– MMF-US 20th Anniversary 1993-2013 –

 MMF News

The Music Managers Panel

Posted by MMF on Sep 28, 2014 | 0 Comments

Music Managers Forum-US and Women in Music presented The Managers Panel, in accordance to MMF-US’s goal to educate and provide a forum to discuss the issues and problems facing the music industry manager. The event was held to a capacity-filled audience of young and aspiring managers plus Women in Music and MMF-US members at the corporate offices of BMI on September 17, 2014. Women in Music, in partnership with the Music Mangers Forum-US presented this panel of expert music managers who addressed the role a manager plays in today's industry, strategies that work, strategies that don't work, anecdotes to inspire and teach us, the economics of being an artist manager, latest issues that are challenging music managers as well as their artists, and much more. 

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Music Managers Forum-US and Women in Music present: The Music Managers Panel - 9/17/14

Posted by MMF on Sep 04, 2014 | 0 Comments

Today's music managers are faced with unique challenges. They are not only managing the careers of their artists but also, often times, playing the role of the CEO of a music industry business. Women in Music, in partnership with the Music Mangers Forum US, is proud to present this panel of expert music managers who will address the role a manager plays in today's industry, strategies that work, strategies that don't work, anecdotes to inspire and teach us, the economics of being an artist manager, latest issues that are challenging music managers as well as their artists, and much more. Whether you are interested in a career as a music manager, are a music manager looking to learn from your peers, or are in any other part of the industry and want to gain a better knowledge of the landscape we work within, join us for what will most definitely be a very rewarding and interesting evening!

Panelists:
Jessica Weitz (MCT Management -- Citizen Cope, Dar Williams, Nina Persson (The Cardigans), Marshall Crenshaw, etc.)
Dawn Barger - Founder, Post Hoc Management - The National, The Antlers, The Long Count, Sounds of the South
Alan Wolmark - Owner / President CEC Management - MMF-US Board Member
Barry Bergman - Owner Barry Bergman Management & Ellymax Music Co. / WoodMonkey Music - Founder & President MMF-US

Moderator: Yaya Rey - Owner / President YA IndieGround House Management - MMF-US Board Member

September 17th, 2014, 6:30pm to 8:45pm
Panel- 6:30pm to 8:15pm, with short networking reception to follow.
BMI Offices, 30th Floor Conference Space
7 World Trade Center, NYC
FREE for WIM and MMF Members. $15 for non-members.

*All attending MUST RSVP by Septemer 16th at 2pm (EST). Light refreshments and snacks will be served.

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MMF Crowdfunding Comparison

Posted by MMF on May 28, 2014 | 0 Comments

One of our goals at Music Managers Forum-US is to educate and disseminate information regarding areas of interest to managers. Below is an MMF-US exclusive: a short Q&A with representatives from leading music crowd funding services/platforms. These answers furnished to MMF-US for the Q&A are posted exactly as provided from each of the responders. Because music managers may advise their clients to utilize alternatives for funding creative projects outside of the major/indie label system, MMF-US hopes to help popularize some of the options through the dissemination of this first-hand information.  

 

 

responses from:

 

 

Benji Rogers, President & Founder

PledgeMusic 


 

1. Please identify three (3) advantages that the PledgeMusic offers over other crowd funding platforms that music managers would want to know.

 

One of the big advantages of the platform is our longer campaigns that can run as either a targeted or goal-oriented campaign or as a pre-sale. Instead of the 30 or 60-day campaigns you’ll often find with crowd funding, PledgeMusic campaigns usually last between 3 and 6 months, giving a project enough time to gain momentum and fans enough time to take part in the whole life and story of a new release. 

