The number of copyrights now owned or managed by the world’s Top 5 music publishers is very close to 11 million, according to MBW analysis.
Earlier this month MBW calculated that Sony/ATV’s haul of copyrights – which it either directly owns or controls via admin deals – had topped 4m.
Elsewhere, Kobalt has publicly stated that it now manages over 600,000 copyrights, while Warner/Chappell boss Cameron Strang recently told an audience at Canadian Music Week that the major now has “1.2m copyrights under management globally”.
UMPG has confirmed that it’s in control of 3.2m copyrights.
Wrapping up the Top 5 is a very interesting case: BMG.
Via Music Business Worldwide
Well, this is one thing I have in common with a billionaire…
Warren Buffett, the notoriously frugal billionaire C.E.O. of Berkshire Hathaway, offered a glimpse into his diet in an interview with Fortune magazine. The Oracle of Omaha said his daily food intake mirrors of that of a small child.
“I checked the actuarial tables, and the lowest death rate is among six-year-olds,” Buffett told the magazine. “So I decided to eat like a six-year-old.”
Here’s what that looks like: Coca-Cola and Utz Potato Stix for breakfast, with ice cream for breakfast on a special day. Cherry Coke at home, and regular Coke at the office. “If I eat 2,700 calories a day, a quarter of that is Coca-Cola,” Buffett said. “I drink at least five 12-ounce servings. I do it every day.”
Via Vanity Fair
Madonna is now unequaled chart royalty. Madonna makes momentous Billboard chart history, as she now has the most No. 1s ever, 45, by an act on a singular Billboard chart. She earns her 45th No. 1 on Dance Club Songs, where “Ghosttown” lifts 2-1.
With the coronation, Madonna passes another icon, George Strait, who’s logged 44 No. 1s on Hot Country Songs.
With her 45th leader on Dance Club Songs, which measures reports submitted by a national sample of club DJs, Madonna pulls further ahead of runners-up Beyonce and Rihanna. In fact, Madonna has tallied more No. 1s as they have combined: 22 each. (The chart launched as a national survey in the Billboard issue dated Aug. 28, 1976.)
For titles that spent multiple weeks at No. 1, total frames in the lead are noted in parentheses.)
Madonna’s 45 Dance Club Songs No. 1s
1983, “Holiday”/”Lucky Star” (five weeks at No. 1)
1984, “Like a Virgin” (three)
1985, “Material Girl”
1985, “Angel”/”Into the Groove”
1987, “Open Your Heart”
1987, “Causing a Commotion (Remix)”
1988, “You Can Dance (LP Cuts)”
1989, “Like a Prayer” (two)
1989, “Express Yourself” (three)
1990, “Keep It Together”
1990, “Vogue” (two)
1991, “Justify My Love” (two)
1993, “Deeper and Deeper”
1994, “Secret” (two)
1995, “Bedtime Story”
1997, “Don’t Cry for Me Argentina”
1998, “Frozen” (two)
1998, “Ray of Light” (four)
1999, “Nothing Really Matters” (two)
1999, “Beautiful Stranger” (two)
2000, “American Pie”
2000, “Music” (five)
2001, “Don’t Tell Me”
2001, “What It Feels Like for a Girl”
2001, “Impressive Instant” (two)
2002, “Die Another Day” (two)
2003, “American Life”
2003, “Me Against the Music,” Britney Spears featuring Madonna (two)
2004, “Nothing Fails”
2004, “Love Profusion”
2005, “Hung Up” (four)
2006, “Sorry” (two)
2006, “Get Together”
2006, “Jump” (two)
2008, “4 Minutes,” Madonna featuring Justin Timberlake & Timbaland (two)
2008, “Give It 2 Me”
2012, “Give Me All Your Luvin’,” Madonna featuring Nicki Minaj & M.I.A.
2012, “Girl Gone Wild”
2012, “Turn Up the Radio”
2015, “Living for Love”
“I would see UNICEF commercials on TV, way back in the day, and I was a big reader of National Geographic. I’ve just always kind of been fascinated with Africa. I just kind of romanticized this story about a social worker that was over there, that falls in love and can’t — is having kind of a paradox, trying to tear himself away from Africa to actually have a life.
“I went to an all-boys Catholic school, and there were a lot of brothers that were teaching us there, and they were going to Africa and coming back. A lot of them were deciding whether to go into the priesthood, or whether to get married or not, and there were a lot of issues — like, celibacy was obviously a big issue. I had all these things rattling about in my brain when I was writing the song. All these thoughts about priests and young social workers that have gone over there, devoting their lives to helping people, and having to choose what kind of life they’re going to have — whether to keep doing this, what I’m doing here, or can I have a life, get married, have kids, and do that kind of thing. So it was a life choice mixed in with a geographical fascination there.
