Monday, April 13, 2015

Mark Your Calendar: Cinco de Mayo

The Recording Academy and California Lawyers for the Arts will present a music industry panel discussion May 5 at The GRAMMY Museum in Downtown, Los Angeles:


The Legal Landscape for Compensating Content CreatorsTuesday, May 5 at 6:00 pmThe GRAMMY Museum in Los Angeles, CaliforniaTickets & Information: Click Here
The below experts will discuss why music revenue and royalties are at all time lows, the history of music distribution, how content creators (and artists) are paid, the applicable laws and legislation, and the present and future landscape for creating and selling music.
Panelists:

  • Jay Cooper, Esq., Greenberg Traurig LLP
  • Dina LaPolt, Esq., LaPolt Law PC
  • Cedar Boschan, Boschan Corp. & Auditrix, Inc.
  • Edwin McPherson, Esq., McPherson Rane LLP
Moderator:
  • Keith Cooper, Esq., de la Peña & Holiday LLP
The GRAMMY Museum will be open at 6:00 p.m. for attendees to view the exhibitions. The program runs from 7:00 p.m. to 8:30 p.m.

The museum entrance is on Figueroa, between The Farm of Beverly Hills and Flemings.

Paid parking is available in nearby public lots.

Click here for more details.

Sunday, April 5, 2015

2015 Quarter 1 Top 10 @RoyaltyExpert


Below are the items that had the highest engagement during the first quarter of 2015 on our RoyaltyExpert Twitter feed:
  1. February's digital console sales drop 3.7%  http://t.co/Th9E0U85z4
  2. Spotify launches today on PS4 and PS3 with PlayStation Music  http://t.co/YxoKVXG9v1
  3. Allocation of Copyright Damages for Co-Owners - In re Isbell Records, Inc. | McDermott Will & Emery - JDSupra  http://t.co/a3HNW0EHR0
  4. Boeing Patents Force Field Technology  http://t.co/xsPcM8gRc6
  5. Machinima gets another $24 million in funding from Warner Bros.  http://t.co/1mQxC93Tto
  6. GameMaker Studio creator acquired for $16.4 million  http://t.co/emDdnZmLkm
  7. Why Being Under-Funded Could Actually Help Your Business  http://t.co/GquGaEsvl5
  8. 20 Percent Of Mobile Gamers Are Mobile-Only | alistdaily http://t.co/sbbpOwxKpT
  9. 15 Stephen Hawking Quotes That Will Change Your Life  http://t.co/xRKZe1iy10
  10. Physical Game Sales Hit 24-Year Low in Japan  http://t.co/scVOe0UWkS


Saturday, March 28, 2015

Introducing Boschan Corp.

Dear readers,

It is my great pleasure to announce that audit and forensic expert services successfully launched this week at Boschan Corp., the sister company of Auditrix, Inc.

Boschan Corp. is dedicated to empowering attorneys to optimize client claims / counterclaims through:

  • Contract and royalty audits
  • Damages, property and restitution valuation

Personally speaking, I am thrilled to return to an entrepreneurial role focused on music, IP, interactive and other select clientele, not to mention a commute that saves hundreds of hours!

Please update your contact records as follows:

Cedar Boschan
President & CEO

Boschan Corp. & Auditrix, Inc.
8383 Wilshire Blvd.
Suite 800
Beverly Hills, CA 90211

Web: Boschan.com
Tel: 424-248-8866
E-m: clientservice@boschan.com

I hope to hear from and see you soon!