 

Second, PledgeMusic campaigns continue even after they hit 100 percent of their initial goals. We’ve seen artists surpass 300, 400 and even 500 percent of their targets as fans continue to get involved. In an age when people are hesitant to spend money on CDs - even downloads - the average spend per fan in the US on PledgeMusic is $61 - the price of 3 or 4 albums, and that’s just on one campaign. We also find many fans becoming serial pledgers as they discover new artists through the site. For this reason, a large percentage of our artists are profitable before they’ve even finished tracking an album. Plus, all those sales are chart eligible and count toward week one album sales, leading to a higher week one chart position.

 

And third, PledgeMusic is not a static platform. We bring a team of experienced industry professionals to the table. Rather than launching a campaign online and hoping for the best, our artists work one-on-one with members of our talented team to set up the campaign, choose the right goal, create a tailored marketing plan and see the project through to the end. Artists can make changes and updates to their campaigns whenever they choose.  

 

PledgeMusic is specifically designed for artists, managers and labels who want to engage fans while seeing a project to fruition. For artists who catch that vision and see the value of inviting fans into a journey rather than simply asking for money, PledgeMusic has a lot to offer that traditional crowd funding sites overlook. It’s a different approach, and our direct-to-fan model has actually proven itself to be statistically more successful than crowd funding. Going either the direct-to-consumer or crowd funding route will simply be leaving money on the table.

 

2. Why should music managers advise their music artists to use PledgeMusic to fund their projects over choosing to sign with a record company?

 

The good news is that they don’t have to. We are extremely third party friendly, so we commonly work with managers and labels alike on new campaigns. We offer two different types of projects: private target-based campaigns and pre-order campaigns. Often, when an artist is signed to a record label, he or she will run a pre-order campaign with us to help build the excitement around a release, have more album sales to count toward their week-one sales for charting purposes, and build relationships with their fans.

For those artists who don’t have a label backing them or helping pay for a new project, target-based campaigns are a way to invite fans to essentially be the label. With either kind of campaign, PledgeMusic has a 91 percent success rate for our managed campaigns to date. Fans want to be involved in the creation of a record, and our platform allows them to do just that while supporting their favorite artists.

 

3. Ideally, what type of music artists have you found to most benefit by using the PledgeMusic platform to get the most out of their campaigns? (can name some examples of successful campaigns?)

 

The short answer is this: those who want to engage their fans. Factors like genre, age or popularity don’t determine the success of a campaign as much as this key element does. Of course an artist has to have a fan base to begin with, but as long as that’s present in some shape or size, the true predictor of success is usually whether or not an artist actually wants to interact with fans and invite them into a process that has long taken place behind closed studio doors. 

 

From Ben Folds Five (Sony Legacy) hitting 368% of their goal and landing in Billboard’s Top 10 to Bring Me The Horizon (RCA) getting their highest career chart position at No. 3 after a successful campaign to 311 (INGrooves) entering the Billboard charts at No. 6 on the heels of their campaign, we’ve seen artists of all kinds using PledgeMusic to hit and exceed their goals. More independent success stories include names like Firehorse, who surpassed 170 percent in two different campaigns and Matthew Mayfield with three successful campaigns for different projects. 

 

4. What strategies should music managers and their music artists practice in order to mitigate risk in realizing a successful PledgeMusic campaign that meets the goal?

 

I keep coming back to this, but the biggest strategy is encouraging the artist to stay fully engaged. This means posting frequent and interesting updates to the updates section, offering exclusives that involve interactions with the artist and just keeping fans up to speed and excited about what’s going on. Artists who hit “launch” on campaigns and then leave them alone, hoping for the best, rarely do well. 

In addition to this, we highly recommend using our widgets, which allow artists to capture data from fans (like an email address) in exchange for a free track or an exclusive offering. While it may feel risky to some to run a campaign like this, the truth is that by doing so you’re automatically mitigating the higher risk of releasing an album to the public blindly and then waiting to see how it does. PledgeMusic artists get to see the momentum build throughout the entire process, all while pre-orders are coming in, so the release day becomes an exciting part of the story rather than an uncertain shot in the dark.

