News

 
The Ledger: Three Major Trends Revealed in Music Companies’ Q1 2022 Earnings
 
Posted: 20 May 2022, 7:49 pm

The Ledger is a weekly newsletter about the economics of the music business sent to Billboard Pro subscribers. An abbreviated version of the newsletter is published online.

From streaming services to concert promoters and ticket sellers, music companies have reported encouraging first-quarter earnings results that show consumers continue to adopt subscription services and eagerly return to live events after COVID restrictions were lifted in late 2021. The same companies? stock prices tell another story, however. While music companies posted double-digit gains in subscription growth, revenue, ticket sales and many other metrics, their share prices are down by double-digits in 2022. That?s not a surprise given the state of the economy: Inflation is at a 40-year high ; rising interest rates sent investors looking for value stocks and safety in bonds; and consumers are starting to miss credit card and auto loan payments. Right now, investors are looking beyond mere growth to margins and profitability.

In the wake of these earnings reports, Billboard is highlighting three factors that are influencing the music business in 2022. First, growth in subscription services is reshaping labels and publishers? revenues; growth may be slowing, and it could disappoint some investors, but it’s there. Second, publishing revenues saw especially strong growth in the first quarter and contributed more to parent companies? growth than record labels (given their relatively smaller size). Third, live music is going to have a strong 2022, which will impact not just touring artists but record labels that sell merchandise on the road.

Subscription growth was strong (but it?s slowing).

Spotify?s subscriptions grew 15% to 182 million, an annual increase of 24 million and 2 million more than the fourth quarter of 2021. While second-quarter growth was below Spotify?s guidance, the company said it was above expectations if “involuntary churn” of 1.5 million subscriptions from the company?s exit from Russia weren’t counted. (Spotify expects another 600,000 lost subscribers in Russia in the second quarter.)

The second-quarter guidance is 6 million net new subscribers, which would take Spotify to roughly 188 million, up 14% from the second quarter of 2021. That would represent a smaller annual gain in subscribers (23 million versus 27 million in the second quarter of 2021) and a lower annual growth rate (14% versus 20%).

Smaller streaming services posted higher growth rates in the first quarter. Even though Tencent Music Entertainment revenue fell 15% due to losses in social entertainment, its music subscriptions grew 31.7% to 80.2 million, an annual increase of 19.3 million and up 4 million from the fourth quarter of 2021. Anghami?s subscription revenue grew 26% year over year. Chinese music streaming service Cloud Village reports first-quarter earnings on May 24.

Publishing and merchandising were higher in the revenue mix.

At Universal Music Group, recorded music accounted for 78.3% of revenue but delivered only 61% of first-quarter revenue growth despite strong gains in subscription royalties. UMG?s publishing division accounted for 17.1% of total revenue but 26.7% of total revenue growth. Merchandising was 4.9% of UMG?s total revenue and 12.3% of its revenue growth. At Warner Music Group, publishing’s share of revenue grew to 16.7%, up from 15.4% a year earlier, and accounted for 30.2% of the revenue growth. At Sony Music, publishing increased its share of quarterly revenue from 16.4% to 18.3%. Recorded music grew from 58% to 60% as the ?visual media and platform? division fell from 25.6% to 19.2%.

Live events companies are seeing double-digit growth.

At Live Nation, which claimed to have its best first quarter ever, revenue jumped more than six-fold in the first quarter after the lifting of COVID-19 restrictions. More importantly, the company expects double-digit growth this year compared to 2019, the best year for comparison because COVID affected every quarter in 2020. Live Nation has sold 70 million tickets for shows in 2022, a 36% increase from the same point in 2019, and committed show count is up 44% through late April. At the same time, no-show rates appear to be a non-issue, falling ?generally in the mid-single digits,? the company said in its earnings release.

MSG Entertainment?s entertainment (live event) revenue grew more than six-fold to $194.6 million thanks to the lifting of COVID restrictions. Minus MSG Networks, which merged with MSG Entertainment in July 2021, the company had $292.5 million in revenue, up 17% from the same period in 2019.

Vivid Seats? first-quarter revenue was up 442% from the prior-year period. The company increased second-quarter guidance for both revenue (its cut of total revenue) and gross order value (total ticket sales value). Music accounted for 53.1% of revenue, up from 31.9% in the prior-year period. Marketplace order volume increased 589%. At Eventbrite, first-quarter paid tickets rose 78% year over year, and net revenue per ticket increased 13.6%.

STOCKS

Through May 20, the % change over the last week, and the year-to-date change.

Spotify (NYSE: SPOT): $107.19, +1.0%, -54.2% YTD
Universal Music Group (AS: UMG): 20.41 euros, 0%, -17.6% YTD
Warner Music Group (Nasdaq: WMG): $29.76, +2.3%, -31.1% YTD
HYBE (KS 352820): 221,000 KRW, +2.8%, -36.7% YTD
Live Nation (NYSE: LYV): $89.16, -2.3%, -25.5% YTD
iHeartMedia (Nasdaq: IHRT): $12.13, -5.2%, -42.3% YTD
Cumulus Media (Nasdaq: CMLS): $12.50, -2.5%, +11.1% YTD
Tencent Music Entertainment (NYSE: TME): $4.07, -0.7%, -40.6% YTD

NYSE Composite: 15,072.58, -1.2%, -12.2% YTD
Nasdaq: 11,354.62, -3.8%, -27.4% YTD
S&P 500: 3,901.36, -3.0%, -18.1% YTD


Read the full article

............................................................



The Ledger: Three Major Trends Revealed in Music Companies’ Q1 2022 Earnings
 
Posted: 20 May 2022, 7:49 pm

The Ledger is a weekly newsletter about the economics of the music business sent to Billboard Pro subscribers. An abbreviated version of the newsletter is published online.

From streaming services to concert promoters and ticket sellers, music companies have reported encouraging first-quarter earnings results that show consumers continue to adopt subscription services and eagerly return to live events after COVID restrictions were lifted in late 2021. The same companies? stock prices tell another story, however. While music companies posted double-digit gains in subscription growth, revenue, ticket sales and many other metrics, their share prices are down by double-digits in 2022. That?s not a surprise given the state of the economy: Inflation is at a 40-year high ; rising interest rates sent investors looking for value stocks and safety in bonds; and consumers are starting to miss credit card and auto loan payments. Right now, investors are looking beyond mere growth to margins and profitability.

In the wake of these earnings reports, Billboard is highlighting three factors that are influencing the music business in 2022. First, growth in subscription services is reshaping labels and publishers? revenues; growth may be slowing, and it could disappoint some investors, but it’s there. Second, publishing revenues saw especially strong growth in the first quarter and contributed more to parent companies? growth than record labels (given their relatively smaller size). Third, live music is going to have a strong 2022, which will impact not just touring artists but record labels that sell merchandise on the road.

Subscription growth was strong (but it?s slowing).

Spotify?s subscriptions grew 15% to 182 million, an annual increase of 24 million and 2 million more than the fourth quarter of 2021. While second-quarter growth was below Spotify?s guidance, the company said it was above expectations if “involuntary churn” of 1.5 million subscriptions from the company?s exit from Russia weren’t counted. (Spotify expects another 600,000 lost subscribers in Russia in the second quarter.)

