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Filme, TV & Musik
Billboard Magazine

Billboard Magazine February 29, 2020

Written for music industry professionals and fans. Contents provide news, reviews and statistics for all genres of music, including radio play, music video, related internet activity and retail updates.

Land:
United States
Sprache:
English
Verlag:
MRC Media, LLC
Erscheinungsweise:
Biweekly
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4 Min.
007 in top 20: billie eilish charts latest james bond theme

BILLIE EILISH HAS SHAKEN (NOT STIRRED) UP THE BILLBOARD Hot 100, as “No Time to Die” debuts at No. 16, marking the newest theme song from a James Bond film to reach the ranking. The ballad accompanies the movie of the same name, due in North American theaters on April 10. The song is the eighth Bond theme to reach the Hot 100’s top 20 and the first since Adele’s “Skyfall,” which hit No. 8 in 2012. One such entry has topped the chart: Duran Duran’s “A View to a Kill,” for two weeks in 1985. Eilish co-wrote “Time” — which launches at No. 1 on Digital Song Sales with 25,000 sold and No. 6 on Streaming Songs with 20.6 million U.S. streams, according to Nielsen Music/MRC Data — with her brother,…

5 Min.
are you experienced?

IN MARCH 2018, THE Indiana-based singer Omar Apollo got his first national break: an opening slot for the British soul band Jungle on its Northwest tour. There was just one problem. No one on Apollo’s team was old enough to rent a vehicle. Apollo’s manager was a 20-year-old former Atlantic Records intern named Dylan Shanks, whom Apollo had met on Twitter. “I was like, ‘Oh, my God, this is amazing!’ ” recalls Shanks. “But then it was like, ‘How do we do this?’ ” Shanks’ story might sound familiar to the staggering number of young and inexperienced artist managers now winging it through the music business as they run the affairs of their suddenly trending clients. Careers take less time than ever to go from SoundCloud virality to the stage, where…

3 Min.
based on umg’s valuation, the singer’s recordings may have doubled in value since july

AFTER SCOOTER BRAUN’S Ithaca Holdings bought Big Machine Label Group (BMLG) for about $300 million in July, Taylor Swift said she was upset that she wasn’t offered the chance to buy the rights to the six albums she had recorded for the label. Her reasons were personal — but she might also have missed out on what would have been a very good investment. Tencent’s December agreement to buy 10% of Universal Music Group in a deal that values the latter company at $34 billion — an unprecedented multiple of 30 times earnings before interest, taxes, depreciation and amortization (EBITDA) — could change the standard for what recorded-music assets are worth across the industry. If Swift’s recording catalog were valued by that same multiple, in fact, it would be worth $930…

7 Min.
is the music copyright business worth more than ever?

THE USUAL STORY ABOUT the music industry goes something like this: The recording business hit its peak in 2001, when it was worth $23.9 billion worldwide, according to the recorded-music business’ trade organization IFPI — and then fell, decimated by piracy and the resulting loss of pricing power, to a low of $14.3 billion in 2014. In the years since, it has come roaring back, up by a third to $19.1 billion in 2018. It’s an incredible comeback — even though the business is still worth a fifth less than it was at its peak before accounting for inflation. But that feel-good story doesn’t do justice to the overall success of the music business. The recording industry is just part of an overall music copyright business that also includes publishing —…

1 Min.
why most prices rise but the song remains the same

INFLATION, THE SUSTAINED INCREASE IN THE general price level of goods and services in an economy, has been relatively steady in the United States for years, generally hovering at about 2% a year. But prices of music copyright goods have not tracked closely with the prices of essentials like food and gasoline. CD and download prices have trended downward, while streaming prices have held remarkably stable. A subscription to an “all-you-can-eat” music package has cost 9.99 (in U.S. dollars, euros or British pounds) for nearly two decades. Streaming service Rhapsody launched in the United States at $9.99 in 2002, a full nine years before Spotify, and its $9.99 price point was partly based on the cost of a Blockbuster video rental card. Tracking this unchanged $9.99 price point since 2002 reveals that…

5 Min.
south africa’s copyright fight

JOHANNESBERG — In 2011, as music streaming was spreading to more countries, a group of South African musicians and performers petitioned the government to reform the country’s copyright laws to offer more protection. Led by famed Kwaito producer Gabi Le Roux and performer Eugene Mthethwa, the artists were concerned that weak copyright protection and rampant piracy were harming music creators, who were already struggling to make a living because of largely ineffective collecting societies. A decade later, amid lobbying from copyright skeptics, that push for reform may be backfiring. South Africa’s creative community is battling to stop an amended copyright law passed in the country’s National Assembly in December 2018. They say the bill — the first significant update of South Africa’s copyright laws since the late 1970s — would actually leave…