 

Note: Question 5 did not receive a response.

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responses from:

 

 

Karen Blair, Head of Creative

Indiegogo

 

 

1. Please identify three (3) advantages that Indiegogo offers over other crowd funding platforms that music managers would want to know. 

 

Indiegogo offers flexible funding in addition to fixed funding. Fixed funding is the all-or-nothing model. In the event that you don’t hit your goal, you don’t get your money- no harm, no foul.  Flexible funding allows the artist to keep what they’ve raised, regardless of whether or not they reached their funding target.

 

Another key differentiator is our superior customer service we offer to anyone running a campaign on indiegogo. we have campaign specialists that will work with artists and their managers to make sure that they are set for success when running a campaign

 

Keep your data. Indiegogo offers in depth analytics on your campaign that help campaign owners recognize who their fans are, where they’re from, what they’re interested in, in addition to their email and mailing addresses.  

 

2. Why should music managers advise their music artists to use Indiegogo to fund their projects over choosing to sign with a record company?

 

I don’t think it’s an “indiegogo over record labels” thing anymore. if an artist is able to monetize their fan base by engaging them through a campaign on Indiegogo, they may not need an advance to get the album produced, but i think labels still offer great services (distribution, promotion, etc) we are already seeing artists sign deals after running a campaign on Indiegogo (i.e. protest the hero).  the benefit of running the campaign before signing is that you come to the labels with a market-validated product that you own outright. the artist maintains creative control and have a little more bargaining power when it comes to signing.

 

3. Ideally, what type of music artists have you found to most benefit by using the Indiegogo platform to get the most out of their campaigns? (can name some examples of successful campaigns?)

 

Any artist who is able to engage their fan base through the campaign. We’re seeing a lot of success in the alternative/rock scene right now, because these bands are not afraid to get their hands dirty. The campaigns that do the best are the ones that offer great experience based perks, in addition to the physical goods. Fans follow their favorite artists on twitter and instagram because they want that all inclusive experience. The same way fans want to know which Karaoke bar Drake goes to when he’s in NYC, or what Beyonce’s wearing to Coachella- Fans want to be involved with the creative process of making a record. Protest the Hero, Macklemore & Ryan Lewis, We The Kings and Our Last Night are all great examples of artists who brought great offerings to the campaign and have seen success because of it.   

 

4. What strategies should music managers and their music artists practice in order to mitigate risk in realizing a successful Indiegogo campaign that meets the goal?

 

Set a realistic target, be active on the campaign by offering new perks, posting updates and engaging with their fans both before, during and after the campaign. be transparent- where’s the money going? and listen to your campaign specialist- they’re here to help you raise the most amount of money and awareness that you possibly can. 

 

5. In five years from now, where do you see Indiegogo and their place amongst crowd funding services and possible innovations for the platform?

 

I’m looking forward to working with more labels, partners and artists to continue pushing the industry forward. I think that as the industry continues to grow and evolve we will do the same. In the music space, I hope we can help repair a broken model and bring the power back to the artists and the fans. We’ll continue to provide superior customer service, in addition to improving the user’s experience by offering more detailed analytics, fulfillment tools and other awesome things that probably haven’t been thought of yet. It’s so cool to see the democratization of fundraising and the effects that it’s having on all spaces, especially the music industry. The next five years are shaping up to be crazy. 

 

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responses via

 

 

 

Justin Kazmark, Communications Team

Kickstarter

 

1. Please identify three (3) advantages that Kickstarter offers over other crowd funding platforms that music managers would want to know.

 

More than six million people from nearly every country on the planet have turned to Kickstarter to voice the kind of culture they want to exist. Collectively, they’ve pledged more than $1.1 billion dollars to projects in the last five years, bringing more than 60,000 ideas to life. More than 16,000 of those have been from the world of music — everything from Grammy-winning albums to concerts, music videos, and international tours.