“We had finished our record, so when I started writing that, they were like, ‘Dave, why don’t you save this for your solo album?’ It’s kind of the joke — when someone writes a song that doesn’t really fit into the Toto mold, the joke is, everybody says, ‘Save that for your solo album.’ So the band kind of indulged me and let me start working on this track for it. This one barely made it; it just got on the end of the Toto IV album. It’s the one that didn’t get away, you know?
“It’s a very special song, you know? I was asked to perform it at the United Nations, to bring on Bishop Desmond Tutu, when he got a humanitarian award there. Then, in the late ’90s, we were able to go back to South Africa, after apartheid was ended, and we were able to play Capetown and Johannesburg and play ‘Africa,’ with some of the local musicians there and singers. It was quite a treat for us. It was just like a pinch-me moment. And at the same time, it’s become a kind of icon, a humorous icon. When it was on Family Guy, the world found out Toto doesn’t take itself all that seriously. We thought it was funny. Then we saw Justin Timberlake and Jimmy Fallon do a little skit on ‘Africa,’ and we really enjoyed that.
Canadian songwriting legend Joni Mitchell is in a coma and unresponsive, according to TMZ. The website reported Tuesday that Mitchell was in hospital with “no immediate prospects for getting better.”
TMZ reports that Mitchell’s longtime friend Leslie Morris filed legal documents to obtain “conservatorship” over the Saskatchewan-raised songwriter, because no other close relatives were available.
Mitchell began singing in small nightclubs in Saskatchewan and Western Canada and then busking in the streets and small club of Toronto. In 1965, she moved to the United States and began touring. Some of her original songs (“Urge for Going”, “Chelsea Morning”, “Both Sides, Now”, “The Circle Game”) found homes with other folk singers, allowing her to sign with Reprise Records and record her own debut album in 1968.
Mitchell has deeply influenced fellow musicians in a diverse range of genres, and her work is highly respected by critics. AllMusic said, “When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century”, and Rolling Stone called her “one of the greatest songwriters ever”. Her lyrics are clebrated for addressing social and environmental ideals alongside personal feelings of romantic longing, confusion, disillusion, and joy.
Tonight might be just another time to listed to her Blue album. With this in mind, let’s hope she pulls through, and honour her fighting with 25 of her greatest quotes.
On music: “I see music as fluid architecture.”
“There are things to confess that enrich the world, and things that need not be said.”
“When the world becomes a massive mess with nobody at the helm, it’s time for artists to make their mark.”
“In some ways, my gift for music and writing was born out of tragedy, really, and loss.”
“I don’t like being too looked up at or too looked down on. I prefer meeting in the middle to being worshiped or spat out.”
“I thrive on change. That’s probably why my chord changes are weird, because chords depict emotions. They’ll be going along on one key and I’ll drop off a cliff, and suddenly they will go into a whole other key signature. That will drive some people crazy, but that’s how my life is.”
“I don’t understand why Europeans and South Americans can take more sophistication. Why is it that Americans need to hear their happiness major and their tragedy minor, and as jazzy as they can handle is a seventh chord? Are they not experiencing complex emotions?”
“I had made all these rules for myself: I’m not writing social commentary, I’m not writing love songs.”
“Back then, I didn’t have a big organization around me. I was just a kid with a guitar, traveling around. My responsibility basically was to the art, and I had extra time on my hands. There is no extra time now. There isn’t enough time.”
“Not to dismiss Gershwin, but Gershwin is the chip; Ellington was the block.”
“When you’re trying to pass on the best of the stuff you’re culling to what should be a hungry culture but you have it diminished… that’s kind of disappointing.”
“I hate show business.”
“I always thought the women of song don’t get along, and I don’t know why that is.”
On the difference between New York and Los Angeles: “In New York, the street adventures are incredible. There are a thousand stories in a single block. You see the stories in the people’s faces. You hear the songs immediately. Here in Los Angeles, there are less characters because they’re all inside automobiles.”
On the environment: “The thing that gave me the most pain in life, psychologically, and it gave me tremendous pain psychologically, is man’s disrespect for nature.”
“I see the entire world as Eden, and every time you take an inch of it away, you must do so with respect.”
On Neil Young: “You know, Neil Young is singing Rock n’ roll will never die, and Neil never rocked and rolled in his life. I mean, he rocked, but he didn’t roll. He has got no swing in him.”