The second-quarter guidance is 6 million net new subscribers, which would take Spotify to roughly 188 million, up 14% from the second quarter of 2021. That would represent a smaller annual gain in subscribers (23 million versus 27 million in the second quarter of 2021) and a lower annual growth rate (14% versus 20%).

Smaller streaming services posted higher growth rates in the first quarter. Even though Tencent Music Entertainment revenue fell 15% due to losses in social entertainment, its music subscriptions grew 31.7% to 80.2 million, an annual increase of 19.3 million and up 4 million from the fourth quarter of 2021. Anghami?s subscription revenue grew 26% year over year. Chinese music streaming service Cloud Village reports first-quarter earnings on May 24.

Publishing and merchandising were higher in the revenue mix.

At Universal Music Group, recorded music accounted for 78.3% of revenue but delivered only 61% of first-quarter revenue growth despite strong gains in subscription royalties. UMG?s publishing division accounted for 17.1% of total revenue but 26.7% of total revenue growth. Merchandising was 4.9% of UMG?s total revenue and 12.3% of its revenue growth. At Warner Music Group, publishing’s share of revenue grew to 16.7%, up from 15.4% a year earlier, and accounted for 30.2% of the revenue growth. At Sony Music, publishing increased its share of quarterly revenue from 16.4% to 18.3%. Recorded music grew from 58% to 60% as the ?visual media and platform? division fell from 25.6% to 19.2%.

Live events companies are seeing double-digit growth.

At Live Nation, which claimed to have its best first quarter ever, revenue jumped more than six-fold in the first quarter after the lifting of COVID-19 restrictions. More importantly, the company expects double-digit growth this year compared to 2019, the best year for comparison because COVID affected every quarter in 2020. Live Nation has sold 70 million tickets for shows in 2022, a 36% increase from the same point in 2019, and committed show count is up 44% through late April. At the same time, no-show rates appear to be a non-issue, falling ?generally in the mid-single digits,? the company said in its earnings release.

MSG Entertainment?s entertainment (live event) revenue grew more than six-fold to $194.6 million thanks to the lifting of COVID restrictions. Minus MSG Networks, which merged with MSG Entertainment in July 2021, the company had $292.5 million in revenue, up 17% from the same period in 2019.

Vivid Seats? first-quarter revenue was up 442% from the prior-year period. The company increased second-quarter guidance for both revenue (its cut of total revenue) and gross order value (total ticket sales value). Music accounted for 53.1% of revenue, up from 31.9% in the prior-year period. Marketplace order volume increased 589%. At Eventbrite, first-quarter paid tickets rose 78% year over year, and net revenue per ticket increased 13.6%.

STOCKS

Through May 20, the % change over the last week, and the year-to-date change.

Spotify (NYSE: SPOT): $107.19, +1.0%, -54.2% YTD
Universal Music Group (AS: UMG): 20.41 euros, 0%, -17.6% YTD
Warner Music Group (Nasdaq: WMG): $29.76, +2.3%, -31.1% YTD
HYBE (KS 352820): 221,000 KRW, +2.8%, -36.7% YTD
Live Nation (NYSE: LYV): $89.16, -2.3%, -25.5% YTD
iHeartMedia (Nasdaq: IHRT): $12.13, -5.2%, -42.3% YTD
Cumulus Media (Nasdaq: CMLS): $12.50, -2.5%, +11.1% YTD
Tencent Music Entertainment (NYSE: TME): $4.07, -0.7%, -40.6% YTD

NYSE Composite: 15,072.58, -1.2%, -12.2% YTD
Nasdaq: 11,354.62, -3.8%, -27.4% YTD
S&P 500: 3,901.36, -3.0%, -18.1% YTD


Read the full article

............................................................



The Ledger: Three Major Trends Revealed in Music Companies’ Q1 2022 Earnings
 
Posted: 20 May 2022, 7:49 pm

The Ledger is a weekly newsletter about the economics of the music business sent to Billboard Pro subscribers. An abbreviated version of the newsletter is published online.

From streaming services to concert promoters and ticket sellers, music companies have reported encouraging first-quarter earnings results that show consumers continue to adopt subscription services and eagerly return to live events after COVID restrictions were lifted in late 2021. The same companies? stock prices tell another story, however. While music companies posted double-digit gains in subscription growth, revenue, ticket sales and many other metrics, their share prices are down by double-digits in 2022. That?s not a surprise given the state of the economy: Inflation is at a 40-year high ; rising interest rates sent investors looking for value stocks and safety in bonds; and consumers are starting to miss credit card and auto loan payments. Right now, investors are looking beyond mere growth to margins and profitability.

In the wake of these earnings reports, Billboard is highlighting three factors that are influencing the music business in 2022. First, growth in subscription services is reshaping labels and publishers? revenues; growth may be slowing, and it could disappoint some investors, but it’s there. Second, publishing revenues saw especially strong growth in the first quarter and contributed more to parent companies? growth than record labels (given their relatively smaller size). Third, live music is going to have a strong 2022, which will impact not just touring artists but record labels that sell merchandise on the road.

Subscription growth was strong (but it?s slowing).

Spotify?s subscriptions grew 15% to 182 million, an annual increase of 24 million and 2 million more than the fourth quarter of 2021. While second-quarter growth was below Spotify?s guidance, the company said it was above expectations if “involuntary churn” of 1.5 million subscriptions from the company?s exit from Russia weren’t counted. (Spotify expects another 600,000 lost subscribers in Russia in the second quarter.)

The second-quarter guidance is 6 million net new subscribers, which would take Spotify to roughly 188 million, up 14% from the second quarter of 2021. That would represent a smaller annual gain in subscribers (23 million versus 27 million in the second quarter of 2021) and a lower annual growth rate (14% versus 20%).

Smaller streaming services posted higher growth rates in the first quarter. Even though Tencent Music Entertainment revenue fell 15% due to losses in social entertainment, its music subscriptions grew 31.7% to 80.2 million, an annual increase of 19.3 million and up 4 million from the fourth quarter of 2021. Anghami?s subscription revenue grew 26% year over year. Chinese music streaming service Cloud Village reports first-quarter earnings on May 24.

Publishing and merchandising were higher in the revenue mix.

At Universal Music Group, recorded music accounted for 78.3% of revenue but delivered only 61% of first-quarter revenue growth despite strong gains in subscription royalties. UMG?s publishing division accounted for 17.1% of total revenue but 26.7% of total revenue growth. Merchandising was 4.9% of UMG?s total revenue and 12.3% of its revenue growth. At Warner Music Group, publishing’s share of revenue grew to 16.7%, up from 15.4% a year earlier, and accounted for 30.2% of the revenue growth. At Sony Music, publishing increased its share of quarterly revenue from 16.4% to 18.3%. Recorded music grew from 58% to 60% as the ?visual media and platform? division fell from 25.6% to 19.2%.