 

Kickstarter is a team of 85 people who are experienced at making new things from across the creative universe. Musicians, artists, filmmakers, hardware designers, comic artists, photographers all work at Kickstarter. Many of us have launched our own projects. We take pride in what we do and provide great service and feedback to everyone who launches a project on the site.

 

Kickstarter is the name people know and trust. We have a growing community of 1.85 million returning backers who come back to Kickstarter regularly to be inspired by ideas and throw their support behind them. When it comes to this new way of bringing creative projects to life, all eyes are on Kickstarter — see this chartillustrating the interest in the Kickstarter community:

 

 

 

2. Why should music managers advise their music artists to use Kickstarter to fund their projects over choosing to sign with a record company?

 

Kickstarter’s a community of millions of people shaping the world into what they want it to be — bringing an idea to life with the support of that community can be an incredibly rewarding experience. More than money, Kickstarter is about developing closer connections between artists and audiences and creative independence. When you launch a project on Kickstarter you enjoy 100% creative control and ownership of your work. When musicians create on their own terms, work that is truer to their vision gets a chance to exist. That's a great thing for musicians, for audiences, and for culture.

 

3. Ideally, what type of music artists have you found to most benefit by using the Kickstarter platform to get the most out of their campaigns? (can name some examples of successful campaigns?)

 

Kickstarter is for everyone. It’s an incredibly flexible tool for musicians of all stripes, exploring all genres, and looking to create all work in all formats. Anyone who wants to create on their own terms and have the chance to connect directly with their fans could enjoy the experience. Here are just a few examples of great projects:

 

4. What strategies should music managers and their music artists practice in order to mitigate risk in realizing a successful Kickstarter campaign that meets the goal?

 

Musicians on Kickstarter can experiment and take risks because they know they only have to move forward with what they set out to create if they have the budget they scoped out to do so. Kickstarter's all-or-nothing model works — 80% of projects that raised more than 20% of their goal were successfully funded. For people backing projects they know that if they put their money to a project on Kickstarter, the creator always has the budget they scoped out for the project and therefore a better chance of bringing it to life. Projects are at their best when creators keep backers in the loop and we encourage transparency along the way.

 

One thing an aspiring creator should consider before launching a project is explore Kickstarter, find a project they’re inspired by, and back it. Get a sense of the whole experience from beginning to end.  

 

5. In five years from now, where do you see Kickstarter and their place amongst crowd funding services and possible innovations for the platform?


Our mission is to help people bring creative projects to life. Every day we spend our time talking directly with creators to learn from them how we can improve how we go about serving that mission. And that’s something we’re focused on for the long-term. We’re proud to have inspired an entirely new way of bringing projects to life. We feel a strong responsibility to our community to make sure they have all the support they need throughout that process. And this is something we're committed to for much longer than the next five years.

 

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Special thanks for contributions by:
Compiler/editor Jack Bookbinder, Justin Kazmark, Corey Scholibo, Karen Blair, David Hackett and Benji Rogers.

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Managers’ Associations Jointly Reject SAGAFTRA Code

Posted by MMF on Mar 24, 2014 | 0 Comments

FOR IMMEDIATE RELEASE
Managers’ Associations Jointly Reject SAGAFTRA Code


LOS ANGELES, Mar. 24, 2014 ‐‐ As the only United States trade associations representing the
interests of personal managers and their artist clients, the Music Managers Forum – US (MMF‐US),
the National Conference of Personal Managers (NCOPM) and the Talent Managers Association
(TMA) are pleased to issue the following joint statement:


The SAG‐AFTRA Personal Manager Code of Ethics and Conduct, announced by the labor union on
March 4, 2014, is neither acceptable to nor endorsed by our associations.
The associations exist to promote the highest standards of professionalism and ethics, to protect
the interests of the artists we support, and to contribute to the prosperity and the greater good of
our industry.


