Steve Clark

“ECSA, the pan-European organisation for songwriters and composers, has published a manifesto aimed at European Union lawmakers setting out the policy priorities of music creators, or ‘music authors’, across Europe. There are nineteen recommendations in total, grouped around AI, streaming, contracts and EU support. In particular, ECSA wants greater clarity on how existing EU law is helping creators protect their copyrights in the context of AI, more efforts to restore the value of the song in streaming and new laws to stop buy-out contracts….” “Launching the manifesto, ECSA’s President Helienne Lindvall says that it is a way to “convey concrete recommendations for policy makers to enact in order to tackle” an assortment of challenges, “so that we can achieve an equitable, sustainable – even thriving – future for European music creators”. This is necessary, she adds, because in 2024 composers and songwriters face numerous challenges, including “AI companies using their works without consent [and without] transparency, a broken music streaming landscape, and unfair contractual practices – making it harder and harder to survive even for music authors whose works are enjoyed far and wide”. Read the article for more: #ESCA #EU #AIAct #CIAM #AI #FairTradeMusic #Songwriters #Composers #Legal #Europe #Streaming #ArtificialIntelligence #GenerativeAi #GeAi #InteligenciaArtificial #InteligenciaArtificialGenerativa #IntelligenceArtificielle #IntelligenceArtificielleGénérative #GenerativeKünstlicheIntelligenz #KünstlicheIntelligenz #Music #MusicBusiness #Musica #Música #MusicIndustry #Musique #Musik #MusicBiz #Tech #BuyOut #BuyOuts

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“The UK recorded music industry grew for the ninth consecutive year in 2023, bringing in £1.43 billion. Streaming and physical music saw growth, and the independent sector also enjoyed an increased share of album sales and streams. This is all according to a new stats pack from BPI The BPI has published its annual ‘All About The Music’ report on the British record industry's performance in the previous calendar year. The topline stat is that revenues grew by 8.1% in 2023 to £1.43 billion. That’s the ninth consecutive year of growth. According to the record industry trade group’s stats pack, more than half of that (58%) came from subscription streaming, sync and public performance combined contributed 13.6%, vinyl sales 9.9%, ad-funded audio and video streams 9.5%, and CDs 6.8%. Physical media actually saw stronger percentage growth than streaming last year, with CDs, vinyl and other formats all up individually, and collectively up 12.8% on 2022 - vinyl seeing the biggest jump, up 18.6% year-on-year. Streaming overall saw revenues rise by 8.4%, with ad-funded streaming growing fastest at 12.4%. In terms of actual revenues, physical brought in £243.4 million, while streaming generated £962.1 million. In terms of what people were listening to, Miley Cyrus came out top with her song ‘Flowers’, which enjoyed ten consecutive weeks at number one in the UK singles chart. This run helped female artists to score a record tally of weeks at the top of the UK top 40 - 31 out of 52 weeks. Women appear in seven slots in the top ten for the full year, including Raye, Taylor Swift, Ellie Goulding and SZA.” #BPI #UK #Streaming #Artists #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicStreams #MusicRoyalties #Songs #Recordings #MusicBusiness #Music #Musica #MusicIndustry #Musique #Musik #MusicBiz

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Interesting piece on where the industry is now in the UK. The question we all have is where is it going? The years of plenty got everyone thinking (or hoping) it would / could continue indefinitely. The article is right to focus on the people though. Building Studio space is a clear commercial calculation, which is difficult to make because infrastructure takes ages and stable demand is short term. Hence all the “new Studios” that are really just a press release looking for finance. The people challenge however, that’s is where it’s at. Working in Film & TV demands and develops all sorts of incredible skills in people, not just technical, but soft as well. It requires leaders, collaborators, thinkers, problem solvers, dynamism, organisation, adaptability and effective management. But is the freelance nature of our business it’s great strength in the good times and it’s greatest weakness in the tough times? Is it a dichotomy that can never be reconciled cleanly?