Have a wonderful week ahead,
Cedar

March 2015 Music Business Top Ten


Here are the top ten music industry highlights from our Auditrix twitter feed:
  1. Cheryl Hodgson moderated a fantastic panel discussion about brands and music at the California Copyright Conference:
    Pictured L-R: Navine Karim - Legal Counsel, Red Bull Media House; Kyle Hermans - Brand Innovation, Gap Brands; Cheryl Hodgson - Music Attorney and Founder of Brandaide; Marshall Eskowitz - Marketing Executive, Creative Artist Agency
  2. By David Oxenford, who represents #broadcasters: Songwriter' Equity Act Reintroduced - What Does It Propose?
  3. Hollywood Reporter: We nominated our favorite power lawyers! 
  4. Daily Mail Online: Jay-Z to pay Swiss jazz musician 50% of royalties after 'stealing' his instrumental for 'Versus'
  5. Fast Company: Spotify Unveils A Bold New Brand Identity
  6. New York Post: Spotify to spend $1B on renewal deal with Universal Music

  7. Billboard: 'Blurred Lines' Trial Verdict: Jury Rules Against Pharrell Williams & Robin Thicke
  8. Disruptive Competition Project: Transparency at the Intersection of Music Licensing and Antitrust
  9. Sonicbids: 5 Not-So-Obvious Revenue Streams for Musicians
  10. Digital Music News: 12 Reasons to Fire Your Bandmates

Sunday, February 22, 2015

February Financial News Recap - Music Royalties

MIDEM as we know it may be no more, but the music business always kicks off the new year with The Grammy Awards.  This year, we celebrated nominated clients during #Grammy #Week with many out of town guests from New York, The Southeastern US and Texas (see photo here by Christianne Kinney, Esq. featuring Tamera Bennett, Esq., Ken Freundlich, Esq. and Auditrix founder Cedar Boschan at the Fox Rothschild Pre-Grammy Party)

Our music royalties highlights so far this year:
  • A popular post on the Auditix blog "Five Things to Consider Before Filing a Music Copyright Case" by trial lawyer Gerard P. Fox, Esq.
  • Cedar Boschan was re-elected to a second term as national treasurer of The Association of Independent Music Publishers.  She was also honored to be featured in discussion with the following music industry professionals in Berkeley at California Lawyers for the Arts' "Crossing the Digital Divide" 32nd Annual Music Business Seminar:
    • Keith L. Cooper, Esq., Partner who heads de la Pena & Holiday LLP's new Los Angeles office and focuses on clients in  transactional, copyright and trademark matters, as well as lawsuits
    • Angela Rose White, Esq., COO of David Rose Publishing Co. where she concentrates on music publishing/administration of a catalog including “The Stripper” 
    • Mikael "Count" Eldridge, San Francisco-based record producer and filmmaker (projects include DJ Shadow, Frank Sinatra, Radiohead, John Cale, No Doubt, RUN DMC)
    • Vivek Sridharan, Esq., Partner at Counsel LLP who advises on digital strategy for independent record labels, music technology start-ups

      The panel discussion focused on digital distribution of music and its impact on the music business.
  • Green Hasson Janks published its final Entertainment Newsletter (GHJ is switching to a blog, to be announced soon)
  • Cedar and her team at GHJ attended several educational programs about the music industry, including an International Panel at the AIMP and the first music-oriented program held by The Beverly Hills Bar Association in quite a while:
February 18, 2015 at The Beverly Hills Bar AssociationMusic Industry Update: Getting a Manager, a Record Deal, and the Money in 2015
L-R: Dean Wilson, 
President, Three Six Zero Group, Dina LaPolt, Attorney, LaPolt Law PC, Donald Passman, Partner, Gang Tyre Ramer & Brown, Rand Levin, Senior Vice President, Business & Legal Affairs, Universal Music Group, Dinah Perez, Law Office of Dinah Perez
  • We also attended The AIMP's International Royalties program featuring:
    • Michel Allain, Director General/CEO, FastTrack (Paris, France), who cogently pointed out that, unfortunately, $1M Euros equals $1M U.S. Dollars
    • Ger Hatton, Director General/CEO, International Confederation of Music Publishers (Switzerland)
    • Teri Nelson Carpenter, President & CEO, Reel Muzik Werks/AIMP Vice President
  • Check out our top tweets here!

Top Tweets YTD from the Auditrix 2015 Twitter Feed

Below are the popular tweets from the Auditrix twitter feed, which focuses on music economics and royalties, during 2015 YTD:

Best Unfinished Twitter Conversation with Glenn Peoples @ Billboard and John Strohm @ Loeb

Friday, January 9, 2015

Five Things to Consider Before Filing a Music Copyright Case

By Gerard P. Fox, Esq.