Our associations disapprove of the manner in which the labor union developed, adopted and
disseminated the SAG‐AFTRA Personal Manager Code of Ethics and Conduct, which we believe
lacked credibility, sincerity and truthfulness.


Although the labor union stated: “SAG‐AFTRA looks forward to establishing a closer, mutually
beneficial relationship with this community to advance the needs of all concerned,” our associations
believe that the SAG‐AFTRA Personal Manager Code of Ethics and Conduct adversely affects the
needs of personal managers, their artist clients and the entertainment industry. Not only is their
Code too disruptive to a manager’s ability to work with and communicate with artists, it includes
SAG/AFTRA’s own legal interpretation of laws relating to managers and agents that would
discourage managers from taking on developmental clients, especially those without agency
representation. Further, SAG/AFTRA has no vetting process, allowing anyone to receive approval
despite a poor reputation, history of poor service or worse.


For these reasons and more, our respective associations do not endorse the newly established SAGAFTRA
Personal Manager Code of Ethics and Conduct.


###

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Music Manager Forum-US presents the SXSW Managers Peer Group Meeting

Posted by MMF on Jan 22, 2014 | 0 Comments

To All Registered Managers Attending South By Southwest:

 

You are cordially invited to a special, closed-door Managers Peer Group Meeting at South By Southwest 2014, to be held Friday, March 14th from 2:00PM-3:00PM at the Austin Convention Center. MMF-US was able to switch the day away from Saturday in order to accommodate the availability of more managers. Steve Scharf and Steve Garvan will co-host again. For questions or further information, please contact Steve Garvan (MMF-US & IMMF) at steve@garvanmanagement.com  

Like last year, this meeting is an opportunity for like-minded professionals to meet and exchange ideas and suggestions on a variety of issues.  We hope you will take advantage of this unique opportunity.  Please be advised you must be registered at SXSW to gain admission to the Convention Center. MMF-US is also looking into scheduling a casual meet-up off-site for all managers in action for SXSW in Austin.  http://www.sxsw.com. We look forward to seeing you in Austin.

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MMF Mentoring / Roundtable Session at International Folk Alliance Conference

Posted by MMF on Jan 21, 2014 | 0 Comments

MMF US & MMF Canada will be presenting a management mentoring /roundtable session at International Folk Alliance Conference in Kansas City on Friday, February 21, 2014. The two (2) hour session will be for a blend of high-level & developing managers, as well as self-managed artists. The session will be followed by a reception open to all interested attendees of the Folk Alliance Conference. http://www.folkalliance.org/conference

For further information, please contact Steve Garvan steve@garvanmanagement.com

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IMMF General Assembly at MIDEM

Posted by MMF on Jan 20, 2014 | 0 Comments

The IMMF www.imf.com will be holding its annual General Assembly on February 2, 2014 at MIDEM www.midem.com in Cannes, France. Elections will be held for Executive Director, Chairman, & Vice-Chairman. IMMF now consists of up to 20 country chapters globally and they welcome newest affiliates Estonia, Portugal and Spain, and provisional West Africa. IMMF continues to explore various partnerships to increase our education, staffing and other projects.

 

The International Music Manager's Forum (IMMF) represents featured artist music managers and through them the featured artists (performers and authors) themselves. These featured artists are those that are the source of over 95% of the economic activity in the global music industry. Featured artist music managers are uniquely placed to comment on music industry issues, as they are the only group of professionals that deal with every aspect of the music industry and the copyright system as it applies to music on a daily basis. www.immf.com

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STOP THE CALIFORNIA TALENT AGENCIES ACT!

Posted by MMF on Aug 16, 2013 | 0 Comments

For some six decades, the personal management profession has been negatively impacted by the California Labor Commission’s enforcement of the California Talent Agencies Act (TAA). Multi-millions of dollars in commissions have been forfeited by personal managers from California to New York by order of the California Labor Commission. Now, with your help, we want to Stop TAA!