Live events companies are seeing double-digit growth.

At Live Nation, which claimed to have its best first quarter ever, revenue jumped more than six-fold in the first quarter after the lifting of COVID-19 restrictions. More importantly, the company expects double-digit growth this year compared to 2019, the best year for comparison because COVID affected every quarter in 2020. Live Nation has sold 70 million tickets for shows in 2022, a 36% increase from the same point in 2019, and committed show count is up 44% through late April. At the same time, no-show rates appear to be a non-issue, falling ?generally in the mid-single digits,? the company said in its earnings release.

MSG Entertainment?s entertainment (live event) revenue grew more than six-fold to $194.6 million thanks to the lifting of COVID restrictions. Minus MSG Networks, which merged with MSG Entertainment in July 2021, the company had $292.5 million in revenue, up 17% from the same period in 2019.

Vivid Seats? first-quarter revenue was up 442% from the prior-year period. The company increased second-quarter guidance for both revenue (its cut of total revenue) and gross order value (total ticket sales value). Music accounted for 53.1% of revenue, up from 31.9% in the prior-year period. Marketplace order volume increased 589%. At Eventbrite, first-quarter paid tickets rose 78% year over year, and net revenue per ticket increased 13.6%.

STOCKS

Through May 20, the % change over the last week, and the year-to-date change.

Spotify (NYSE: SPOT): $107.19, +1.0%, -54.2% YTD
Universal Music Group (AS: UMG): 20.41 euros, 0%, -17.6% YTD
Warner Music Group (Nasdaq: WMG): $29.76, +2.3%, -31.1% YTD
HYBE (KS 352820): 221,000 KRW, +2.8%, -36.7% YTD
Live Nation (NYSE: LYV): $89.16, -2.3%, -25.5% YTD
iHeartMedia (Nasdaq: IHRT): $12.13, -5.2%, -42.3% YTD
Cumulus Media (Nasdaq: CMLS): $12.50, -2.5%, +11.1% YTD
Tencent Music Entertainment (NYSE: TME): $4.07, -0.7%, -40.6% YTD

NYSE Composite: 15,072.58, -1.2%, -12.2% YTD
Nasdaq: 11,354.62, -3.8%, -27.4% YTD
S&P 500: 3,901.36, -3.0%, -18.1% YTD


Read the full article

............................................................



Inside Track: Creator Power, Spatial Audio & the Metaverse Dominate Music Biz 2022
 
Posted: 20 May 2022, 5:50 pm

For the first time since the onset of the pandemic, the Music Biz conference happened in person in Nashville this month, bringing together industry figures from across the globe to banter about the various topics facing the business after two years of relying on tech and streaming to connect an increasingly-fractured landscape.

One conversation that seemed to permeate both panels and interpersonal conversations at the convention was the expanding role of artists in their own marketing and release strategy, whether they are signed to a major or not. During panels like “The Future of the Artist Deal” and “Navigating New Strategies,” speakers waxed near-philosophical on the improved standing of artists in advocating on their own behalf, while also examining the pitfalls that come from this more hands-off approach.

Even in conversations had on the convention floor, most people ? from artists themselves, to managers, to A&R reps, to DSP providers ? seemed to be excited about the prospect of power being placed back into the hands of those creating music for themselves. But some offered a more skeptical outlook, wondering whether or not this newly-minted status of importance for artists was a bonafide change sweeping through the industry, or yet another trend that would fall by the wayside.

But a larger throughline seemed to be about what?s coming next from a digital standpoint, and how the industry can position itself to take advantage of it. (Just don?t pretend to know what?s going to happen with the vinyl industry ? no one knows for sure, and those who say they do are lying.) Several conversations revolved around the buzzwords of the day ? NFTs, the metaverse, web3 ? but one digital marketing executive was able to put spatial audio, another recent breathless industry topic, into focus from a consumer perspective.

?Think about yourself in a video game and you can feel the sounds around you, or you?re in a concert and you can hear it all around you,? this person said. ?That?s what we?re preparing for. The labels know it?s not just about the physical experience, which is what we know. It?s also about the metaverse experience, which we don?t know.? There?s a whole generation of kids growing up right now who want to listen to music in spatial audio because of video games, said the person, who added of the emerging space: ?I want to work there.”

If the metaverse has any advantage over streaming platforms, it’s licensing. As one insider explained, metaverse companies don’t have to — and don’t want to — license entire catalogs from rights holders. That eliminates a great deal of legal and financial resources streaming platforms must commit for the content that runs their businesses. Rather, the metaverse is about connecting fans with individual artists, not massive catalogs. Without the burden of licensing costs, metaverse startups have one less hurdle between them and long-term success.

Not that people have the metaverse figured out. Or NFTs. In fact, people at Music Biz were surprisingly quick to acknowledge they don’t know how these emerging products will shake out over time. Exactly how we will get from point A to point B remains to be seen. But people agreed that the metaverse and NFTs are potentially transformative for the music business — and nobody wants to get left behind. ? Stephen Daw, Glenn Peoples and Dan Rys


Read the full article

............................................................



Inside Track: Creator Power, Spatial Audio & the Metaverse Dominate Music Biz 2022
 
Posted: 20 May 2022, 5:50 pm

For the first time since the onset of the pandemic, the Music Biz conference happened in person in Nashville this month, bringing together industry figures from across the globe to banter about the various topics facing the business after two years of relying on tech and streaming to connect an increasingly-fractured landscape.

One conversation that seemed to permeate both panels and interpersonal conversations at the convention was the expanding role of artists in their own marketing and release strategy, whether they are signed to a major or not. During panels like “The Future of the Artist Deal” and “Navigating New Strategies,” speakers waxed near-philosophical on the improved standing of artists in advocating on their own behalf, while also examining the pitfalls that come from this more hands-off approach.

Even in conversations had on the convention floor, most people ? from artists themselves, to managers, to A&R reps, to DSP providers ? seemed to be excited about the prospect of power being placed back into the hands of those creating music for themselves. But some offered a more skeptical outlook, wondering whether or not this newly-minted status of importance for artists was a bonafide change sweeping through the industry, or yet another trend that would fall by the wayside.

But a larger throughline seemed to be about what?s coming next from a digital standpoint, and how the industry can position itself to take advantage of it. (Just don?t pretend to know what?s going to happen with the vinyl industry ? no one knows for sure, and those who say they do are lying.) Several conversations revolved around the buzzwords of the day ? NFTs, the metaverse, web3 ? but one digital marketing executive was able to put spatial audio, another recent breathless industry topic, into focus from a consumer perspective.

?Think about yourself in a video game and you can feel the sounds around you, or you?re in a concert and you can hear it all around you,? this person said. ?That?s what we?re preparing for. The labels know it?s not just about the physical experience, which is what we know. It?s also about the metaverse experience, which we don?t know.? There?s a whole generation of kids growing up right now who want to listen to music in spatial audio because of video games, said the person, who added of the emerging space: ?I want to work there.”

