Pictured (L-R): Walter Campbell (AIMP board), Kerry O’Neil (AIMP board), David Cook (moderator), Scott Sellwood (Rightsflow/Google), Patrick Sullivan (Rightsflow/Google), Jill Napier (Admin Director, AIMP), David Preston (AIMP board), Eli Ball (Treasurer, AIMP), Michael Kauffman (Rightsflow/Google). Photo: Heather Cook.
The AIMP hosted Rightsflow/Google representatives yesterday (Jan. 14) in what was a second Nashville gathering to discuss monetizing published copyrights on YouTube. The sold-out presentation, titled
Mo’ Money for YOUR Music, was held at BMI’s 6th floor theater as part of a series to inform and educate publishers about YouTube’s Content ID system.
Scott Sellwood, Strategic Partner Development Manager, YouTube, led the Nashville meeting with help from
Patrick Sullivan, founder of RightsFlow and now Strategic Partner Development Manager at Google.
Since
last year, publishers have been able to elect the Harry Fox Agency to manage YouTube revenue, or enter into direct agreements with the audiovisual provider themselves. Either way, a covenant to not sue is signed upon partnering, releasing litigation rights to pending or future suits against YouTube and its owner, Google.
As explained, the Content ID ‘backpage’ is a tool designed for publishers to manage, monetize, and view statistics for video uploads containing controlled copyrights. Harry Fox-affiliated publishers, however, surrender individual control of this operation to the agency.
Potential revenue for publishers flows from advertisements surrounding videos, which are either uploaded as user-generated covers, user-generated uploads containing a sound recording or licensed music videos. Publisher revenue for licensed music videos is intended to be paid directly to labels according to VEVO and Warner agreements. As of now, Universal is the only label that has
agreed to disseminate these payments, including retroactively (albeit to 2010).
“If publishers were actually getting money from labels, we think they would be more enthusiastic about partnering with us,” said Sellwood of the issue.
The presentation continued on to include a variety of advertising opportunities available once any copyright holder has chosen to monetize a work, via Content ID. For more details, see the video below.
Advertisements were said to rotate between videos on an auction-based system according to algorithms that focus heavily on demographics of a viewer. This brought concerns from audience members about exclusive artist endorsement deals. Sellwood noted that, although limited, certain url blocks may be useful for such branding conflicts
.
Perhaps the most important concern has been that YouTube is able to begin monetizing a video with clearances from any one copyright holder. Since the video site has seen a 25 percent increase in traffic since January 2012 to nearly 4 billion views a day, the urgency to lay stake to the revenue generated from these partial clearances is as pressing as ever.
Of note, performance fees for digital sites, including YouTube, are paid separate from ad revenue in accordance with negotiated agreements from the PROs. As of
this year, Sony/ATV brought this digital performance negotiation in-house from ASCAP and BMI.
The AIMP will host a gathering every month, with alternating luncheons and panel discussions. Find more information
here.
Read
MusicRow’s previous feature on YouTube royalties and pick up a copy of our latest
Digital Toolbox print magazine, focusing on today’s music industry digital landscape.
Industry Ink (1/16/13)
/by Jessica NicholsonASCAP’s first showcase of 2013 featured four up-and-coming songwriters, Kelsea Ballerini, Shaunna Bolton, Adam Hambrick and Forest Glen Whitehead, performing in the round at Nashville’s Bluebird Cafe on Wednesday, Jan. 9.
Pictured (L-R): ASCAP’s Mike Sistad, Shaunna Bolton, Adam Hambrick, Kelsea Ballerini and Forest Glen Whitehead
• • •
Shows will begin at 7 p.m. ET.
• • •
David Dixon
Media communications strategist David Dixon has been announced as Country Radio Seminar’s featured daily speaker for Thursday, Feb. 28, during CRS 2013.
Dixon is a partner at Dixon/Davis Media Group, based in Washington, D.C. The company was part of the Obama media team during the 2008 and 2012 elections, where they oversaw television and radio campaigns in Florida, Virginia and North Carolina. As part of the presentation, Dixon will discuss how radio has played an important role in winning recent political campaigns and how it fit into the overall media mix. He will also illustrate how radio is working with television and the growing relationship it has with digital and grassroots media.
• • •
Pictured (L-R): BMI’s Phil Graham, Charlie Feldman and Tommy James.