 

With the encouragement of the Music Managers Forum - US and the Talent Managers Association Inc., The National Conference of Personal Managers has petitioned a U. S. Court to seek injunctive and declarative relief by asking the court to find the California Talent Agencies Act and the Labor Commissioner's enforcement of TAA to be unconstitutional under the provisions of the U. S. constitution and to stop the California Labor Commissioner from enforcement of the Talent Agencies Act (TAA).

 

The claims in this action are numerous: that the California Talent Agencies Act is unconstitutional and the Labor Commissioner’s enforcement of the Act also has been unconstitutional:

    (1) TAA is violative of the equal protection and due process provisions of the 14th Amendment of the US Constitution;

    (2) TAA is violative of the contracts clause and the commerce clause of Article One of the US Constitution;

    (3) TAA is violative of the free speech and freedom of association provisions of the First Amendment of the US Consittution; and

    (4) Because the Commissioner disgorges our commissioned salaries and all Americans are guaranteed the right to the benefit of their labor “except as a punishment for a crime whereof the party shall have been duly convicted,” and the TAA specifically state that no violation related to unlicensed procurement can be considered a crime, the Labor Commissioner's enforcement is also violative of the 13th Amendment of the US Constitution.

 

To research, write and file the complaint, prepare the briefs, manage the file and argue the case costs money. And while the three personal management organizations are proud to be championing this legal initiative, none have the financial wherewithal to fund this project.

 

That’s where you come in. Individual managers are being asked to contribute at least $200 to the TAA Legal Fund; Personal management firms are asked to contribute $500 to $1,000 or more. The goal is to create a $75,000 war chest.

 

With your support, personal managers can unite to STOP TAA NOW! Click HERE to contribute. 

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Online Retailers & Major Music Companies Launch New Guide To Digital Music Services

Posted by MMF on Jul 09, 2013 | 0 Comments

WASHINGTON, D.C. and MARLTON, N.J.– Against the backdrop of an ever-expanding digital marketplace boasting a wide variety of authorized music services, the Recording Industry Association of America (RIAA) with NARM, the music business association, and its affiliated organization digitalmusic.org, today jointly launched the “Why Music Matters” website in the United States (www.whymusicmatters.com), a comprehensive one-stop educational guide for fans looking for information about digital music services and other online retail outlets where they can find their favorite music.

 

Whymusicmatters.com provides fans with a helpful “grid” to learn about 50+ (and growing) online music outlets available in the United States.  This includes services such as mp3 download stores, audio and video streaming services, various mobile phone offerings, digital radio outlets, services that sell physical CDs and LPs online and more.  On whymusicmatters.com, fans can learn how these different options work and discover which is the best fit for their music listening habits, with the ability to click through to the sites themselves for quick and easy access.  Developed by the organizations for the major music companies, music retailers and ecommerce companies, based on original work done by industry colleagues at BPI in the United Kingdom, the website also includes a popular feature of the original U.K. and Australian/New Zealand versions of the Why Music Matters sites: various educational videos about the value of music featuring artists such as Robert Johnson, Louis Armstrong, Jay-Z, Janis Joplin, Kate Bush, Thin Lizzy and others.

 

“The music community has transformed how it does business, and the launch of the Why Music Matters site is another great milestone in that evolution,” said RIAA Chairman & CEO Cary Sherman. “For the first time, in 2011 digital music revenues surpassed those generated from physical sales and that marker was reached because of a breathtaking array of services and platforms embraced by music companies.  We understand that with so many options for accessing music online, users are eager for more information about which services are legitimate and what kinds of functionality they offer. That’s why we’re excited to be partnering with NARM and digitalmusic.org to launch whymusicmatters.com, which will hopefully make it easier for fans to access and discover sites that offer their favorite music.”

 

“We’re grateful to our colleagues at BPI for creating Music Matters in 2010, followed by versions in Australia and New Zealand.  We’re pleased to be able to expand the brand to the United States,” added Sherman. 