If the metaverse has any advantage over streaming platforms, it’s licensing. As one insider explained, metaverse companies don’t have to — and don’t want to — license entire catalogs from rights holders. That eliminates a great deal of legal and financial resources streaming platforms must commit for the content that runs their businesses. Rather, the metaverse is about connecting fans with individual artists, not massive catalogs. Without the burden of licensing costs, metaverse startups have one less hurdle between them and long-term success.

Not that people have the metaverse figured out. Or NFTs. In fact, people at Music Biz were surprisingly quick to acknowledge they don’t know how these emerging products will shake out over time. Exactly how we will get from point A to point B remains to be seen. But people agreed that the metaverse and NFTs are potentially transformative for the music business — and nobody wants to get left behind. ? Stephen Daw, Glenn Peoples and Dan Rys


Read the full article

............................................................



Inside Track: Creator Power, Spatial Audio & the Metaverse Dominate Music Biz 2022
 
Posted: 20 May 2022, 5:50 pm

For the first time since the onset of the pandemic, the Music Biz conference happened in person in Nashville this month, bringing together industry figures from across the globe to banter about the various topics facing the business after two years of relying on tech and streaming to connect an increasingly-fractured landscape.

One conversation that seemed to permeate both panels and interpersonal conversations at the convention was the expanding role of artists in their own marketing and release strategy, whether they are signed to a major or not. During panels like “The Future of the Artist Deal” and “Navigating New Strategies,” speakers waxed near-philosophical on the improved standing of artists in advocating on their own behalf, while also examining the pitfalls that come from this more hands-off approach.

Even in conversations had on the convention floor, most people ? from artists themselves, to managers, to A&R reps, to DSP providers ? seemed to be excited about the prospect of power being placed back into the hands of those creating music for themselves. But some offered a more skeptical outlook, wondering whether or not this newly-minted status of importance for artists was a bonafide change sweeping through the industry, or yet another trend that would fall by the wayside.

But a larger throughline seemed to be about what?s coming next from a digital standpoint, and how the industry can position itself to take advantage of it. (Just don?t pretend to know what?s going to happen with the vinyl industry ? no one knows for sure, and those who say they do are lying.) Several conversations revolved around the buzzwords of the day ? NFTs, the metaverse, web3 ? but one digital marketing executive was able to put spatial audio, another recent breathless industry topic, into focus from a consumer perspective.

?Think about yourself in a video game and you can feel the sounds around you, or you?re in a concert and you can hear it all around you,? this person said. ?That?s what we?re preparing for. The labels know it?s not just about the physical experience, which is what we know. It?s also about the metaverse experience, which we don?t know.? There?s a whole generation of kids growing up right now who want to listen to music in spatial audio because of video games, said the person, who added of the emerging space: ?I want to work there.”

If the metaverse has any advantage over streaming platforms, it’s licensing. As one insider explained, metaverse companies don’t have to — and don’t want to — license entire catalogs from rights holders. That eliminates a great deal of legal and financial resources streaming platforms must commit for the content that runs their businesses. Rather, the metaverse is about connecting fans with individual artists, not massive catalogs. Without the burden of licensing costs, metaverse startups have one less hurdle between them and long-term success.

Not that people have the metaverse figured out. Or NFTs. In fact, people at Music Biz were surprisingly quick to acknowledge they don’t know how these emerging products will shake out over time. Exactly how we will get from point A to point B remains to be seen. But people agreed that the metaverse and NFTs are potentially transformative for the music business — and nobody wants to get left behind. ? Stephen Daw, Glenn Peoples and Dan Rys


Read the full article

............................................................



Bandcamp, Google to Maintain Payment System Until Epic Suit Ends
 
Posted: 20 May 2022, 1:10 pm

Bandcamp and Google have entered into a “joint stipulation” agreement, encouraged by the court, that will allow the popular music downloading platform to continue using its own payment system while Google?s lawsuit with Bandcamp parent company Epic Games proceeds, according to court filings released today (May 20).

The agreement stems from a dispute between Epic, which bought Bandcamp in March, and Google in which Epic protested Google?s decision to push Bandcamp to use its Google payment system, rather than Bandcamp?s own, a move that could have prevented Bandcamp from paying out artists in its standard 24-48 hour period following a sale. Under Google?s system, the company has argued, Bandcamp would be forced to pay out to artists between 15 and 45 days after a sale, “a significant blow to the artists who rely on Bandcamp to make a living and continue making music.”

Under the agreement, the two sides have allowed Bandcamp to continue using its own payment system on Android devices and to continue to pay artists their same share while the dispute continues making its way through court. But beginning June 1, “Bandcamp will place 10% of the revenue generated from digital sales on Android devices in escrow until Epic?s ongoing case against Google is resolved, a cost we will bear,” Bandcamp CEO Ethan Diamond wrote in a blog post.

This latest development comes amid broader, separate lawsuits between Epic Games ? which is the maker of Fortnite ? and Apple and Google, which claims the latter two companies use their domination of the app marketplace to force apps to use their own payment systems, while taking around a 30 percent cut of sales. Google denied the allegations, adding Google Play is less restrictive than Apple?s App Store and that it passes along ?minimal cost to developers in the vast majority of cases.?

The case is set for trial in April 2023, while Epic’s case against Apple led to a split ruling last year, wherein a judge ruled that Apple was within its rights to push apps onto its own payment system, but apps were entitled to nudge users to outside payment systems as well; that ruling is under appeal.


Read the full article

............................................................



Bandcamp, Google to Maintain Payment System Until Epic Suit Ends
 
Posted: 20 May 2022, 1:10 pm

Bandcamp and Google have entered into a “joint stipulation” agreement, encouraged by the court, that will allow the popular music downloading platform to continue using its own payment system while Google?s lawsuit with Bandcamp parent company Epic Games proceeds, according to court filings released today (May 20).

The agreement stems from a dispute between Epic, which bought Bandcamp in March, and Google in which Epic protested Google?s decision to push Bandcamp to use its Google payment system, rather than Bandcamp?s own, a move that could have prevented Bandcamp from paying out artists in its standard 24-48 hour period following a sale. Under Google?s system, the company has argued, Bandcamp would be forced to pay out to artists between 15 and 45 days after a sale, “a significant blow to the artists who rely on Bandcamp to make a living and continue making music.”

Under the agreement, the two sides have allowed Bandcamp to continue using its own payment system on Android devices and to continue to pay artists their same share while the dispute continues making its way through court. But beginning June 1, “Bandcamp will place 10% of the revenue generated from digital sales on Android devices in escrow until Epic?s ongoing case against Google is resolved, a cost we will bear,” Bandcamp CEO Ethan Diamond wrote in a blog post.

This latest development comes amid broader, separate lawsuits between Epic Games ? which is the maker of Fortnite ? and Apple and Google, which claims the latter two companies use their domination of the app marketplace to force apps to use their own payment systems, while taking around a 30 percent cut of sales. Google denied the allegations, adding Google Play is less restrictive than Apple?s App Store and that it passes along ?minimal cost to developers in the vast majority of cases.?