Rock legend Tommy James was recently recognized by BMI for 22 million combined radio performances of his hit songs “Draggin’ The Line,” “Crimson and Clover,” “Crystal Blue Persuasion,” “Mony Mony” and “Tighter Tighter.” James was presented with five BMI Million-Air Awards in New York. James stated, “I was very honored to receive the BMI Million-Air awards, I have been a member for so long it feels like family. My thanks again to BMI.”
McGraw Announces Two Lanes of Freedom Tour
/by Caitlin RantalaMcGraw has partnered with Tumblr to create the “Fanticipation” program which will allow fans, for the first time ever, to announce through Tumblr when tickets will be available in their own hometown. Beginning in early February, McGraw will call a fan in each market who is selected to participate in “Fanticipation” and personally tip them off, so they can share the information with their friends and other McGraw fans first. For more information on “Fanticipation,” click here.
On Feb. 5, McGraw will release his first album on Big Machine Records, Two Lanes of Freedom. For more updates and the latest information, visit www.timmcgraw.com.
Two Lanes of Freedom Tour Dates:
5/2 Birmingham, AL Oak Mountain Amphitheatre
5/3 Charlotte, NC Verizon Wireless Amphitheatre
5/4 Raleigh, NC Time Warner Cable Music Pavilion
5/10 West Palm Beach, FL Cruzan Amphitheatre
5/11 Tampa, FL 1-800-ASK-GARY Amphitheatre
5/12 Atlanta, GA Aaron’s Amphitheatre at Lakewood
5/17 Philadelphia, PA Susquehanna Bank Center
5/18 Pittsburgh, PA First Niagara Pavilion
5/19 Detroit, MI DTE Energy Music Theatre
5/23 St. Louis, MO Verizon Wireless Amphitheatre
5/24 Chicago, IL First Midwest Bank Amphitheatre
5/25 Cincinnati, OH Riverbend Music Center
5/26 Darien Lakes, NY Darien Lake Performing Arts Center
5/30 Indianapolis, IN Klipsch Music Center
5/31 Cleveland, OH Blossom Music Center
6/1 Washington, D.C. Jiffy LubeLive
6/7 San Diego, CA Cricket Wireless Amphitheatre
6/8 San Bernardino, CA San Manuel Amphitheatre
6/9 Mountain View, CA Shoreline Amphitheatre
6/13 Albuquerque, NM Hard Rock Casino Albuquerque Presents the Pavilion
6/14 Salt Lake City, UT USANA Amphitheatre
6/15 Denver, CO Fiddler’s Green
6/20 Beaumont, TX Ford Park Pavilion
6/22 Dallas, TX Gexa Energy Pavilion
6/28 Hartford, CT Comcast Theatre
6/29 Boston, MA Comcast Center
6/30 Holmdel, NJ PNC Bank Arts Center
7/25 Toronto, ONT Molson Canadian Amphitheatre
7/26 Bethel, NY Bethel Woods Center for the Arts
7/27 Virginia Beach, VA Farm Bureau Live at Virginia Beach
'The X Factor' Winner Signs with Syco Music/RCA Records Nashville
/by Jessica NicholsonPictured (L-R): Sony Music Nashville Chairman & CEO Gary Overton, Stevens, Ken Levitan (Vector Management), Sony Music Nashville VP A&R Jim Catino, Michelle Owens (Vector Management).
Tate Stevens, who recently won the second season of Simon Cowell’s The X Factor, has inked a deal with Syco Music/RCA Records Nashville. Stevens is currently writing and recording his debut album, which is set to release in spring 2013.
Throughout his season on The X Factor, Stevens performed material from Craig Morgan, Lonestar, Garth Brooks, Bon Jovi, Chris Young and Little Big Town, among other songs.
Ashley Monroe, Vince Gill Preview 'Like A Rose'
/by Jessica NicholsonAshley Monroe and Vince Gill (who produced Monroe’s upcoming album Like A Rose) gave a preview of the project for several industry members on Monday (Jan. 14) at Jim McGuire‘s photo studio in Nashville. McGuire has taken the portraits of numerous Nashville celebrities, including Kris Kristofferson, Waylon Jennings, Johnny Cash, Chet Atkins and numerous others.