On humans: “My heart is broken in the face of the stupidity of my species.”
On songwriting: “You could write a song about some kind of emotional problem you are having, but it would not be a good song, in my eyes, until it went through a period of sensitivity to a moment of clarity. Without that moment of clarity to contribute to the song, it’s just complaining.”
“My goal as a writer is more to comfort than to disturb.”
On her childhood: “My childhood was very difficult. I had every childhood disease and then some, but my parents didn’t mollycoddle me. They left me to fight those battles on my own. I guess that was very Canadian, very stoic. But it’s good. I had to become a warrior. I had to give up hope and find a substitute for hope that would be far more stable.”
On America: “This is a nation that has lost the ability to be self-critical, and that makes a lie out of the freedoms.”
On creativity: “I sing my sorrow, and I paint my joy. Sorrow is so easy to express and yet so hard to tell.”
On getting older: “You wake up one day and suddenly realize that your youth is behind you, even though you’re still young at heart.”
“I know my generation – a lot of them, they’re getting old now, and they want to think back fondly, they want to kid themselves. A lot of them think, ‘Yeah, we were the best.’ That’s the kiss of death. That’s non-growth. And also that’s very bad for the world.”
On life: “My name had gone stale, and no matter how progressive I got, it was my time to die.”
In this retro List Show episode, John Green remembers the ’80s.
Pandora has revealed that its royalty payments to SoundExchange, the US licensing body which collects performance royalties on behalf of record labels and artists, have just increased by 8%.
The news was confirmed in a call with investors following Pandora’s Q1 fiscal results announcement on Thursday (April 23), in which it posted a three-month net loss of $48.3m.
In what Pandora CEO Brian McAndrews (pictured) called a “scheduled annual step-up”, Pandora has from January 1 been paying out an average $0.0014 per ad-funded stream and $0.0024 per premium stream to SoundExchange.
An 8% rise in SoundExchange royalties might sound impressive, but in per-stream terms, it’s a micro-increase: up $0.0001 from $0.0013 (ad-funded) and $0.0023 (premium) in 2014.
In Q1 2015, Pandora pulled in $52m in subscription income, down on the $53.7m it accrued in the same period of 2014.
Via Music Business Worldwide
The UK recorded music market saw a painful decline in single-track downloads in the first three months of 2015, but the number of tracks streamed almost doubled.
Track downloads fell 11.9% year-on-year in Q1, dropping from 41.08m in to 36.18m.
Digital album sales also dropped significantly by 8.6%, from 7.91m to 7.23m.
But according to BPI data reported by German B2B MusikMarkt, streaming had a stormer.
The volume of total streams on audio services (not including YouTube) hit 5.32bn in the quarter, up a whopping 81.4% on the equivalent period in 2014, when they reached 2.93bn.
In the whole of 2014, 14.8bn tracks were streamed by consumers in the UK, according to the BPI.
That means that even if the volume of streaming didn’t increase over the next three quarters – which of course, it will, especially with Apple entering the fray – and stayed rigid at 5.32bn every three months, 2015’s streaming tally would still be 48.2% bigger than 2014.
Via Music Business Worldwide
Mental Floss does a lot of research, often come across facts that don’t fit in to any specific episodes but are too good to keep to themselves. This week, John Green rifles through 101 amazing facts.
The fine folks at AccuRadio mined their data and calculated the total plays each province gave Nickelback in the last month, and, as it turns out, Canadians and Americans love their Nickelback. A LOT.
Nickelback proponents have plenty of evidence to point to that suggests that the band is more popular than outsiders may guess. Nickelback is one of the most commercially successful Canadian groups, having sold more than 50 million albums worldwide, and in 2006, Nickelback received the World Music Award for World’s Best Selling Rock Artist, beating out some other rock bands like Green Day, Red Hot Chili Peppers, and Coldplay. Nickelback has released 35 singles worldwide, 22 of which have made a top-10 chart in the United States.
In the US, Nickelback can find their most ardent fans in Nevada. Las Vegas has welcomed Canadian talents such as Shania Twain and Celine Dion with open arms in the past; now, Nickelback joins their ranks. Wyoming residents are the second-biggest lovers of Nickelback, followed by Alaska, Idaho, and West Virginia. Fort Wayne, Indiana, boasts the third-highest concentration of Nickelback fans, and in 2014, South Dakota performed more searches for Nickelback than any other state (interestingly, however, North Dakota tops South Dakota in Nickelback fandom, coming in at eighth on their list).
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