The case is set for trial in April 2023, while Epic’s case against Apple led to a split ruling last year, wherein a judge ruled that Apple was within its rights to push apps onto its own payment system, but apps were entitled to nudge users to outside payment systems as well; that ruling is under appeal.


Read the full article

............................................................



Bandcamp, Google to Maintain Payment System Until Epic Suit Ends
 
Posted: 20 May 2022, 1:10 pm

Bandcamp and Google have entered into a “joint stipulation” agreement, encouraged by the court, that will allow the popular music downloading platform to continue using its own payment system while Google?s lawsuit with Bandcamp parent company Epic Games proceeds, according to court filings released today (May 20).

The agreement stems from a dispute between Epic, which bought Bandcamp in March, and Google in which Epic protested Google?s decision to push Bandcamp to use its Google payment system, rather than Bandcamp?s own, a move that could have prevented Bandcamp from paying out artists in its standard 24-48 hour period following a sale. Under Google?s system, the company has argued, Bandcamp would be forced to pay out to artists between 15 and 45 days after a sale, “a significant blow to the artists who rely on Bandcamp to make a living and continue making music.”

Under the agreement, the two sides have allowed Bandcamp to continue using its own payment system on Android devices and to continue to pay artists their same share while the dispute continues making its way through court. But beginning June 1, “Bandcamp will place 10% of the revenue generated from digital sales on Android devices in escrow until Epic?s ongoing case against Google is resolved, a cost we will bear,” Bandcamp CEO Ethan Diamond wrote in a blog post.

This latest development comes amid broader, separate lawsuits between Epic Games ? which is the maker of Fortnite ? and Apple and Google, which claims the latter two companies use their domination of the app marketplace to force apps to use their own payment systems, while taking around a 30 percent cut of sales. Google denied the allegations, adding Google Play is less restrictive than Apple?s App Store and that it passes along ?minimal cost to developers in the vast majority of cases.?

The case is set for trial in April 2023, while Epic’s case against Apple led to a split ruling last year, wherein a judge ruled that Apple was within its rights to push apps onto its own payment system, but apps were entitled to nudge users to outside payment systems as well; that ruling is under appeal.


Read the full article

............................................................



Ella Mai Has a Top Five Debut Up Her ‘Sleeve’
 
Posted: 20 May 2022, 12:51 pm

Ella Mai earns her third top five album on Billboard?s Top R&B Albums chart as Heart on My Sleeve debuts at No. 2 on the list dated May 21. The set, released on May 6 through 10 Summers/Interscope Records, begins with 20,000 equivalent album units earned in the U.S. in the week ending May 12.

15,500 of Sleeve?s 20,000 first-week units derive from streaming, equating to 20.9 million U.S. official on-demand streams of the album?s songs. Just over 3,500 units are from traditional album sales, and the remaining sum come through track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)

Sleeve is the follow up to the singer-songwriter?s self-titled, full-length debut album from 2018, which reigned for 11 weeks beginning in October 2018. Before that, her EP Ready peaked at No. 3 that July. Both projects featured her breakthrough smash, ?Boo?d Up,? while the full LP also housed the hit single ?Trip.?

Elsewhere, Sleeve starts at No. 9 on the Top R&B/Hip-Hop Albums list and at No. 15 on the all-genre Billboard 200.

Five of Sleeve?s songs appear on the Hot R&B Songs chart, including three debuts. ?How,? featuring Roddy Ricch, leads the new arrivals at No. 14, with ?Trying? (No. 23) and ?Didn?t Say,? featuring Latto (No. 24) completing the trio. In addition, current single ?DMFU? ascends 9-7 to reach its highest peak in 15 weeks on the chart, and previous release ?Leave You Alone? returns at No. 22 to match its previous best showing.

?DMFU? also registers increases in radio airplay amid the album rollout. Though the single reverses 6-7 on the Adult R&B Airplay chart, it added 7% more plays in the latest tracking week (ending May 15) compared with the week prior. The track also resides in the top 10 on Mainstream R&B/Hip-Hop Airplay, climbing 10-9 after a 9% gain in weekly plays. Thanks to strength at both formats, ?DMFU? holds its No. 8 rank on the R&B/Hip-Hop Airplay chart, which combines radio audience from both adult and mainstream-leaning stations.


Read the full article

............................................................



Ella Mai Has a Top Five Debut Up Her ‘Sleeve’
 
Posted: 20 May 2022, 12:51 pm

Ella Mai earns her third top five album on Billboard?s Top R&B Albums chart as Heart on My Sleeve debuts at No. 2 on the list dated May 21. The set, released on May 6 through 10 Summers/Interscope Records, begins with 20,000 equivalent album units earned in the U.S. in the week ending May 12.

15,500 of Sleeve?s 20,000 first-week units derive from streaming, equating to 20.9 million U.S. official on-demand streams of the album?s songs. Just over 3,500 units are from traditional album sales, and the remaining sum come through track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)

Sleeve is the follow up to the singer-songwriter?s self-titled, full-length debut album from 2018, which reigned for 11 weeks beginning in October 2018. Before that, her EP Ready peaked at No. 3 that July. Both projects featured her breakthrough smash, ?Boo?d Up,? while the full LP also housed the hit single ?Trip.?

Elsewhere, Sleeve starts at No. 9 on the Top R&B/Hip-Hop Albums list and at No. 15 on the all-genre Billboard 200.

Five of Sleeve?s songs appear on the Hot R&B Songs chart, including three debuts. ?How,? featuring Roddy Ricch, leads the new arrivals at No. 14, with ?Trying? (No. 23) and ?Didn?t Say,? featuring Latto (No. 24) completing the trio. In addition, current single ?DMFU? ascends 9-7 to reach its highest peak in 15 weeks on the chart, and previous release ?Leave You Alone? returns at No. 22 to match its previous best showing.

?DMFU? also registers increases in radio airplay amid the album rollout. Though the single reverses 6-7 on the Adult R&B Airplay chart, it added 7% more plays in the latest tracking week (ending May 15) compared with the week prior. The track also resides in the top 10 on Mainstream R&B/Hip-Hop Airplay, climbing 10-9 after a 9% gain in weekly plays. Thanks to strength at both formats, ?DMFU? holds its No. 8 rank on the R&B/Hip-Hop Airplay chart, which combines radio audience from both adult and mainstream-leaning stations.


Read the full article

............................................................



Ella Mai Has a Top Five Debut Up Her ‘Sleeve’
 
Posted: 20 May 2022, 12:51 pm

Ella Mai earns her third top five album on Billboard?s Top R&B Albums chart as Heart on My Sleeve debuts at No. 2 on the list dated May 21. The set, released on May 6 through 10 Summers/Interscope Records, begins with 20,000 equivalent album units earned in the U.S. in the week ending May 12.

15,500 of Sleeve?s 20,000 first-week units derive from streaming, equating to 20.9 million U.S. official on-demand streams of the album?s songs. Just over 3,500 units are from traditional album sales, and the remaining sum come through track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)

Sleeve is the follow up to the singer-songwriter?s self-titled, full-length debut album from 2018, which reigned for 11 weeks beginning in October 2018. Before that, her EP Ready peaked at No. 3 that July. Both projects featured her breakthrough smash, ?Boo?d Up,? while the full LP also housed the hit single ?Trip.?