Gerard P. Fox, Esq. and his firm
handle general business, contract
and IP litigation across the
entertainment industry and
beyond.

Attorney Gerard P. Fox has acted as lead trial counsel for corporate clients such as Vivendi and Clear Channel. Mr. Fox has also represented high profile entertainers including Madonna, Anita Baker and the Isley Brothers.  

From hiring experts to damage awards, in his post below, Mr. Fox shares some very useful tips from his years of copyright litigation experience.  For a personalized consultation, contact the Law Offices of Gerard Fox and also check out his Fox's Litigation Strategies Blog.

1.      In my opinion the Federal District Courts have been improperly applying a quantitative and not qualitative copyright analysis in music and film cases. This means that they take the totality of your copyrighted work which you claim has been infringed, and hold it up against the totality of the infringing work and actively look for dissimilarities.  This is incorrect under the law because in truth a song often includes many small, integrated and unique copyrightable works. Unfortunately, because the courts are taking this approach, it is much harder to win a copyright case in district court.  I tried one of the last published wins where I represented an artist claiming a part of their song was infringed. See Three Boys Music (Ronald Isley) v. Michael Bolton.  It’s not common.
2.     You will need to hire a musicologist up front.  If you want to have any chance of negotiating an early settlement or defeating an early motion for summary judgment (see below), you will need to retain an accomplished and respected musicologist. First, you should secure their independent opinion as a consultant, then if their opinion is one you respect and one that supports your contentions you should retain them as a formal expert.  Good musicologists, who are respected by defense counsel and the court, will usually ask for an up front retainer of no less than $5,000 or $10,000. Keep in mind that this retainer is not a cap of their total billings.  If the case proceeds through to depositions, summary judgment and trial, the musicologist would likely charge you upwards of $25,000. 
3.     Another consideration is that the defendants will most assuredly make an early motion for summary judgment wherein they will argue that the infringed elements of your song are common and not unique, and that the two musical works are not substantially similar.  They may make other arguments that are common to these type cases, but these are the two most likely arguments.  In making these arguments, they will put forth cases that move away from the proper application of Copyright law to a quantitative analysis of the works.  It is imperative that you retain attorneys who have a deep and up to date understanding of the case law, legislative history and this process to have any chance of defeating this type of motion.  This is no area for a general practitioner.  Defeating this summary judgment motion is essential, because if you do, which is rare in these cases, you will have all the leverage, as the defendants would be left to face a public jury trial.
4.     The prevailing party may be awarded their attorney’s fees under Copyright law.  Under 17 U.S.C. § 505 “the court may also award reasonable attorney’s fees to the prevailing party” in a copyright infringement case.  This is a huge issue to consider if you are the artist because if you lose, you could be ordered to pay hundreds of thousands of dollars of defense fees.  Now, awarding attorney’s fees and costs is discretionary with the district court judge, and many of these judges will NOT award the defendants their fees even if they win, on account of their very human concern about the financial devastation such an award would cause the artist, but this is a risk.
5.     Finally, when it comes to estimating your damages, you will not be awarded all of the infringing defendants’ net profits from the infringing distribution and use of the song, but an apportioned amount.  17 U.S.C. § 504(b) provides that the defendants are entitled to prove that certain elements of the profits are “attributable to factors other than the copyrighted work.” See Mackie v. Rieser, 296 F.3d 909, 915–16 (9th Cir.2002) (In the Ninth Circuit, on a claim to recover profits that are attributable to the copyright infringement, a plaintiff must show that the infringement itself, that is, the use of the plaintiff's work, was causally linked to the gross revenue claimed.).  This means that the defendants will argue that their notoriety, other songs on an album, the marketing behind them and their songs, the market that pre-exited for their music and other non-infringing parts of the song at issue were responsible for most of the profits earned, and that you should only be awarded a small apportioned amount of the net profits.  Of course, most defendants are not truthful about their actual net profits and will try to hide the true amount of their profits. To combat this it is important that you hire a forensic accountant who is knowledgeable about the music industry, such as Green Hasson Janks, to figure out the actual net profits, and then use your musicologist and maybe another music industry expert to argue that the piece of music stolen from you drove the sales and as a result defendants’ profits.
# # #

