Michael Pelczynski

“A lawsuit filed against US streaming service Pandora by the MLC is “a wild overreach” of the US mechanical rights collecting society’s remit. Or so says Pandora, in its response to that lawsuit. As well as disputing the claims made against it - the MLC “apparently thinks it knows better than the entire music publishing industry” Expanding on that theme, Pandora argues that the MLC - which was created by the 2018 US Music Modernization Act - is not “authorised to play judge and jury over a streaming service’s legal compliance”, nor can it “insist that Pandora fundamentally change its approach to licensing an entire tier of its service solely because the MLC has taken upon itself to press a legally incoherent position at odds with the view of the rest of the music industry”…. This dispute centres on what licences Pandora requires when it comes to the songs that its users stream. With on-demand streaming, like Spotify, it is agreed that services exploit both the performing rights and the mechanical rights of songs. In some countries, these different elements of the song copyright are licensed separately. In the US, collecting societies like BMI and ASCAP license the performing rights, while the MLC administers the compulsory licence that covers mechanical rights.” #Pandora #MLC #Streaming #Legal #Licensing #Copyright #CopyrightLaw #Interactive #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicStreams #MusicRoyalties #Songs #Recordings #US #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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Content is still 👑 king 👑 in the streaming wars! Netflix commissioned its highest number of new global originals since Q3 2021, reaffirming its commitment to original content. According to Ampere Analysis, Netflix and Amazon dominated global commissions in Q1 2024, accounting for 53% of all new titles. Their strategy? Focusing on local content from regions like Germany, India, Korea, Spain, and Thailand to meet diverse audience demands and drive growth. 🌍📈 Netflix's surge in global originals highlights the ongoing power of unique, localized content in capturing viewers' hearts worldwide. https://lnkd.in/eC8M2xYK #StreamingWars #ContentIsKing #Netflix #Amazon #GlobalOriginals #AmpereAnalysis #MediaInnovation #Streaming

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🎶 In a record-setting year for the music industry, sales of recorded music in the U.S. soared to $17.1 billion in 2023. Streaming led the charge with 84%, while vinyl saw double-digit growth. Discover more about the music boom and the changing landscape from the latest RIAA report. https://lnkd.in/ghEaTMYY #MusicIndustry

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It's NOT. But what this really is about is a call-to-action and reaction to the industry earthquakes of the past year or so. One thing's clear: It's never going to be same again. And to be honest, things will probably be worse for a while longer before they get better - if they even do get better. But we have to change. We have to adapt. That's just the way it is, folks. #animation #cartoons #cartoonnetwork https://lnkd.in/gn3T-9fP

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Thrilled to announce the formation of a pioneering advisory group aimed at addressing sustainability challenges within live music. We've united an incredible group of more than 50 industry leaders -- music executives incl. Warner Music Group CEO Robert Kyncl and Live Nation Entertainment CEO Michael Rapino, artists incl. #elliegoulding, touring teams for #coldplay, #billieeilish, #harrystyles, and #jackjohnson, event organizers, venue managers, production experts, sustainability leaders, and NGOs. This group will provide expertise and advice on our upcoming sustainable touring report with MIT Environmental Solutions Initiative, Warner Music Group, Live Nation Entertainment, Hope Solutions, and our artist #coldplay. The report will: * assess the relationship between live music and climate change * identify tangible areas where the industry and concert goers can reduce their environmental impact   * assess the newest technologies that the industry can tap into to meet sustainability goals It takes an ecosystem to make real and meaningful change - and I can think of no better group than this one to help us lead the charge. #Sustainability #LiveMusic #GreenEvents #Collaboration #Innovation #EcosystemSolutions #Partnerships Madeleine Smith, MHS John E. Fernández Lucy August-Perna Lukas Howell MSI CEnv FIEMA FRSA Brian Levine Adam Met Caius Pawson Harlan Frey Jaime Nack https://lnkd.in/dfm6Y-Zg

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Great breakdown on what's working and practical in today's AI landscape and a blueprint for the immediate impacts of AI on businesses. Great write-up Angela Strange and a16z

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Over the past few weeks, we've been in the news. For good reasons. We've recently acquired several companies, the latest being Galleri5. This company stands out as a pioneer in AI-powered content solutions and influencer marketing technology. Before you accuse us of being hypnotised to the beats of the AI hype, I want to shed some light on our strategy. We've been expanding our family with exceptionally talented companies for a clear purpose. In recent months, we acquired Terribly Tiny Tales, a text-focused flash fiction platform, and in September 2023, we welcomed Under 25 Universe, India's largest tech-powered student community. Our joint venture with the M19 Collective aims to develop IPs across branded content, offline experiences, and both fiction and non-fiction formats for multiple platforms. Additionally, our Collective Creative Labs initiative assists brands in connecting with customers through pop culture, thereby building brand loyalty. Also, our partnership with Gruhas for to form GCCF focuses on investing in consumer-facing brands and products. When you consider these together built on top of our talent management core, a pattern emerges. We're investing heavily in technology to empower India's young, creative core and our talent ecosystem by providing them with a platform to flourish. Our goal is to drive more impactful, personalised storytelling and predict trends before they happen. Creativity and inspiration are at the heart of what our talent does, and technology will be a powerful tool to amplify their abilities. At Collective Artists Network, we're committed to identifying and supporting the best talent in the country. In this pursuit, technology will be a fundamental pillar of our company's future. Supremely proud to have Rahul Regulapati and his entire gang at galleri5 on board this journey to partner with us in our vision and here’s to building and building and building and scaling :-) The army grows . https://lnkd.in/dBGyQ6NH

