Bertelsmann SE & Co. KGaA’s Post

Under UMG's new regional structural initiative, their East Coast Record Labels, including Def Jam Records, have combined to organize "Republic Corps." This article talks about the new structure of both the company and the changes in management with the changes that have come along with this organization, as well as its affects on UMG as a whole. What do you think of this change in UMG? What do you think it means for record labels in the future? David Philp #musicindustry #music #universalmusicgroup #umg

• Do commercial radio companies now have something else to worry about as Christian music stations are amassing larger audiences. • EMF bought all those distressed radio stations for pennies on the dollar, now look at their plan to compete with commercial broadcasters. • Jesus takes the dial but commercial broadcasters answer to a higher power. • The real threats of EMF Christian music formats to their competitors. • The way to beat non-coms at their own game. https://lnkd.in/gwW748Dk

New Post: Believe’s Board Invites Warner Music Group to Make Them an Offer - https://lnkd.in/g7FutBgQ - Believe’s board of directors on Monday (Mar. 25) asked Warner Music Group (WMG) to submit a formal bid for the French music company after stating that French financial regulators found an offer by a group that includes Believe CEO Denis Ladegaillerie violated certain securities rules. WMG said earlier this month that it approached Believe in February with a non-binding offer to combine the two companies at a price of “at least” 17 euros ($18.60) per share. It now has until Apr. 7 to “submit a binding, unconditional and fully financed offer,” according to a statement from Believe’s board.  Related Believe Revenue Rose 16% in 2023 on Streaming Growth & Expansion in Developing Markets 03/25/2024 Soliciting a take-over bid to compete with an offer by the company’s own chief executive is uncommon and signals an escalation in the fight for control of Believe. In its statement, Believe’s board said the bid from Ladegaillerie and investment firms EQT X and TCV was “not compliant with the rules governing tender offers.” Ladegaillerie and the investors had offered to take Believe private at a price of 15 euros per share — or roughly 1.523 billion euros ($1.64 billion) for the company. Upon learning of WMG’s approach, the consortium tried to speed up the acquisition process by waiving a condition that the board’s ad hoc committee receive an independent expert report into the financial fairness of their offer. A review by the French financial regulatory body, Autorité des marchés financiers (AMF), stated the group could not waive this condition. “The Board must permit…that all shareholders of Believe have the option to take advantage of the best possible offer, to the extent such offer is reasonably likely to be successful,” the board said in a statement earlier this month. Believe owns a large label services business, digital distributor TuneCore, publishing administration service Sentric and a stable of record labels including Naïve, Nuclear Blast and Groove Attack. The company’s business model is built around helping to develop artists and using digital marketing and distribution to impact local charts. In 2023, the company posted revenue of 880.3 million euros ($952.8 million at the average exchange rate), up 15.7% from the prior year helped by geographical expansion and strong streaming growth. - #news #business #world -------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR -------------------------------------------------- or downloa

JKBX, founded in 2022, is aiming to democratize music royalties by bringing investment opportunities to the masses. The company plans to list more investments and build a new asset class, according to CEO Scott Cohen. Check out the Wall Street Journal article to learn more. #musicinvestment #investing #assetclass

In this revealing video, the inner workings of the traditional music industry are laid bare, offering insight into a reality that still resonates in today's digital era of streaming services. Despite technological advancements, the narrative remains unchanged: artists often get paid last, caught in a cycle of debt and hardship. Even today, unless one possesses the star power of figures like Jay Z or Taylor Swift, signing with a traditional record label can lead to these struggles. It's a sobering reminder that behind the glitz and glamour, the journey of many recording artists is fraught with challenges that transcend time and technology. #musicindustry #musicbusiness #recordlabels

5 is most definitely the magic number. ⭐️Production Music Awards Nominations ⭐️ Best Christmas Track Best Use of Production Music in Television Advertising Best Use of Production Music in Television Factual Best Use of Production Music in Sports Promo 2022 Best Use of Production Music in Digital / Online Advertising #productionmusic #PMA #advertising #Music #sync #awards #DeWolfeMusic

After all the blood, sweat and tears it took to finally get your #NewMusic out into the world, it’s finally time to get as many people to listen to it as possible! Here's what to after getting it online: https://bit.ly/3Q8rHXE #MusicMarketing #MusicIndustry

The medium is the message (again). With streaming, physical limitations (of #CDs and #vinyl) have been replaced by #economic incentives, resulting in shorter songs on longer albums and a lot of musical #BrandExtensions in the form of cross-genre collaborations. This phenomenon holds true across nearly every aspect of our lives. From #entertainment to #travel to #marketing to #shopping, the #how is often as much of a #CSF as the #what. Makes me wonder if albums that are widely considered classics — #AbbeyRoad, #Thriller, #DarkSideoftheMoon, #StairwayToHeaven, and others — would get made today. And separately, how the #RunDMC + #Aerosmith version of #WalkThisWay was decades ahead of its time. #branding https://lnkd.in/eUhZSgtr

THE PEARL PROD BLOG I interviewed Annie Macmanus! And the first question I asked to the legendary Broadcaster, Author and DJ was about inequality within the UK Music Ltd Industry. Listen on BBC Sounds.... -There are four men signed to UK record labels for every one female. (Bains, 2019). -Total female musicians signed to UK Electronic Music Labels is 12.49%. (Bains, 2019). -Only 2.8% of music producers are female. (Smith, 2019). -Drum and Bass/ Grime has the lowest representation of women signed to labels at just over 5%. (Bains, 2019). The UK music industry is highly influential, effecting UK society both socially and economically; Music in Everyday Life states that ‘...adding music to the catalogue of cultural materials or devices of ordering contributes a whole new dimension to the focus of human-non-human interaction’ (DeNora, 2000). Economically, the industry contributed a significant £6.7 billion to the UK economy and generated £4 billion in exports (UK Music Ltd, 2023). In January we saw the report by the Women and Equalities Committee which follows an inquiry into misogyny in the music industry, it began in June 2022. The inquiry heard evidence including from BBC Radio 1 DJ Annie Macmanus who described the music industry as a "boys club" with a "tidal wave" of revelations about sexual assault stories waiting to be told. Whether you are Glastonfury or not- we saw the first look at the Glastonbury Festival Line-up last week amongst others. Co-organiser Emily Eavis blames the industry pipeline "...Unfortunately, it is a similar story of male acts dominating line-ups for other festivals too, and over the past ten years, only 6% of UK music festival headline acts have been solely female artists. We’re trying our best so the pipeline needs to be developed. This starts way back with the record companies, radio. I can shout as loud as I like but we need to get everyone on board" (Eavis, 2023). It is also worth noting the research by The Music Managers Forum (MMF) which reported that their members saw cost increases of 35% in 2022. Where costs for promoters and artists have soared due to extremely high energy prices, inflation and supply chain costs. Not to mention the Grassroots music venue crisis which led to 125 UK venues abandon live music in 2023 according to the Music Venue Trust. My few minutes with Annie Macmanus during the signing of her latest book 'The Mess We're In', was inspiring. All of this data and literature demonstrates the inequalities within the music industry. https://lnkd.in/dkh8GkwD RECENT RECORD RECORDS: What favourite records have I picked up? Black Anima, (2019) - Lacuna Coil, 10/10 Dry, (1991) - PJ Harvey 9/10 Two Days Away, (1977) -Elkie Brookes, 6/10 Experience, (1975) - Gloria Gaynor, 6/10 If you are interested in some of the research, you can find the bibliography in my most recent post. "I enjoy looking like a tart and thinking like a politician" - PJ Harvey

This is a really interesting article - particularly the point about industry infrastructure.