Elsewhere, Sleeve starts at No. 9 on the Top R&B/Hip-Hop Albums list and at No. 15 on the all-genre Billboard 200.

Five of Sleeve?s songs appear on the Hot R&B Songs chart, including three debuts. ?How,? featuring Roddy Ricch, leads the new arrivals at No. 14, with ?Trying? (No. 23) and ?Didn?t Say,? featuring Latto (No. 24) completing the trio. In addition, current single ?DMFU? ascends 9-7 to reach its highest peak in 15 weeks on the chart, and previous release ?Leave You Alone? returns at No. 22 to match its previous best showing.

?DMFU? also registers increases in radio airplay amid the album rollout. Though the single reverses 6-7 on the Adult R&B Airplay chart, it added 7% more plays in the latest tracking week (ending May 15) compared with the week prior. The track also resides in the top 10 on Mainstream R&B/Hip-Hop Airplay, climbing 10-9 after a 9% gain in weekly plays. Thanks to strength at both formats, ?DMFU? holds its No. 8 rank on the R&B/Hip-Hop Airplay chart, which combines radio audience from both adult and mainstream-leaning stations.


Read the full article

............................................................



How Eslabon Armado Made Billboard 200 History With ‘Nostalgia’
 
Posted: 20 May 2022, 11:06 am

Two years ago during a phone interview, Angel del Villar toldBillboard to be on the lookout for “the next big thing” in Regional Mexican music: Eslabon Armado.

It was the Mexican-American teenage group he had just signed to his indie label, DEL Records. Back then, the sierreo ensemble had one album under its belt, the 2020 debut set Tu Veneno Mortal, which was quickly followed by back-to-back-to-back releases of Vibras de Noche, Corta Venas and Tu Veneno Mortal, Vol. 2, all released within a two year period, all of which peaked at No. 1 on Billboard‘s Regional Mexican Albums chart. A rapid-fire pace that was part of del Villar’s strategy to match the speed that has been driving releases in today’s music industry.

But it was the group’s 2022 release, Nostalgia, that would take them to new heights: the 14-track set debuted at No. 9 on the Billboard 200 (dated May 21) this week, making history as the first top 10-charting Regional Mexican album ever on the tally. And it helps del Villar earn the title of Billboard‘s Executive of the Week.

Del Villar’s DEL Records has been home to chart-topping artists such as Gerardo Ortiz, the late Ariel Camacho, Lenin Ramrez and Ulices Chaidez. “[But] I’ve been doing this for 14 years and it?s the first time I’ve seen anything like this,” the executive says. “We knew the album would do well but it exceeded our expectations.”

Del Villar cites many factors that led to this history-making debut. One example was sending Pedro Tovar, Eslabon Armado’s frontman and songwriter, to a local resort for a staycation in California where he could recharge and get inspiration. It’s where he wrote 80% of the album, says del Villar. Another was deciding to feature collaborations on this album, including duets with young sierreo hitmakers Ivan Cornejo, Junior H and DannyLux, a first for Eslabon. Out of their four previous albums, only Corta Venas had featured a collaboration, which was “Jugaste Y Sufr” with DannyLux. The strategy, “allows us to capture new audiences,” adds del Villar.

Here, the DEL Records CEO breaks down the strategy and marketing campaigns that went into making Nostalgia a huge debut, what sets Eslabon Armado apart and what having a top 10 spot on the Billboard 200 — in the same week that Bad Bunny debuted at No. 1 with Un Verano Sin Ti, the first time that two all-Spanish albums have placed in the top 10 simultaneously — means for Latin music.

With a No. 9 debut, Eslabon Armado’s Nostalgia makes history as the first top 10-charting Regional Mexican album ever on the Billboard 200. What key decision did you make to help make this achievement happen?

Well, my team and I are very involved with every decision, from who’s mixing the album to picking the songs. But I’d say something that was key was sending Pedro to a resort, called The Pelican Resort, where he could write songs for the album. I think he wrote 80% of the whole album while staying there. Pedro is a water sign, he?s a Cancer like myself, we?re only days apart in our birthdays. Every time I go to a resort, I connect with Mother Nature and the water helps with creativity. That type of environment makes a difference for him as well.

Were there any new or go-to strategies that you and your team used to help it achieve such a huge — and historic — debut?

Collaborations. This is the first album where we featured a bunch of collaborations and it was something that really helped us. It?s a strategy that allows us to capture new audiences. That was a big part for this album: to tap other artists and their fan bases. The artists we collaborated with are big in their own lane and are young like Eslabon: DannyLux, Ivan Cornejo, Fuerza Regida, Junior H.

What kind of marketing campaigns did you put your dollars into that you think helped get such a huge response?

We did a big marketing plan for this particular album. We bought a lot of billboards and we invested a lot of money on hiring influencers who were posting on all social media platforms in anticipation of the release. Especially TikTok: I think in today?s reality, it?s the biggest platform there is. It?s not the first time we worked with influencers but this time around they had a bigger role. We didn?t set a budget for this release, we went all out. What also helps is that Pedro is really active on social media. In reality, he markets himself when he does a live on TikTok and you have 20,000 people tuning in.

Two years ago, you told me to look out for Eslabon Armado. What did you see in them that you thought would set them apart?

When I met Eslabon, I saw that spark. Pedro is a gifted songwriter, he?s a producer, he?s disciplined, he works hard, he has a family that backs him up — they have it all. It makes our job much easier. What’s happening right now marks a new chapter for Eslabon. We?re working on our end to do bigger collabs, we want to do a crossover. We?re ready for that chapter in their career.

For the first time ever, we have two all-Spanish albums in the top 10 on the Billboard 200: Bad Bunny’s Un Verano Sin Ti and Eslabon Armado’s Nostalgia. What’s your initial reaction to that?

Honestly, I was surprised and shocked. We knew the album would do well but it exceeded our expectations. I know the hard work that was put in this particular album, so I mean, it?s just a big blessing. As an independent record label, I feel mega blessed to be part of history. This is a moment that will go down in the books. To see a guy like Bad Bunny who?s leading music in general and to be right there with him, it?s crazy. I?ve tried to reach out to Noah [Assad, Bad Bunny’s manager] so that we can do something between Bad Bunny and Eslabon. It would be huge.

What lesson does having two all-Spanish albums in the top 10 teach us about not only regional, but Latin music in general?

That we are big supporters of music. I feel so proud to see the impact this album is having. Dreams do come true. Eslabon Armado started two years ago. Their growth in just two years is unheard of. I?ve been doing this for 14 years and it?s the first time I’ve seen anything like this. I know Pedro. He?s going to come out with something better than Nostalgia. He?s already writing songs for the next album and we just released this one. He?s 19, he?s very talented. It goes back to the group’s discipline, their hard work and being humble, which is a huge part of their success. To achieve great things, you have to be consistent. We don?t believe in one-hit wonders at DEL Records.


Read the full article

............................................................