 

“We are extremely pleased to be working with the RIAA to launch Why Music Matters. NARM and digitalmusic.org are all about making it easier for fans to get to the music they want, when they want it, and whymusicmatters.com provides them a single, convenient place to survey the legitimate online options that are available in the U.S.,” said NARM President Jim Donio. “With oversight from both our organization and the RIAA, Why Music Matters is almost a ‘Better Business Bureau’ for music on the Internet, and we hope it will increase music fans’ comfort with online music and help promote even more growth in that area.”

 

“The U.S. music market is vibrant and provides a wealth of choice for consumers looking to discover and explore music. We’re thrilled to put Nokia Music and Mix Radio at the heart of Why Music Matters and share our innovation with the advances taking place throughout the ecosystem,” said Jonathan Dworkin, Nokia's Global Head of Business Affairs & Strategy, Entertainment. “Our U.S. and Global footprint brings a unique perspective, and it’s exciting to join the collaboration between NARM and the RIAA in educating consumers about the best services for their needs.”

 

“Without a doubt, the number one frustration music fans have with digital music stores is their lack of a personalized way to discover new music,” said Adam Klein, President and CEO, eMusic. “With catalogs ranging from 15 to 30 million tracks, it can be extremely difficult to find the music most relevant to each individual. Why Music Matters is playing a critical role in addressing this important issue, and we enthusiastically support this initiative.”

 

“Whymusicmatters.com will be a vital tool for music retailers and fans, and I am thrilled that the RIAA, NARM, and digitalmusic.org could come together to create this informational database,” said Rachelle Friedman, Chair of the NARM Board of Directors and CEO of J&R Music & Computer World. “I am particularly pleased at the inclusion of all the Record Store Day participants who are not only active with their physical stores but have active website presence as well, giving people more options as they look for music online.”

 

Said Rich Bengloff, President of the American Association of Independent Music (A2IM), “In the digital realm as long as our artists’ fans are provided with choices as to how to access the music they want, our fans will support music creators by using sites and services that respect the rights of creators. We applaud the Music Matters website as providing both education for fans and a guide to authorized services.”

 

The services and retail outlets listed on whymusicmatters.com are offered online or via a mobile carrier. All listed services have an agreement with at least one of the three major record companies in the United States and most offer significant catalogs of independent music. A service will be listed even if it does not have agreements with all three major record companies so long as the service is not using the copyrighted music of a major record company without authorization. The list also includes services that have signed up for the statutory license available to certain types of radio services, such as SiriusXM, iHeartRadio, and Pandora. For more information on how the services were selected and how a service can be added to the site, please visit http://whymusicmatters.com/pages/faq. 

 

 

Online Retailers & Major Music Companies Launch New Guide To Digital Music Services
WASHINGTON, D.C. and MARLTON, N.J.– Against the backdrop of an ever-expanding digital marketplace boasting a wide variety of authorized music services, the Recording Industry Association of America (RIAA) with NARM, the music business association, and its affiliated organization digitalmusic.org, today jointly launched the “Why Music Matters” website in the United States (www.whymusicmatters.com), a comprehensive one-stop educational guide for fans looking for information about digital music services and other online retail outlets where they can find their favorite music.
 
