MusicCareers’ Post

Unlock New Revenue Streams for Your Film 🎬💰 Struggling to sell your film’s music, OTT, and satellite rights?  You’re not alone.  Here’s a step-by-step guide to help you navigate the process. 5 Secrets to Selling Music, OTT & Satellite Rights for Your Film: 1. Research Potential Buyers  Identify platforms and broadcasters interested in your genre.  Know their audience and tailor your pitch accordingly.  This targeted approach increases your chances of success. 📊 2. Create a Compelling Pitch  Highlight unique aspects of your film and its market potential.  Include trailers, music samples, and audience insights.  Make it easy for buyers to see the value. 🎥 3. Negotiate Smartly  Understand the terms and rights you’re selling.  Be clear about exclusivity, duration, and revenue sharing.  Get legal advice to ensure you protect your interests. ⚖️ 4. Leverage Festivals and Markets  Film festivals and markets are great places to network.  Present your film to industry professionals and potential buyers.  Use these events to build relationships and close deals. 🌐 5. Use Digital Platforms  Submit your film to online distribution platforms.  Sites like FilmHub and Distribber can help you reach a global audience.  Maximize exposure by being present on multiple platforms. 💻 These steps helped me successfully sell my film rights and boost revenue. You can do it too with the right strategy and persistence. Ready to turn your film into a revenue-generating machine? 🚀 PS: What’s your biggest challenge in selling film rights?  Share your experiences in the comments below! 👇

HOW DO I BREAK INTO THE MUSIC INDUSTRY BEHIND THE SCENES? I get inundated with requests about doing roles such as artist liaison, social media, stage management etc but there’s a process to it. If you expect to swan straight into main stage roles looking after AAA top-tier artists then you need to manage your expectations (unless it’s a case of who you know not what you know). There’s multiple ways you can prove your worth when trying to climb the ladder before stepping into other roles: • Scanning tickets (definitely a good way to earn your stripes during a late night or early morning in the cold 🥶) • Managing guest list • Flyering • Using your own social media platforms to promote the shows you want to be involved in • Offering to help with the build of shows • Bar work - Mark McMahon is a great example of this and worked hard to get to where he is now! The list is endless! Most venue owners & promoters want to see how committed you are and how much you can be trusted before letting you into their circle. Can you blame them? It’s the music industry after all. 😂 #musicindustry #work #musiccareer

New Post: Universal Music Group Nashville Launches TV/Film Production Company Sing Me Back Home Productions - https://lnkd.in/g5sePMb5 - Universal Music Group Nashville, known for its roster of country music artists including Keith Urban, Carrie Underwood, Eric Church and Chris Stapleton, has launched a new production arm of the Nashville-based entertainment company, focused on film and television projects. UMG Nashville’s Sing Me Back Home Productions will delve into the deep catalog of artists throughout UMG Nashville’s history, in addition to celebrating newly-discovered talent. The new production arm is led by UMG Nashville chair/CEO Cindy Mabe, as well as senior vp, digital business and creative development Dawn Gates. The new division will focus on developing content for documentaries, original scripted and unscripted television, feature films and short-form content. In addition, it will be heavily involved in securing production partners, music supervision and distribution. “Country music has always been the home of the richest storytellers in music. Storytellers like Merle Haggard, whose song ‘Sing Me Back Home’ helped frame the intent and name behind our production company,” Mabe said in a statement. “Songs and stories can transport people and literally sing them back home no matter where they are in the world. Creating a new canvas for our storytellers to paint was a natural next step for our artists to talk to their fans in a new way. With several productions underway, this new endeavor fits prominently into what we are sustaining and building as a music company: roots, legacy, music discovery, and storytelling. We are finding faith, family, and heartland are at the core of our business and we are making sure we are building generational content for different mediums across a variety of platforms and shepherding it into the homes of our audience.” Sing Me Back Home Productions has teamed with ITV America’s Thinkfactory Media to develop and produce a docuseries that will follow the personal and professional lives of Grammy-nominated husband-and-wife duo, The War and Treaty‘s Michael Trotter Jr. and Tanya Trotter. The docuseries will be helmed by Thinkfactory’s CEO and veteran producer Adam Reed. The docuseries is already in the works with a broadcast partner and is among the first of several projects in development through Sing Me Back Home’s broader collaboration with Thinkfactory Media. Additionally, the Betsy Schechter-produced documentary Gloria Gaynor: I Will Survive, will soon be released in partnership with Storyville Entertainment. The documentary premiered at the Tribeca Film Festival, and won the best feature documentary award at La Femme Women’s International Film Festival in Los Angeles. Most recently, Gloria Gaynor: I Will Survive won The Palm Springs International Film Festival audience award “best of fest.” “Country music