Gerard ("Gerry") Fox graduated from Georgetown Law School, magna cum laude, and earned an accounting degree from the University of Richmond. Mr. Fox acted as lead trial counsel for clients such as Vivendi, Clear Channel and Dow Chemical.

Gerry started his career at Covington & Burling, followed by Kaye, Scholer, before forming Fox & Spillane, where Mr. Fox honed his trial skills for twelve years. Four years ago, Gerry began the Law Offices of Gerard Fox.

Gerry handles General Business Litigation, Contract Litigation and Intellectual Property Litigation across the entertainment industry and beyond.

Gerry is admitted to practice in Maryland, Washington, D.C., California, has served as a media commentator, and wrote the book “Sue the Bastards.”

Saturday, December 13, 2014

2014 Year in Review: Music & Interactive Royalty Highlights

January: Criteria to Collect Monthly from SoundExchange per Glenn Peoples in Billboard

February: Golden Oldies: How To Become A Music Publishing Mogul by Zack O. Greenburg at Forbes


Photo credit to Teri Nelson Carpenter (@TeriRMW): "Cedar Boschan's panel at SXSW is ROCKIN' it!! Fair royalty rates are critical!!" L-R: Gerri Leonard, Leonard Business Management; Laura Merry, NKSFB; Lynise Levine, GSO Group, Cedar Boschan, Green Hasson Janks

March: #SXSWroyalties

April: Study Shows YouTube Cannibalizes Album Sales

L-R: Cheryl Hodgson, Hodson Legal; Cedar Boschan, Green Hasson Janks; Kristin Edmonds, Morgan Stanley

May: Royalty Income Meets Marital Dissolution: Dividing, Managing & Accounting (DVD) @ The Beverly Hills Bar Association (Receive 1 Hour CLE Credit, $179)

June: NMPA Releases Music Publisher Survey Results (e.g., "In 2013 $1.09 Billion, over half of all publishing income (52%) came from Performance Royalties")


L-R: Enrico D’Angelo, Activision; Gerard Fox, Law Offices of Gerard Fox, Inc.; Vanda Cristina Massa, FOX; Wayne Kazan, Weintraub, Tobin; Vincent Scheurer, Sarassin LLP (via videolink from London); Cedar Boschan, Green Hasson Janks


July: Video Game Dealmaking: Playing to Win (DVD) @ The Beverly Hills Bar Association (Receive 1 Hour CLE Credit, $179)

August: Google set to launch YouTube Music Key - Business Insider

September: "The last small music publisher left in the Brill Building..." per John Seabrook in The New Yorker

October: Music Royalties Dinner at The California Copyright Conference
"The Game Attorney" Tom Buscaglia Interviews Cedar Boschan in IGDA Webinar - #Free on YouTube

















November:
 
Royalty Audits: What You Need to Know - International Game Developers' Association (IGDA)


December: Top 3 Most Important Things a Manager Does - Q&A with Artist Manager Laurel Stearns

Listen Here

The Auditrix on music and game royalties:

 MusicBizCast with Kelly Castor Episode 29 with Cedar Boschan
Music Royalties - Audio Interview of Cedar Boschan by Kelly Castor - #Free on MusicBizCast

Royalty Audits: What You Need to Know - International Game Developers' Association (IGDA) Webinar: Distinguished Lawyer Tom Buscaglia Interviews Cedar Boschan - #Free on YouTube

Video Game Dealmaking: Playing to Win (DVD): The Beverly Hills Bar Association Panel Discussion with International Legal and Business Professionals (Receive 1 Hour CLE Credit, $179).  Cedar Boschan Moderates:

