" playlist. Their song "Loudspeaker" was featured and now has more than 3.5 million streams. The group is performing at the Spotify House at SXSW. 

Day Wave

Facebook/Day Wave

Day Wave — real name: Jackson Phillips — is an indie-rock act from Oakland, California. "He's about as DIY as they come, because he makes all of his music by himself," Cook said. He released his second EP in January, and his streams have been steadily building. He's performing at the Spotify House at SXSW. He was listed as one of Billboard's artists to watch at SXSW.

Exclusivo: Patentes Registadas Para a Tecnologia 'Alta Definição Em Vinil'

Exclusive: Patents Filed for ‘High Definition Vinyl’ Technology

Imagine a vinyl record that has 30% more capacity, 30% greater volume, and double the audio fidelity of a typical LP sold today.

The technical specifications for High Definition Vinyl, or ‘HD Vinyl,’ have now been detailed in a European patent filing exclusively shared with Digital Music News on Tuesday.  This is a concept that could potentially be on the market within three years, according to details shared by Rebeat Digital, the company that filed the patent.

Rebeat, based in Tulln, Austria, submitted the EU-wide patent with Joanneum Research, with plans to quickly secure additional patent protections in the United States and worldwide.  The patent filing was viewed by Digital Music News in a private session, and we were not allowed to keep a copy of the filing.

The ‘HD Vinyl’ name is a working title, though the basic idea is this: instead of the manual and time-consuming process currently used for creating vinyl LPs, the ‘HD Vinyl’ process involves 3D-based topographical mappingcombined with laser inscription technology to more quickly generate a far superior product.  Not only will the end product be vastly improved, but the time required to produce the LPs will also be radically reduced.

“…you don’t need to buy a new system…”

The result is a record that looks like the LPs being sold today, and more importantly, plays like them.   According to the companies involved, the HD Vinyl disc will play on all currently manufactured turntables, though enhanced features will be better realized on upcoming, HD-compatible turntables.  “This is a completely backwards-compatible technology,” said Guenter Loibl, Rebeat CEO.  “It will play on any existing turntable, you don’t need to buy a new system to enjoy the benefits.”

One of the largest problems that HD Vinyl solves is the gigantic production bottleneck that is currently stunting the vinyl resurgence.  Currently, most vinyl is produced using 1960s-era, antiquated technology, with processes that are both extremely time-consuming and horrible for the environment.

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Basically, two production methods exist:

(a) Mechanically scratching audio grooves into a lacquer foil, followed by an electro-plating process involving lots of chemicals; or

(b) The ‘DMM’ direct-to-metal mastering process, which involves manually scratching the audio directly into a copperplate, followed by electro-plating (and also using a lot of chemicals).

“mastering the topographic data…”

The HD Vinyl process, by contrast, involves a longer period perfecting the topographic, computer-generated, 3D modeling imprint before any physical manufacturing takes place.  “We adjust the distance of the grooves, we correct the radial/tangential errors, and we optimize the frequencies,” Loibl continued.  “You could say we ‘master’ the topographical data, which is a totally different approach.”

After that, a ‘pulsed high-energy Femto-laser’ burns the audio directly onto the stamper.  Distance between the grooves and depth adjustments happen automatically, with a 90-degree burning angle eliminating possible distortions.  All in, Rebeat and Joanneum estimate that stamper-related costs will be reduced by 50 percent, while the time required to produce a new piece of vinyl slashed by 60 percent.

The timing of this new technology could be absolutely perfect.  The music industry witnessed another surge in vinyl demand last year, with sales booming 29.8% in the United States alone, according to Nielsen Music.  That is being followed by an echo of turntable sales: late last year, Amazon reported that a $50 Jensen turntable was its best-selling home audio product for the holidays.  Even better, the vinyl resurgence could be having a spillover effect into retail, with smaller record shops suddenly resurfacing.  Bands are also realizing greater revenues from vinyl: according to financial details surfacing last year, vinyl is actually producing more revenue than ad-supported streaming.

So what’s next?  After the broader, global patents are secured, Loibl will be seeking early-stage financing, with several backers potentially in play.