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In a time where organisations are taking a data led approach, this research from Oliver & Ohlbaum Associates (O&O) highlights how commissioning needs to change for Scotland’s screen sector. We embrace training initiatives and inward investment but commissioning content from Scotland-based production companies is the best way to gain experience and grow a sustainable screen sector.

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Ahead of the terrible news of the closure of Aslice (a payment system for DJs to give back to the artists whose music they are playing in their sets), the AFEM (Association For Electronic Music) backed initiative supported by figureheads across electronic music launches with the goal of setting a new industry standard for crediting the musical work featured in social media videos and content uploaded by DJs, artists, labels, and brands. Artists and musicians who create the music we enjoy every day deserve to receive their rightful royalties. It's also crucial to raise awareness about the issue of DJ set lists not being registered at collecting societies. Additionally, there needs to be transparency regarding the percentage of a fee paid by promoters, clubs, and event organisers for their performance licenses actually going towards the music that gets played. (Track ID: Mason feat. Shingai - Bang Bang (instrumental mix) #RespectTheCreators #AFEM #ElectronicMusic #MusicIndustry #Royalties #Transparency

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Every company founder has a story to tell, and in the case of the Connected TV Marketing Association, there’s quite a tale to tell. In ‘Beam Me Up, The Future of Smart TV - Battle for Control' (Ch 7), I share with readers the 7 year legal battle and fight to control the CTVMA during the global streaming wars. For those of you who don’t know, there were over a hundred people involved in our foundation, and many of whom are prominent, well known, leading industry figures in entertainment, business, broadcasting, advertising and finance, who will all receive special mentions in my upcoming book #StreamingWars 💣

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One day, investing in music won't be an alternative investment. It will be mainstream. #jkbx #musicbiz #investing #alternativeinvestments

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Live music's economic impact is undeniable, and the UK's live music industry reaching a record £6.1bn value in 2023 further solidifies this fact. While the reported value pertains to the top of the live music pyramid, platforms like GigPig play a vital role in the 'seed' sector, nurturing artists who later advance to grassroots venues. This progression is crucial as the 'seed' and 'grassroots' sectors contribute significantly to the economy, laying the foundation for the broader music industry to thrive. Amidst celebrating the positive impact of live music on the music sector, GigPig remains committed to championing the 'seed' level, which adds £2.4bn for venues and £1.3bn to the artist market. These contributions are instrumental in enhancing the economic prosperity of various UK towns and cities, underscoring their immense value often overlooked in the broader market landscape. Kudos to the LIVE (Live music Industry Venues and Entertainment) team and Jon Collins for revealing this pivotal data, showcasing the profound influence of delivering exceptional music experiences. #LiveMusic #EconomicImpact #MusicIndustry #GigPig #UKEconomy

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A recent Bectu survey paints a worrying picture for the future of the UK film and TV industry 🎬. https://lnkd.in/e44Cb4UP 👉 A staggering 38% of workers are planning to leave within 5 years, citing financial and mental health struggles as key factors 🤯. Here's a closer look at the findings: 🔴 The exodus is particularly pronounced among minority ethnic groups and those working in unscripted TV. 🔴 While unemployment has slightly decreased since February, over half the workforce remains out of work 📉. 🔴 Financial hardship and mental well-being concerns continue to plague the industry, despite a slight improvement since earlier this year 😔. Bectu is urging broadcasters and industry stakeholders to take immediate action to address these pressing issues 📢. Failure to do so could lead to a significant loss of talent, further decline in diversity, and long-term damage to the industry's reputation. I'm not going to lie, the last 18 months have been incredibly tough, and it's evident to me daily that mental health and morale are at an all-time low, to the point where many very talented professionals I know have already left for other industries, not utilising their polish skillsets and having taken a pay cut. Many are losing the will to keep trying to make it work in our industry. In my humble opinion, things are finally picking up, but I worry it won't be enough for some of my favourite, most skilled, and talented colleagues to stay in the industry with the current high cost of living. What are your thoughts? What can we do? Let me know in the comments below... Article discovered via Georgette Turner and Charlotte Wheeler - thank you! #Bectu #FilmAndTV #TalentExodus #Diversity #MentalHealth #FinancialStruggles