Royalty Income Meets Marital Dissolution: Dividing, Managing & Accounting (DVD) @ The Beverly Hills Bar Association (Receive 1 Hour CLE Credit, $179), Featuring Presenters:

Business Managers Brainstorm on Royalties - SXSW and Association of Independent Music Publishers Panel Discussions (@AIMPorg video #free for #membersonly) Featuring:




Friday, December 5, 2014

Q&A with Artist Manager Laurel Stearns

Laurel Stearns at #ScionAV Music(less) Music Conference 2012
Laurel Stearns speaking at Scion Music(less) Music Conference 2012 about building a team.  Click to view the panel discussion.

With major experience and an independent mindset, Laurel Stearns manages artists from Red Fang to Jenny O.  Visit www.thedilettantes.net for more on her Downtown L.A. office's wonderful roster and read ahead for Ms. Stearn's insightful answers to @Auditrix' music business questions:

Cedar Boschan: What is the difference between a business manager and an artist (a.k.a. "personal") manager?


Laurel Stearns: I'm an artist manager.  There is a big difference between business management and artist management.  The artist manager is involved in every aspect of a band's/artist's life, while business management handles the money flow.  Both are hugely important.

Boschan: Legendary manager Shep Gordon said, “The three most important things a manager does is (1) get the money, (2) always remember to get the money, and (3) never forget to always remember to get the money.” What are the three most important things that you do for clients?

Stearns: I love Shep and that statement holds true today.  I would say:
  1. Create infrastructure
  2. Create opportunities, and 
  3. Get the money!
Boschan: Can you offer any tips to collecting your clients’ fair share?  

Stearns: Make sure  your deals are clear and papered/paper trail... Get this done before any work happens

Boschan: How are you compensated?

Stearns: We get paid when the artist gets paid.  I never commission of deficits...and, please, with merch it should be a commission of the net.

Boschan: What are fair commissions for members of an artist's team?


Stearns: Booking agent = 10% and business manager = 5%, while artist management varies between 15-20%; it's an endless job.


Boschan: When should an artist fire a manager?

Stearns: If the visions are completely different.  The manager is the closest person to the band....if the vision and vibe is off, it might be time to part ways...you don't need to be best friends but both parties should have a similar path with similar goals.

Boschan: Would you be willing to share an example of a failure in your career or one of your clients’ careers and what you learned from it?

Stearns: Yes, taking on artists that I didn't have a pure gut feeling on, bringing them on because of others telling me I should, those never turn out well. You have to be 100% passionate about it otherwise it usually doesn't work.

Boschan:  What is less important now than it was five years ago?


Stearns: Getting on the radio.  While it still can impact your career immensely, there are so many ways to grab exposure now...licenses for commercials, TV, film, fashion, every area of the internet, podcasts, etc.  The combination of life steeped in music is really limitless now.

Boschan: What has grown in consequence over the past 5 years?

Stearns: The amount of competition for attention; everyone can make a record and the outlets to expose it are everywhere... keeping your fans loyal and focused is not easy, but if you are truly great at what you do, I still believe you will be found at some point.

Boschan: What are the key metrics you rely on to gauge success? (e.g., SoundScan sales, YouTube views, Facebook likes)

Stearns: All of it...SoundScan is probably the last as you can have a billboard #1 streaming song that does not equal record sales.  But all of it adds up and means your music is getting out there.

Boschan: Your clients have viral videos.  How have you leveraged audiovisual media to create income opportunities for your clients?


Stearns: Absolutely, Red Fang have built an incredible relationship based on their love of PBR [Pabst Blue Ribbon beer]... they chose that beer naturally... it entered into their video aesthetic and we have built a real relationship with PBR because of it.  For example, PBR purchased a van for the band and Red Fang played at PBR events. It's been a organic fit that is recognized by both parties.




Boschan: 
How do you approach a potential brand partner on behalf of an artist?


Stearns: I look for truly creative ideas that make the brand interested in the band...begging for money to sponsor something is not appealing...create the engagement by coming up with amazing ideas...don't ask the brand to do that for you. Brands will show up if you have a great idea.