US Sues To Break Up Ticketmaster Owner, Live Nation: The Justice Department on Thursday said it was suing Live Nation Entertainment [non-paywalled link], the concert giant that owns Ticketmaster, asking a court to break up the company over claims it illegally maintained a monopoly in the live entertainment industry. From a report: In the lawsuit, which is joined by 29 states and the District of Columbia, the government accuses Live Nation of dominating the industry by locking venues into exclusive ticketing contracts, pressuring artists to use its services and threatening its rivals with financial retribution. Those tactics, the government argues, have resulted in higher ticket prices for consumers and have stifled innovation and competition throughout the industry. "It is time to break up Live Nation-Ticketmaster," Merrick Garland, the attorney general, said in a statement announcing the suit, which is being filed in the U.S. District Court for the Southern District of New York. The lawsuit is a direct challenge to the business of Live Nation, a colossus of the entertainment industry and a force in the lives of musicians and fans alike. The case, filed 14 years after the government approved Live Nation's merger with Ticketmaster, has the potential to transform the multibillion-dollar concert industry. Live Nation's scale and reach far exceed those of any competitor, encompassing concert promotion, ticketing, artist management and the operation of hundreds of venues and festivals around the world. Read more of this story at Slashdot.

About this event Cutting Edge C.E. (formerly the Cutting Edge Music Business Conference) began in 1993 as a conference dedicated to educating musicians and music professionals about the latest trends in the music industry. Since its inception, it has evolved into entertainment workshops covering legal issues, filmmaking, interactive applications, and media business education. Cutting Edge C.E. brings together established and aspiring entertainment professionals; it is as much about getting people into the entertainment business together as it is about the business of entertainment. New Orleans is the home of the Cutting Edge C.E. In New Orleans, music is more than business; it's also a cultural expression. Every artist who performs during the Cutting Edge C.E. becomes a part of New Orleans' cultural history. C.E. - Conferences and Events: ·     Cutting Edge Entertainment Law Seminar ·     Cutting Edge Music Business Sessions ·     Cutting Edge Songwriters Camp ·     Cutting Edge Film and Interactive ·     Creatives Festival ·     NewWorks Artists Showcase ·     Roots Music Gathering In the New Orleans tradition of giving someone their flowers while alive, Cutting Edge pays tribute to New Orleans music and cultural icons with our awards for Lifetime Achievement, Music Influencer, Community Service, and the Trumpet Award for Cultural Leadership. Cutting Edge would like to thank our 2023 Friends and Supporters: Mayor LaTonya Cantrell, Lt. Governor Billy Nungesser, Clerk of Civil District Court Chelsey Richard Napoleon, New Orleans City Council, Mayor's Office of Cultural Economy, New Orleans Tourism and Culture Fund, Louisiana Entertainment Office, New Orleans & Company, New Orleans Business Alliance, New Orleans & Company, New Orleans Jazz Museum, Ashe Cultural Arts Center. Industry: American Federation of Musicians Local 174-496, Recording Academy Memphis Chapter, WeGet Artists, ReverbNation. New Orleans Jazz and Heritage Foundation, 2112 Music Incubator Chicago, gitmit, Entertainment Law Section of the Louisiana State Bar Association, Rabadash Recording Studios, We The Collective, New Orleans Jazz Museum, Henry Turner, Jr. Listening Room Foundation, The McKinley Studios, Media: Music Connection Magazine, OffBeat Magazine, New Orleans Agenda, BreakThru Media, Shive Magazine Business: SignsNow, Richards Disposal, Metro Service Group, InterContinental New Orleans Hotel and our Recent Past Venue Partners, House of Blues, Santos Bar, Cafe Istanbul, The Art Garage, Allways Lounge, Buffa's, Sidney's Saloon, Carnaval Lounge, New Orleans Jazz Museum, and Julius Kimbrough's Prime Example Jazz Club, Sweet Lorraine Jazz Club, Zony Mash, The Goat, House of Blues, Ashe Cultural Arts Center. Activate to view larger image,