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From the reform of the 1970s to the advent of streaming and prestige television, change has always been an inevitable part of the #film industry. At the same time, the change that is happening now seems more monumental than the previous ones. Legacy studios are closing, jobs are being lost, and the future seems uncertain for many in the industry. And yet, as much as the upheaval of these old systems seems frightening, there is another way to view the picture - change for the better. The future of the #filmindustry is becoming more democratized, and the power is shifting. As old systems created by the gatekeepers of #filmmaking falter and become obsolete - new systems and voices can pave the way forward. 

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Here at #TheBridge we consult with content creators and leading broadcasters/ streamers on new and innovative commercial routes to funding for TV, film and programming budgets. Where once long form, linear TV led the way, now gaming first-models are leading IP development and funding can be found in brand partners and VC investment before some commissioning editors come on board a project. As the television industry shifts from B2B to D2C there are multiple routes to audiences for content creators. If you are wondering how to bridge this new world, enter The Bridge Report. 🌉 This resource will serve as a compass for navigating the current turbulent waters of commercial growth for TV producers. It's not just data – it's a narrative of proven models working with producers and funding, programmes and commissions and eastern and western content markets. The report will delve into topics such as where and how to find funding for production budgets and how to work in increasingly global markets. The Bridge Report will provide actionable insights that can help you steer your own success through these choppy changes! Please get in touch if you'd like to know more. 💻🤝 Remember, knowledge isn't power until it's applied. #co-development #co-production #co-operation #content #tvproduction #productionindustry #finance #tv

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“The UK music industry, with support from the UK Government, is seeking your help to identify resources that raise awareness of the significance of metadata in ensuring creators are fairly paid and credited for their tracks. In music, metadata is information which describes who contributed to a track’s creation, and how – such as who wrote a song, who performed on a recording, and who owns the individual rights in the work or recording. Metadata includes unique identifiers, such as the ISWC, ISRC, IPI and IPN, as well as title and contributor information. Education and awareness of the importance of metadata is vital for all parts of the creative value chain, from those creating songs and recordings, through to those responsible for delivering data to platforms, CMOs and others, including artist managers and A&R departments. Your responses to this survey will inform the work of the Metadata Education Group, one of the expert industry working groups formed to help deliver improvements to metadata practice as part of the UK Metadata Agreement. The Group is working to map out existing resources that educate and raise awareness of the importance of music metadata, maximise access to these resources, and identify gaps in current provision.” Read the post and the survey below for more: #Metadata #UK #Creators #CMOs #ISWC #ISRC #IPI #IPN #Artists #Songwriters #MusicPublishing #IP #IntelectualProperty #Copyright #DerechoDeAutor #DroitdAuteur #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #IPO

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Great Article from Philip Kolvin KC within the Journal of Licensing giving a perspective on Martyns Law - Big Questions is are we recreating the wheel, or do we have the instruments already to deliver the requirements within the bill in current legislation!! Thoughts!! Read More https://buff.ly/3SnAXrx

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Great Article from Philip Kolvin KC within the Journal of Licensing giving a perspective on Martyns Law - Big Questions is are we recreating the wheel, or do we have the instruments already to deliver the requirements within the bill in current legislation!! Thoughts!! Read More https://buff.ly/3SnAXrx

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Aiming to be an intermediary between TV companies and AI firms, Davis discussed what catalogue owners need to know when exploring these nascent deals on the opening day of Mipcom here in Cannes, arguing that rights holders having three choices. “You can ignore this, which is probably a bad idea. You can sue people, which may be a good idea, here or there. That’s not the business we’re in. Or you can engage with AI companies. We think that’s probably the best approach in most cases. “That also strengthens the hand of copyright owners when it comes to cases, certainly in the US under fair use. The mere existence of a licensing market strengthens copyright.” Calliope Networks Dave Davis Xenia Shevnina Brendan Gallagher Jim Tosney Pablo Iacoviello Max Einhorn

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