Boschan: You were a label A&R person and became a manager.  What was your role at the label and how has that influenced you as a manager?


Stearns: I was actually a manager first...I was also independent...that was my single most important point of view.  Being independently minded helped me stand out in a corporate environment.

Boschan: Specifically what do you look for in a label partner?


Stearns: I love working with people that really get into the individuality of the band/artist. We work in a creative field and when I feel like I get a rubber stamp plan laid out in front on me, there is nothing more heart wrenching than that...When you work in the arts, get artistic.

Boschan: Do you have any crowdfunded projects on the horizon?

Stearns: We have a collaborations record with Linda Perhacs coming that will be crowd funded.  She has a great label, but there are so many fans out there and we wanted to engage them all in this process.


###


At Dilettante, Stearns oversees a roster of artists that includes folk icon Linda Perhacs (Asthmatic Kitty/Secretly Canadian), Red Fang (Relapse), Jenny O. (Thirty Tigers), Rodrigo Amarante (Easy Sounds/Vanguard), Team Spirit (Vice), Black English (Arts & Crafts), Babes (Harvest), and PPL MVR (Atlantic/Elektra). 

Stearns joined Dilettante from Prospect Park (The Firm).  Previously, Stearns  helped launch the L.A. arm of Redlight Management, where she brought into the fold the likes of The Decemberists and Alberta Cross. She also has served as an independent manager for artists such as The Dirty Dozen Brass Band (Mammoth), The Descendents, ALL (Epitaph), GWAR (Metal Blade), The Paladins (4AD) and Plastilina Mosh (Capitol).

Prior to her career in artist management, Stearns was an A&R rep at Capitol Records, where she worked with bands such as Interpol, The Decemberists, Shout Out Louds, Fischerspooner, Sparklehorse and LCD Soundsystem. While at Capitol, Stearns began noticing that many talented bands could not find a place within the major label system. Seeking to create a home for such bands, Stearns and two partners launched Cold Sweat Records/Caroline. The label would ultimately discover the likes of Wives/No Age, Battles, Devendra Banhart, and Health, releasing music using non-traditional methods.

Stearns has also served as music supervisor for acclaimed indie films, such as The Wild and Wonderful Whites of West Virginia (Johnny Knoxville) and Miss Meadows (Katie Holmes).

Sunday, November 30, 2014

The Royalty Audit: A Legal & Financial Concern

A “royalty audit” is more accurately described as a contract compliance examination, or a "contract audit." Thus, in four of five cases, the call to do a contract audit is made by a client's attorney, not its finance team.

Even in the infrequent cases when the call comes from a non-attorney, we like to involve an attorney if the client is willing to pay for it because we usually need a tolling agreement and our contract audits basically seek to quantify amounts due in connection with legal issues, so it helps to have an attorney available to consult as matters arise and in order to facilitate a settlement agreement or, rarely, file a legal complaint. Accordingly, our royalty and other contract audit work is actually expert consulting work that is a subset of our “forensic accounting” practice, all of which is for a legal purpose.

On the other hand, some attorneys see us as pure bean counters and if a client’s motivation for auditing a business partner is purely financial and it isn’t interested in paying us or an attorney to identify all breaches of the contract, just the accounting provisions, our work focuses as much as possible solely on the financial aspects of their contract.

Even in this case, a contract audit is unlike a financial audit that audits compliance with GAAP (aka an “assurance audit”), which Green Hasson Janks also performs.

One fundamental difference between an “assurance audit” and the contract audits we do: the client.  For example, if we perform a financial audit of a game publisher, the game publisher is our client. If we perform a contract audit of a game publisher, our client is typically a developer or other creator or licensor, not the game publisher, and the publisher is a counterparty to whom we are adverse.

#Thanksgiving Weekend Edition

The top items I shared last week among my Linkedin and Twitter followers:

Buffy Sainte-Marie said #NO:


"Elvis just recorded your song and we want some of that publishing $, honey."