US Sues To Break Up Ticketmaster Owner, Live Nation: The Justice Department on Thursday said it was suing Live Nation Entertainment [non-paywalled link], the concert giant that owns Ticketmaster, asking a court to break up the company over claims it illegally maintained a monopoly in the live entertainment industry. From a report: In the lawsuit, which is joined by 29 states and the District of Columbia, the government accuses Live Nation of dominating the industry by locking venues into exclusive ticketing contracts, pressuring artists to use its services and threatening its rivals with financial retribution. Those tactics, the government argues, have resulted in higher ticket prices for consumers and have stifled innovation and competition throughout the industry. "It is time to break up Live Nation-Ticketmaster," Merrick Garland, the attorney general, said in a statement announcing the suit, which is being filed in the U.S. District Court for the Southern District of New York. The lawsuit is a direct challenge to the business of Live Nation, a colossus of the entertainment industry and a force in the lives of musicians and fans alike. The case, filed 14 years after the government approved Live Nation's merger with Ticketmaster, has the potential to transform the multibillion-dollar concert industry. Live Nation's scale and reach far exceed those of any competitor, encompassing concert promotion, ticketing, artist management and the operation of hundreds of venues and festivals around the world. Read more of this story at Slashdot.

The Justice Department is planning to file an antitrust lawsuit against Live Nation, the parent company of Ticketmaster, for allegedly maintaining a monopoly in the live entertainment industry. The lawsuit, expected to be filed in the Southern District of New York, argues that Live Nation used exclusive ticketing contracts and its dominance in concert tours and venue management to maintain a monopoly that has led to higher prices and fees for consumers. This is not the first time Ticketmaster has come under the scrutiny of the Justice Department. Back in 1994, Pearl Jam filed a complaint against Ticketmaster with the U.S. Department of Justice. Pearl Jam claimed Ticketmaster had a monopoly on ticket distribution due to close connections with concert venues, leaving no other options for artists and fans. Despite the attention the case received, the Department of Justice closed the investigation in 1995 without taking action. The case was dropped because it was challenging to prove Ticketmaster's anti-competitive practices. Ticketmaster had exclusive contracts with venue owners and promoters, and the antitrust division was already overwhelmed with other cases (source: https://lnkd.in/g7tVxsux). Live Nation's influence covers concert promotion, ticketing, artist management, and the operation of numerous venues and festivals worldwide. Ticketmaster alone handles ticketing for 70% to 80% of major U.S. concert venues. Critics, including lawmakers and fans, have accused Live Nation of anti-competitive practices that drive up ticket prices and harm rivals. The Justice Department's latest investigation into Live Nation began in 2022, gaining momentum after a Ticketmaster system crash during Taylor Swift's "Eras Tour" presale. David McCabe and Ben Sisario report that this lawsuit is part of a broader effort by regulators to challenge the power of major companies under antitrust laws. Similar cases have been brought against Google, Apple, Amazon, and Meta.

Elevate Your Venue's Atmosphere: The Benefits of a Talent Booking Agency for Music Programming In the dynamic world of hospitality and event planning, creating an unforgettable experience is key to attracting and retaining patrons. One impactful way is through expertly curated live music and DJ performances. This is where a professional talent booking agency, like The Music Bureau, can make a difference. Unmatched Expertise and Comprehensive Services The Music Bureau stands out by offering a comprehensive suite of services beyond talent booking. Specializing in live entertainment and DJ bookings, they also excel in custom playlist curation, event consultation, audio/visual/lighting setups, staging, and site operations. This ensures that every detail of your music programming is carefully crafted. Focus on Memorable Experiences At The Music Bureau, their mission is to weave enchanting musical tapestries for events of any scale. Whether it's weekly programming, large stage activations, music festivals, corporate celebrations, or private parties, they infuse each occasion with a touch of musical magic. Their commitment lies in creating an immersive experience for your guests and providing a harmonious working environment for talented artists and staff. Unparalleled Industry Insight Founded and operated by passionate musicians and talent buyers, The Music Bureau brings a unique perspective to the table. Understanding both sides of the transaction, they work tirelessly to ensure a stress-free process for everyone involved. This insight guarantees the delivery of top-notch talent and contributes to the growth of your venue and event revenue. Commitment to Community and Values Music Bureau is deeply invested in the growth of the music community in Tampa, embodying core values such as integrity, commitment, tenacity, honor, organization, and streamlined simplicity for their partners. Their professional corporate infrastructure is complemented by a boutique personal touch, providing a white-glove approach to every collaboration. They cultivate partnership-level relationships, demonstrating a commitment that extends far beyond the ordinary. Elevate Your Venue with The Music Bureau In choosing The Music Bureau, you're not just partnering with a talent booking agency – you're aligning with a team that shares your passion for music, events, and creating exceptional experiences. By placing your confidence in their expertise, you free up valuable time to focus on growing your business and ensuring lasting success. Visit www.bookmusicbureau.com to discover more about their partners and artist roster, and take the first step toward transforming your venue's atmosphere with the magic of live music and expertly curated DJ performances. Elevate your establishment, captivate your audience, and leave a lasting impression with The Music Bureau.