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“Warner Music Group has sent a letter to tech companies declaring that its content can only be used to train AI with the music company’s permission. According to Warner’s letter, which can be read in full here, “All parties must obtain an express license from WMG to use… any creative works owned or controlled by WMG or to link to or ingest such creative works in connection with the creation of datasets, as inputs for any machine learning or AI technologies, or to train or develop any machine learning or AI technologies (including by automated means).” Warner’s move indicates that a common strategy could be blossoming amongst the major music companies in their approach to AI, after Sony Music Group sent a letter to some 700 AI developers and digital service providers (DSPs) in May. Sony notified those companies that it is officially “opting out” of having its proprietary content used in the training of artificial intelligence models.” Read the full article for more: #AI #ArtificialIntelligence #WMG #WarnerMusicGroup #Sony #DSPs #NMPA #EU #EuropeanUnion #SonyMusicEntertainment #Legal #IP #IntelectualProperty #Copyright #CopyrightLaw #CopyrightInfrigement #DerechoDeAutor #DroitdAuteur #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Songs #Composers #Songwriters #Artists #Suno #Udio #SoundRecordings #Tech #Technology #GenerativeAi #GeAi

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A couple of months ago I posted about RIAA suing Verison. Last month Verizon shot back: https://lnkd.in/g23p4KSX What will be the end result of this “conversation’ playing out in court. In the long term. Is this a result of technology (streaming services) not addressing the problem that they were trying to solve? Perhaps this is a signal that further innovation is needed in how content is managed, distributed, and monetized online. There's a strong argument that, while tech helped create more accessible music platforms, it hasn't fully addressed the concerns of artists, songwriters, and other creators. Is this lawsuit an opportunity to revisit those revenue-sharing models and perhaps craft something fairer?  We want to move forward and not limit creativity as it seems the problem is still not solved. Where do we go from here?

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“Who says the album’s irrelevant in 2024? Besides breaking several streaming records, Taylor Swift’s The Tortured Poets Department approached two million “traditional album sales” during its first week of availability, according to new data. That sales milestone, reflecting albums moved across permanent downloads, cassette, CD, and vinyl alike between April 19th and 25th, entered the media spotlight in a breakdown from Billboard. Citing Luminate data, the outlet specifically identified 1.914 million Tortured Poets Department units sold directly throughout the stretch. Notably, vinyl accounted for 859,000 units within that sales sum – leaving north of one million units for digital, CDs, and cassettes. As calculated in album-equivalent units, the overall figure came in at 2.61 million for the lengthy project during the same period, per the breakdown. While Swift’s commercial feats already command ample media attention – we’ve covered the multiple on-demand records attributable to The Tortured Poets Department – selling two million traditional albums in one week is especially significant given streaming’s prevalence.” #TaylorSwift #Streaming #StreamingServices #StreamingMedia #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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From the Latest FilmLA Report • Scripted TV production in Los Angeles dropped 99% in Q3 2023 compared to 2022. • FilmLA calls for a significant expansion of California’s $330 million production incentive due to a 20% drop in local filming. • Other jurisdictions like New York, Ontario, Georgia, and the U.K. offer more competitive, uncapped or larger subsidies, putting California at a disadvantage. • Strikes in 2023 and a decline in Peak TV also contributed to a production slowdown. • Global production declines occurred, with Georgia and the U.K. also seeing reduced TV releases. • California temporarily boosted its incentives in 2021, but ongoing state budget deficits limit further expansions. • FilmLA warns California must act to support its entertainment industry or face continued market share losses. FilmLA Seeks 'Vast Expansion' of California Tax Credit (variety.com) https://lnkd.in/gps_6c9A

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Two Billion Music Streaming Consumers? Universal Music Group thinks that's possible. They're predicting 1B by 2028 (as is Goldman Sachs, it's worth noting). We're exactly 2/3 of the way there, with 667M globally. That's astonishing. Ten years ago, Spotify had launched in the US three years earlier - and they were stuck under 15M premium subscribers worldwide. Since 2014 the growth has been exponential. We talk about Spotify like it's proxy for all streaming, but its not. Apple Music & Amazon Music together have a quarter of the western market share. Gaana in India has over 200M. Tencent in China. There are many others in local territories. The next phase of growth will be fragmented among these services and it will come in non-western territories. That will make the ecosystem bigger, but also more complicated. Lucian Grange is now touting 2B. Why not? #musicindustry #musicbusiness #streaming #Spotify #DSPs

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The recent deal between Lionsgate and Runway has generated a ton of buzz around Hollywood, and based on several conversations, it is often being misconstrued as a big data licensing deal. From everything I have read, it is not. Audrey Schomer at Variety has written the best article I have seen about the deal. She writes in part: ". . . the Lionsgate-Runway deal is not a data licensing deal. The deal also doesn’t mean that Lionsgate data is being used to train any of Runway’s own general video models, such as Gen-3, that support its tools made accessible for Runway’s other users. . . . [T]he deal is structured as a partnership. Lionsgate is giving Runway access to some of its film and TV archives in order to create a jointly managed custom model that only Lionsgate and its filmmakers, directors or other creatives can exclusively use." James Golden Mark Turner Max Einhorn Carlos Sanchez Jim Tosney Xenia Shevnina Han Seng Lim Pablo Iacoviello Brendan Gallagher Dataset Providers Alliance Alex Bestall Mark Milstein Peter Csathy Jieliang Hao Ali Hekmatpour Calliope Networks Ed Newton-Rex Keith Kupferschmid Bill Rosenblatt Radhika K Raman Todd Terrazas Milady Flores Lou Fazio Mark Benmore Phil Schuman Seth Hallen https://lnkd.in/gdunqEFe

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