#Giveback: holiday shopping on YouHambo


News from The Wall Street Journal:




***Litigation Update*** "...contracts will keep Run DMC's now-indigent lyricist in hot water over his lawsuit for royalties, a... judge ruled." - Courthouse News Service


Other Links of Interest:



Fresh #Gifts: #Travel #Journey #Fair #Trade


From http://jezebel.com/

# # #

For more music news, follow me @Auditrix.  For interactive games and other IP royalty, business and litigation news, you should follow me @RoyaltyExpert.

Saturday, November 22, 2014

Best of Last Week



@jimmybuffett does ask terrestrial stations to pay royalties; he is part if the @musicFIRST coalition.

9 Spotify tools for hardcore music fans


Why Apple has a good shot at killing the freemium streaming music model @jillkrasny via @Inc



Cedar Boschan at the Beverly Hills Bar Association - DVD



Need MCLE credit? Check my panel: "Royalty Income Meets Marital Dissolution Dividing, Managing and Accounting"

Molly Neuman: From Riot Grrrl Founder to Indie Label Advocate - Digital Music News


Lady Gaga's Parsippany #producer loses $7.3M suit to #songwriter




Taylor Swift's Extreme Measures to Keep "1989" From Leaking via @YouTube


Study from Pandora Touts the 'Pandora Effect' on Music Sales | Billboard #promotionaleffect


Don Henley: Record Companies 'Not Going to Roll Over' on Copyright Issue | Rolling Stone



 Duke Ellington's grandson failed to show EMI broke a 50-year-old contract by diluting his share of the legendary composer's royalties, New York's highest court ruled.

RT @musicregistry: The Million Dollar Record Label Theft, & How It Came Crashing Down


Fortune: Pandora's plans for growth


An #iTunes #contract


 YouTube Stars More Popular than Mainstream Celebs per Variety

SiriusXM Slammed Yet Again As New York Judge Rules in Turtles Lawsuit - Hollywood Reporter



# # #

For more music news, follow me @Auditrix.  For interactive games and other IP royalty, business and litigation news, you should follow me @RoyaltyExpert.

Sunday, November 16, 2014

Last Week's Top Links

Several popular items I posted last week on Linkedin and Twitter shared a theme named Irving Azoff:
The big news in the music business last week was YouTube's announced launch of its Music Key service. In addition to the above-linked Hollywood Reporter/Irving Azoff piece, most of the inquiries spurred by my "What is Content ID?" blog post last week were regarding YouTube Music Key subscriber revenue.

However, another popular YouTube tidbit that I shared with my LinkedIn connections had to do with good ol' advertising revenue: Per Jason Calacanis, "YOUTUBE has grabbed about 10% of television revenue"

More music items that engaged my connections on LinkedIn include:
My Twitter followers @Auditrix were most engaged in the following items:
On the copyright front, there was movement last week in one of the most interesting cases that I am following, between Smokey Robinson and his ex-wife, Claudette. Everyone I know who knows them both think it is too bad that they are litigating, so even though the issue of whether state community property laws or Federal copyright laws apply to royalties for terminated copyright grants is very interesting, I was nevertheless happy to read that the parties dropped their suit (see http://t.co/8pt5xyFxnQ) ...but, upon sharing this news in my @Auditrix Twitter feed, the reporter who has had the best coverage of this case - Eriq Gardner at the Hollywood Reporter - suggested that we have not seen the end of this dispute (see the link Mr. Gardner shared here and follow him on Twitter here).  In any event, if you are an attorney or business manager, keep an eye on this case - the outcome could impact your clients!

Tencent was another company in the news last week due to its partnership with Warner Music Group in China (see this, this, this and this), but the most popular bit that I shared about Tencent last week was via my @RoyaltyExpert Twitter feed, which focuses more on games than music: Tencent said that titles on its games portal QQ are better at making money than games on WeChat

Other top games items I shared last week:
# # #

For more music news, follow me @Auditrix.  For interactive games and other IP royalty, business and litigation news, you should follow me @RoyaltyExpert.