They kicked off the evening with “Two Weeks Late,” a rollicking tune that showcases Monroe’s sharp wit. Another rocker, “Monroe Suede,” highlighted her ace storytelling skills. Gill offered high praise for the singer-songwriter throughout the evening, comparing the work on Like A Rose and Monroe’s traditional leanings in the midst of a rock-oriented country music landscape to that of Emmylou Harris. “Emmylou in a sense was that person. If you analyzed what country was doing in the ’70s, it wasn’t traditional,” said Gill. “She reclaimed some traditional spirit again in country music. I think this record of Ashley’s has the same opportunity. It’s honest.” Sharing a bit of advice he got from music publisher Fred Foster about producing an artist project, Gill added, “You have to go frame the picture.” And that’s exactly what Gill has done with this album.
Monroe’s manager John Grady (Crush Management) and Warner Music Nashville’s Peter Strickland hosted the event, welcoming Monroe and Gill to play all of the tracks from the upcoming album. Monroe (who is also part of the trio Pistol Annies with Miranda Lambert and Angaleena Presley) possesses a soulful, twang-drenched voice that easily draws comparisons to Lee Ann Womack and Dolly Parton, along with the knife-sharp songwriting that comes from someone who has been writing and singing for over half of her life. The camaraderie between the Knoxville native and her producer comes naturally; Monroe has been co-writing with Gill for over a decade, even before Monroe had a driver’s license.
Another highlight from the album is “Mornin’ After,” which Monroe penned when she was 17. The track features a vintage ‘tic tac’ bass doubling which sounds similar to a kickdrum. They followed the ballad with “Used,” a song Monroe penned after musing how many things, such as guitars, vintage clothing–and ultimately people–are better with some history behind them.
The title track, co-written with Guy Clark and Jon Randall, is a semi-autobiographical track detailing Monroe’s challenging teenage years, the loss of her father when she was 13, and her determination to rise above them. “You Got Me” features background vocals from Little Big Town and was co-written with LBT’s Karen Fairchild.
Like A Rose is slated for release March 5.
Google Play Using HFA
/by Sarah SkatesHFA’s rights management service, Slingshot, will support Google Play as it taps into HFA’s comprehensive rights database and extensive publisher relationships to facilitate the licensing of music for use in its music locker and music store. HFA will also provide license administration and process royalty distributions to publishers.
Google Play offers digital music, movies, books, magazines, apps and games for Android devices and on the web. More than 1.3 million new Android devices are activated each day around the world.
YouTube Educates Nashville Publishers about Site Monetization
/by Eric T. ParkerPictured (L-R): Walter Campbell (AIMP board), Kerry O’Neil (AIMP board), David Cook (moderator), Scott Sellwood (Rightsflow/Google), Patrick Sullivan (Rightsflow/Google), Jill Napier (Admin Director, AIMP), David Preston (AIMP board), Eli Ball (Treasurer, AIMP), Michael Kauffman (Rightsflow/Google). Photo: Heather Cook.
The AIMP hosted Rightsflow/Google representatives yesterday (Jan. 14) in what was a second Nashville gathering to discuss monetizing published copyrights on YouTube. The sold-out presentation, titled Mo’ Money for YOUR Music, was held at BMI’s 6th floor theater as part of a series to inform and educate publishers about YouTube’s Content ID system.
Scott Sellwood, Strategic Partner Development Manager, YouTube, led the Nashville meeting with help from Patrick Sullivan, founder of RightsFlow and now Strategic Partner Development Manager at Google.
Since last year, publishers have been able to elect the Harry Fox Agency to manage YouTube revenue, or enter into direct agreements with the audiovisual provider themselves. Either way, a covenant to not sue is signed upon partnering, releasing litigation rights to pending or future suits against YouTube and its owner, Google.
As explained, the Content ID ‘backpage’ is a tool designed for publishers to manage, monetize, and view statistics for video uploads containing controlled copyrights. Harry Fox-affiliated publishers, however, surrender individual control of this operation to the agency.
Potential revenue for publishers flows from advertisements surrounding videos, which are either uploaded as user-generated covers, user-generated uploads containing a sound recording or licensed music videos. Publisher revenue for licensed music videos is intended to be paid directly to labels according to VEVO and Warner agreements. As of now, Universal is the only label that has agreed to disseminate these payments, including retroactively (albeit to 2010).
“If publishers were actually getting money from labels, we think they would be more enthusiastic about partnering with us,” said Sellwood of the issue.
The presentation continued on to include a variety of advertising opportunities available once any copyright holder has chosen to monetize a work, via Content ID. For more details, see the video below.
Advertisements were said to rotate between videos on an auction-based system according to algorithms that focus heavily on demographics of a viewer. This brought concerns from audience members about exclusive artist endorsement deals. Sellwood noted that, although limited, certain url blocks may be useful for such branding conflicts.