How Eslabon Armado Made Billboard 200 History With ‘Nostalgia’
 
Posted: 20 May 2022, 11:06 am

Two years ago during a phone interview, Angel del Villar toldBillboard to be on the lookout for “the next big thing” in Regional Mexican music: Eslabon Armado.

It was the Mexican-American teenage group he had just signed to his indie label, DEL Records. Back then, the sierreo ensemble had one album under its belt, the 2020 debut set Tu Veneno Mortal, which was quickly followed by back-to-back-to-back releases of Vibras de Noche, Corta Venas and Tu Veneno Mortal, Vol. 2, all released within a two year period, all of which peaked at No. 1 on Billboard‘s Regional Mexican Albums chart. A rapid-fire pace that was part of del Villar’s strategy to match the speed that has been driving releases in today’s music industry.

But it was the group’s 2022 release, Nostalgia, that would take them to new heights: the 14-track set debuted at No. 9 on the Billboard 200 (dated May 21) this week, making history as the first top 10-charting Regional Mexican album ever on the tally. And it helps del Villar earn the title of Billboard‘s Executive of the Week.

Del Villar’s DEL Records has been home to chart-topping artists such as Gerardo Ortiz, the late Ariel Camacho, Lenin Ramrez and Ulices Chaidez. “[But] I’ve been doing this for 14 years and it?s the first time I’ve seen anything like this,” the executive says. “We knew the album would do well but it exceeded our expectations.”

Del Villar cites many factors that led to this history-making debut. One example was sending Pedro Tovar, Eslabon Armado’s frontman and songwriter, to a local resort for a staycation in California where he could recharge and get inspiration. It’s where he wrote 80% of the album, says del Villar. Another was deciding to feature collaborations on this album, including duets with young sierreo hitmakers Ivan Cornejo, Junior H and DannyLux, a first for Eslabon. Out of their four previous albums, only Corta Venas had featured a collaboration, which was “Jugaste Y Sufr” with DannyLux. The strategy, “allows us to capture new audiences,” adds del Villar.

Here, the DEL Records CEO breaks down the strategy and marketing campaigns that went into making Nostalgia a huge debut, what sets Eslabon Armado apart and what having a top 10 spot on the Billboard 200 — in the same week that Bad Bunny debuted at No. 1 with Un Verano Sin Ti, the first time that two all-Spanish albums have placed in the top 10 simultaneously — means for Latin music.

With a No. 9 debut, Eslabon Armado’s Nostalgia makes history as the first top 10-charting Regional Mexican album ever on the Billboard 200. What key decision did you make to help make this achievement happen?

Well, my team and I are very involved with every decision, from who’s mixing the album to picking the songs. But I’d say something that was key was sending Pedro to a resort, called The Pelican Resort, where he could write songs for the album. I think he wrote 80% of the whole album while staying there. Pedro is a water sign, he?s a Cancer like myself, we?re only days apart in our birthdays. Every time I go to a resort, I connect with Mother Nature and the water helps with creativity. That type of environment makes a difference for him as well.

Were there any new or go-to strategies that you and your team used to help it achieve such a huge — and historic — debut?

Collaborations. This is the first album where we featured a bunch of collaborations and it was something that really helped us. It?s a strategy that allows us to capture new audiences. That was a big part for this album: to tap other artists and their fan bases. The artists we collaborated with are big in their own lane and are young like Eslabon: DannyLux, Ivan Cornejo, Fuerza Regida, Junior H.

What kind of marketing campaigns did you put your dollars into that you think helped get such a huge response?

We did a big marketing plan for this particular album. We bought a lot of billboards and we invested a lot of money on hiring influencers who were posting on all social media platforms in anticipation of the release. Especially TikTok: I think in today?s reality, it?s the biggest platform there is. It?s not the first time we worked with influencers but this time around they had a bigger role. We didn?t set a budget for this release, we went all out. What also helps is that Pedro is really active on social media. In reality, he markets himself when he does a live on TikTok and you have 20,000 people tuning in.

Two years ago, you told me to look out for Eslabon Armado. What did you see in them that you thought would set them apart?

When I met Eslabon, I saw that spark. Pedro is a gifted songwriter, he?s a producer, he?s disciplined, he works hard, he has a family that backs him up — they have it all. It makes our job much easier. What’s happening right now marks a new chapter for Eslabon. We?re working on our end to do bigger collabs, we want to do a crossover. We?re ready for that chapter in their career.

For the first time ever, we have two all-Spanish albums in the top 10 on the Billboard 200: Bad Bunny’s Un Verano Sin Ti and Eslabon Armado’s Nostalgia. What’s your initial reaction to that?

Honestly, I was surprised and shocked. We knew the album would do well but it exceeded our expectations. I know the hard work that was put in this particular album, so I mean, it?s just a big blessing. As an independent record label, I feel mega blessed to be part of history. This is a moment that will go down in the books. To see a guy like Bad Bunny who?s leading music in general and to be right there with him, it?s crazy. I?ve tried to reach out to Noah [Assad, Bad Bunny’s manager] so that we can do something between Bad Bunny and Eslabon. It would be huge.

What lesson does having two all-Spanish albums in the top 10 teach us about not only regional, but Latin music in general?

That we are big supporters of music. I feel so proud to see the impact this album is having. Dreams do come true. Eslabon Armado started two years ago. Their growth in just two years is unheard of. I?ve been doing this for 14 years and it?s the first time I’ve seen anything like this. I know Pedro. He?s going to come out with something better than Nostalgia. He?s already writing songs for the next album and we just released this one. He?s 19, he?s very talented. It goes back to the group’s discipline, their hard work and being humble, which is a huge part of their success. To achieve great things, you have to be consistent. We don?t believe in one-hit wonders at DEL Records.


Read the full article

............................................................



How Eslabon Armado Made Billboard 200 History With ‘Nostalgia’
 
Posted: 20 May 2022, 11:06 am

Two years ago during a phone interview, Angel del Villar toldBillboard to be on the lookout for “the next big thing” in Regional Mexican music: Eslabon Armado.

It was the Mexican-American teenage group he had just signed to his indie label, DEL Records. Back then, the sierreo ensemble had one album under its belt, the 2020 debut set Tu Veneno Mortal, which was quickly followed by back-to-back-to-back releases of Vibras de Noche, Corta Venas and Tu Veneno Mortal, Vol. 2, all released within a two year period, all of which peaked at No. 1 on Billboard‘s Regional Mexican Albums chart. A rapid-fire pace that was part of del Villar’s strategy to match the speed that has been driving releases in today’s music industry.

But it was the group’s 2022 release, Nostalgia, that would take them to new heights: the 14-track set debuted at No. 9 on the Billboard 200 (dated May 21) this week, making history as the first top 10-charting Regional Mexican album ever on the tally. And it helps del Villar earn the title of Billboard‘s Executive of the Week.

Del Villar’s DEL Records has been home to chart-topping artists such as Gerardo Ortiz, the late Ariel Camacho, Lenin Ramrez and Ulices Chaidez. “[But] I’ve been doing this for 14 years and it?s the first time I’ve seen anything like this,” the executive says. “We knew the album would do well but it exceeded our expectations.”