to my peers in the music, film, & entertainment spaces. I know a lot of us, including myself were laid off over the last year or two…. i hope reading this might help you Personally, I spent 15 months hyper-fixated on finding another role in these spaces. I know how hard it can be to deviate from the path you’ve grinded on til now. You’ve probably worked your entire adult life to garner the accomplishments you’re most proud of. “ I didn’t come this far just to come this far. “ I wanted to come here to tell the following to anyone who may be struggling and reading this: For myself, taking a role outside of music & entertainment was the greatest decision I’ve made in my career thus far. Not only for obvious financial reasons, after being unemployed for over a year. But, there are many passive benefits to this as well. For context, I am now in a Creative Producer role at a global fragrance house. I’ve noticed that by taking my work ethic & grind learned in the Music & Entertainment spaces, & applying it to my work in this new space. I am left with tons of extra time to continue to focus on the passion I had to work in Music & Entertainment in the first place. It is also worth mentioning that most of my new co-workers highly respect my past body of work, the years I’ve put into self-education, and my creative processes. Most of us have our own thing going on outside of our jobs. For me, while working full-time in the music-industry. I found it hard for me to leave work, and want to continue working with the artists in my network or my passion projects in the hours following. A lot of us don’t want to work for somebody else forever. Ownership is the dream. But this balancing act of working a full-time music industry job, & working towards ownership in the music/ film/ entertainment industries in the hours following is a fast track to burn-out. Sure happened to me. The hope I wanted to share is this: Here we are 15 months after being laid off from my “good music industry job”. Today, I find myself feeling more free in my creativity & finances than I have in many years. I have co-workers that not only respect my abilities and skill sets, but are true professionals in their own. Best of all, I am relieved of burn-out! I am finding myself with tons of extra time. I now leave work feeling reinvigorated, hungry, and ready to continue chasing my dreams in the music / film / entertainment spaces. Let me know your thoughts on this!

New Post: 40 UK festivals have now been cancelled this summer – with over 170 disappearing in five years - https://lnkd.in/gRjSQNmk - 40 UK festivals have now been cancelled for this summer, and new reports have found that over 170 have disappeared over the past five years. READ MORE: Why have so many UK festivals been cancelled or postponed? The new figures were shared by the Association of Independent Festivals (AIF) – the UK’s leading not-for-profit festival trade association, which represents the interests of 202 UK music festivals, ranging from 500 to 80,000 capacity. In the new statistics, the association revealed that the UK has seen 40 festivals announce a postponement, cancellation or complete closure in 2024 alone. The latest of which was the El Dorado Festival in Herefordshire, which confirmed its cancellation on Tuesday (May 21). In the announcement, festival organisers cited “a dramatic rise in operational costs… compounded by the impact of the increased cost of living on the festival industry and our community” as being the main factor. It is one of countless festivals that have been forced to shut down due to external issues and rising costs. In the past five years alone, 172 festivals in the UK have disappeared. 96 events were lost due to COVID, 36 were lost throughout 2023, and now, 40 have already been lost since the start of the year. AIF has warned that this is a trend that will continue to grow without government aid, and revealed that, without intervention, the country will see over 100 festivals disappear in 2024. It highlights how the main issue at hand is the unpredictable rising costs, and that the UK hasn’t had a single steady festival season since the pandemic to help it recover – meaning that festivals are under more financial strain than ever. The Buzzcocks perform at local music festival in Camden in 2023. CREDIT: Mark Kerrison/In Pictures via Getty Images Already, AIF have launched a campaign called the ‘5% For Festivals’ to help alleviate some of the stresses placed on festival organisers. With the push, it informs festival-goers about the problems faced over the last five years, encouraging them to contact their MPs to lobby for a VAT reduction on tickets. It states that temporary support from the UK Government – lowering VAT from 20 per cent to five per cent on ticket sales for the next three years – is all that’s needed to give festival promoters the space they need to rebuild. “The speed of festival casualties in 2024 shows no sign of slowing. We are witnessing the steady erosion of one of the UK’s most successful and culturally significant industries not because of a lack of demand from the public but because of unpredictable, unsustainable supply chain costs and market fluctuations,” said AIF CEO John Rostron. “In asking for a temporary reduction in VAT related to ticket sales, we have provided the Government with a considered, targeted and sensible