Perhaps the most important concern has been that YouTube is able to begin monetizing a video with clearances from any one copyright holder. Since the video site has seen a 25 percent increase in traffic since January 2012 to nearly 4 billion views a day, the urgency to lay stake to the revenue generated from these partial clearances is as pressing as ever.
Of note, performance fees for digital sites, including YouTube, are paid separate from ad revenue in accordance with negotiated agreements from the PROs. As of this year, Sony/ATV brought this digital performance negotiation in-house from ASCAP and BMI.
The AIMP will host a gathering every month, with alternating luncheons and panel discussions. Find more information here.
Read MusicRow’s previous feature on YouTube royalties and pick up a copy of our latest Digital Toolbox print magazine, focusing on today’s music industry digital landscape.
SiriusXM Radio Launches New Channel
/by MichelleChannel 142 showcases the extensive lineup of SiriusXM’s exclusive Town Hall series, including intimate gatherings with iconic musicians, entertainers and studio audiences of SiriusXM listeners for in-depth fan/listener-generated Q&A sessions.
The channel will include the entire Town Hall archive, including Town Hall specials with Aerosmith, Jason Aldean, Gregg Allman, Carol Burnett, David Chase, James Gandolfini and Steven Van Zandt, Coach K, Coldplay, Crosby, Stills and Nash, Billy Crystal, Cardinal Timothy Dolan, Ronnie Dunn, Renée Fleming, Jane Fonda, Roger Goodell, Tony Hawk, Alicia Keys, KISS, Ziggy Marley, Willie Nelson, the surviving members of Nirvana, Linkin Park, Tom Petty, Soundgarden, Ringo Starr, Oliver Stone, Taylor Swift, Quentin Tarantino, John Travolta and Olivia Newton-John, Usher, Roger Waters, Betty White and Henry Winkler.
Many of the Town Hall specials feature performances and are moderated by high profile entertainers and stars, including Russell Brand, Jim Breuer, Sway Calloway, Didi Conn, Taylor Hawkins, Johnny Knoxville, Regis Philbin, Amy Schumer, Jon Stewart and Michael Strahan.
For more information visit www.siriusxm.com/townhall.
BMI Signs Black River Artist
/by Eric T. ParkerPictured (L-R): Penny Everhard (Associate Director Writer/ Publisher Relations, BMI); John Alexander (Vice President, Artist Management); Sarah Darling, Robert Carlton (Publishing Assistant and Catalog Manager); and Celia Froehlig (VP Publishing/Black River Entertainment)
Black River Entertainment artist Sarah Darling recently stopped by BMI’s Nashville offices to officially become a BMI songwriter.
Darling is currently recording her forthcoming album with producer Dann Huff. A digital EP titled Home to Me EP is expected Jan. 29, featuring a studio and an acoustic version of the title track and current single.
She has been a frequent guest on the Grand Ole Opry, and in December 2012, Darling partnered with MoonPie for a yearlong national campaign.
Artist News (1/15/13)
/by Jessica Nicholson• • •
• • •
• • •
• • •
Members of the group Parmalee recently returned to their homestate of North Carolina to headline the N.C. Governor’s Inaugural Ball Gala Presentation on Friday (Jan. 11) at the Raleigh Convention Center.
Pictured (L-R): Scott Thomas, Matt Thomas, Gov. Patrick McCrory, Barry Knox, Josh McSwain
Keel Named Chair of MTSU Recording Industry Dept.
/by Jessica Nicholson“I am honored to be named chair of the nation’s most prestigious recording industry program,” Keel said. “I am so excited to have the opportunity to work with the department’s talented and
Most recently, Keel was the Sr. VP of Media and Artist Relations at Universal Music Group Nashville, where she represented artists including Lionel Richie, Scotty McCreery, Sugarland, Jamey Johnson, Josh Turner, Kip Moore and others.
She spent 10 years as the Nashville correspondent for People magazine and served as the celebrity columnist at The Tennessean newspaper for two years, during which time she won the Charlie Lamb Award for Excellence in Country Music Journalism. She was an editor of American Profile magazine and also served as editor of CMT Life.
Her work has appeared in InStyle, New York, Oxford American, Weekly Standard, Rolling Stone, USA Today, Country Music, New Country, Country Music Today and MusicRow magazines.
Keel earned her bachelor’s degree from MTSU and her master’s degree from Columbia University Graduate School of Journalism.