Whymusicmatters.com provides fans with a helpful “grid” to learn about 50+ (and growing) online music outlets available in the United States.  This includes services such as mp3 download stores, audio and video streaming services, various mobile phone offerings, digital radio outlets, services that sell physical CDs and LPs online and more.  On whymusicmatters.com, fans can learn how these different options work and discover which is the best fit for their music listening habits, with the ability to click through to the sites themselves for quick and easy access.  Developed by the organizations for the major music companies, music retailers and ecommerce companies, based on original work done by industry colleagues at BPI in the United Kingdom, the website also includes a popular feature of the original U.K. and Australian/New Zealand versions of the Why Music Matters sites: various educational videos about the value of music featuring artists such as Robert Johnson, Louis Armstrong, Jay-Z, Janis Joplin, Kate Bush, Thin Lizzy and others.
“The music community has transformed how it does business, and the launch of the Why Music Matters site is another great milestone in that evolution,” said RIAA Chairman & CEO Cary Sherman. “For the first time, in 2011 digital music revenues surpassed those generated from physical sales and that marker was reached because of a breathtaking array of services and platforms embraced by music companies.  We understand that with so many options for accessing music online, users are eager for more information about which services are legitimate and what kinds of functionality they offer. That’s why we’re excited to be partnering with NARM and digitalmusic.org to launch whymusicmatters.com, which will hopefully make it easier for fans to access and discover sites that offer their favorite music.”
“We’re grateful to our colleagues at BPI for creating Music Matters in 2010, followed by versions in Australia and New Zealand.  We’re pleased to be able to expand the brand to the United States,” added Sherman. 
“We are extremely pleased to be working with the RIAA to launch Why Music Matters. NARM and digitalmusic.org are all about making it easier for fans to get to the music they want, when they want it, and whymusicmatters.com provides them a single, convenient place to survey the legitimate online options that are available in the U.S.,” said NARM President Jim Donio. “With oversight from both our organization and the RIAA, Why Music Matters is almost a ‘Better Business Bureau’ for music on the Internet, and we hope it will increase music fans’ comfort with online music and help promote even more growth in that area.”
 
“The U.S. music market is vibrant and provides a wealth of choice for consumers looking to discover and explore music. We’re thrilled to put Nokia Music and Mix Radio at the heart of Why Music Matters and share our innovation with the advances taking place throughout the ecosystem,” said Jonathan Dworkin, Nokia's Global Head of Business Affairs & Strategy, Entertainment. “Our U.S. and Global footprint brings a unique perspective, and it’s exciting to join the collaboration between NARM and the RIAA in educating consumers about the best services for their needs.”
“Without a doubt, the number one frustration music fans have with digital music stores is their lack of a personalized way to discover new music,” said Adam Klein, President and CEO, eMusic. “With catalogs ranging from 15 to 30 million tracks, it can be extremely difficult to find the music most relevant to each individual. Why Music Matters is playing a critical role in addressing this important issue, and we enthusiastically support this initiative.”
“Whymusicmatters.com will be a vital tool for music retailers and fans, and I am thrilled that the RIAA, NARM, and digitalmusic.org could come together to create this informational database,” said Rachelle Friedman, Chair of the NARM Board of Directors and CEO of J&R Music & Computer World. “I am particularly pleased at the inclusion of all the Record Store Day participants who are not only active with their physical stores but have active website presence as well, giving people more options as they look for music online.”
Said Rich Bengloff, President of the American Association of Independent Music (A2IM), “In the digital realm as long as our artists’ fans are provided with choices as to how to access the music they want, our fans will support music creators by using sites and services that respect the rights of creators. We applaud the Music Matters website as providing both education for fans and a guide to authorized services.”
 
The services and retail outlets listed on whymusicmatters.com are offered online or via a mobile carrier. All listed services have an agreement with at least one of the three major record companies in the United States and most offer significant catalogs of independent music. A service will be listed even if it does not have agreements with all three major record companies so long as the service is not using the copyrighted music of a major record company without authorization. The list also includes services that have signed up for the statutory license available to certain types of radio services, such as SiriusXM, iHeartRadio, and Pandora. For more information on how the services were selected and how a service can be added to the site, please visit http://whymusicmatters.com/pages/faq. 

 

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Showtime Developing Series on Music Managers

Posted by MMF on Jun 20, 2013 | 0 Comments

The Hollywood Reporter and Billboard are reporting that Showtime is developing a half-hour comedy series about music managers. Troy Carter, manager for Lady Gaga and John Legend, is on tap to executive produce the show.

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