Del Villar cites many factors that led to this history-making debut. One example was sending Pedro Tovar, Eslabon Armado’s frontman and songwriter, to a local resort for a staycation in California where he could recharge and get inspiration. It’s where he wrote 80% of the album, says del Villar. Another was deciding to feature collaborations on this album, including duets with young sierreo hitmakers Ivan Cornejo, Junior H and DannyLux, a first for Eslabon. Out of their four previous albums, only Corta Venas had featured a collaboration, which was “Jugaste Y Sufr” with DannyLux. The strategy, “allows us to capture new audiences,” adds del Villar.

Here, the DEL Records CEO breaks down the strategy and marketing campaigns that went into making Nostalgia a huge debut, what sets Eslabon Armado apart and what having a top 10 spot on the Billboard 200 — in the same week that Bad Bunny debuted at No. 1 with Un Verano Sin Ti, the first time that two all-Spanish albums have placed in the top 10 simultaneously — means for Latin music.

With a No. 9 debut, Eslabon Armado’s Nostalgia makes history as the first top 10-charting Regional Mexican album ever on the Billboard 200. What key decision did you make to help make this achievement happen?

Well, my team and I are very involved with every decision, from who’s mixing the album to picking the songs. But I’d say something that was key was sending Pedro to a resort, called The Pelican Resort, where he could write songs for the album. I think he wrote 80% of the whole album while staying there. Pedro is a water sign, he?s a Cancer like myself, we?re only days apart in our birthdays. Every time I go to a resort, I connect with Mother Nature and the water helps with creativity. That type of environment makes a difference for him as well.

Were there any new or go-to strategies that you and your team used to help it achieve such a huge — and historic — debut?

Collaborations. This is the first album where we featured a bunch of collaborations and it was something that really helped us. It?s a strategy that allows us to capture new audiences. That was a big part for this album: to tap other artists and their fan bases. The artists we collaborated with are big in their own lane and are young like Eslabon: DannyLux, Ivan Cornejo, Fuerza Regida, Junior H.

What kind of marketing campaigns did you put your dollars into that you think helped get such a huge response?

We did a big marketing plan for this particular album. We bought a lot of billboards and we invested a lot of money on hiring influencers who were posting on all social media platforms in anticipation of the release. Especially TikTok: I think in today?s reality, it?s the biggest platform there is. It?s not the first time we worked with influencers but this time around they had a bigger role. We didn?t set a budget for this release, we went all out. What also helps is that Pedro is really active on social media. In reality, he markets himself when he does a live on TikTok and you have 20,000 people tuning in.

Two years ago, you told me to look out for Eslabon Armado. What did you see in them that you thought would set them apart?

When I met Eslabon, I saw that spark. Pedro is a gifted songwriter, he?s a producer, he?s disciplined, he works hard, he has a family that backs him up — they have it all. It makes our job much easier. What’s happening right now marks a new chapter for Eslabon. We?re working on our end to do bigger collabs, we want to do a crossover. We?re ready for that chapter in their career.

For the first time ever, we have two all-Spanish albums in the top 10 on the Billboard 200: Bad Bunny’s Un Verano Sin Ti and Eslabon Armado’s Nostalgia. What’s your initial reaction to that?

Honestly, I was surprised and shocked. We knew the album would do well but it exceeded our expectations. I know the hard work that was put in this particular album, so I mean, it?s just a big blessing. As an independent record label, I feel mega blessed to be part of history. This is a moment that will go down in the books. To see a guy like Bad Bunny who?s leading music in general and to be right there with him, it?s crazy. I?ve tried to reach out to Noah [Assad, Bad Bunny’s manager] so that we can do something between Bad Bunny and Eslabon. It would be huge.

What lesson does having two all-Spanish albums in the top 10 teach us about not only regional, but Latin music in general?

That we are big supporters of music. I feel so proud to see the impact this album is having. Dreams do come true. Eslabon Armado started two years ago. Their growth in just two years is unheard of. I?ve been doing this for 14 years and it?s the first time I’ve seen anything like this. I know Pedro. He?s going to come out with something better than Nostalgia. He?s already writing songs for the next album and we just released this one. He?s 19, he?s very talented. It goes back to the group’s discipline, their hard work and being humble, which is a huge part of their success. To achieve great things, you have to be consistent. We don?t believe in one-hit wonders at DEL Records.


Read the full article

............................................................



Live Nation Moves to Paid Internships, Receives 15,000 Applications
 
Posted: 20 May 2022, 11:00 am

Live Nation’s concert division has moved to a paid internship model in 2022 with the hope of developing a more equitable live entertainment industry. The decision is part of the promoter?s mission to diversify its workforce and paid positions give a wider range of young people the opportunity to participate. In previous years, Live Nation interns earned college credit for their time.

?Moving to a paid internship program is an important step that allows us to keep bringing in the best candidates – not just the ones that can afford to intern for school credit,? Live Nation president of touring Omar Al-Joulani in a release. ?The music business isn?t taught in most schools so interning at Live Nation will give students great real world experience, and we?re excited to help them explore all the career paths in live music.?

This year, the world?s largest promoter chose 50 applicants out of a record-breaking 15,000 submissions. Those chosen are a mix of college students in their junior or senior years and recent graduates. Recent graduates have been expanded to include those who graduated in 2020 and 2021 since those students had fewer opportunities for internships during the pandemic.

Interns will work in various departments across the company’s U.S. concerts division including talent, marketing, business development, accounting, booking, creative production, as well as strategy and analytics.

According to Live Nation, the internship program runs from 12 to 16 weeks depending on school schedules and role responsibilities. Intern candidates were selected from more than 40 colleges and universities, and will work in various cities across the country including Los Angeles, Nashville, Philadelphia, Chicago, Atlanta, Houston and more.


Read the full article

............................................................



Live Nation Moves to Paid Internships, Receives 15,000 Applications
 
Posted: 20 May 2022, 11:00 am

Live Nation’s concert division has moved to a paid internship model in 2022 with the hope of developing a more equitable live entertainment industry. The decision is part of the promoter?s mission to diversify its workforce and paid positions give a wider range of young people the opportunity to participate. In previous years, Live Nation interns earned college credit for their time.

?Moving to a paid internship program is an important step that allows us to keep bringing in the best candidates – not just the ones that can afford to intern for school credit,? Live Nation president of touring Omar Al-Joulani in a release. ?The music business isn?t taught in most schools so interning at Live Nation will give students great real world experience, and we?re excited to help them explore all the career paths in live music.?

This year, the world?s largest promoter chose 50 applicants out of a record-breaking 15,000 submissions. Those chosen are a mix of college students in their junior or senior years and recent graduates. Recent graduates have been expanded to include those who graduated in 2020 and 2021 since those students had fewer opportunities for internships during the pandemic.

Interns will work in various departments across the company’s U.S. concerts division including talent, marketing, business development, accounting, booking, creative production, as well as strategy and analytics.

According to Live Nation, the internship program runs from 12 to 16 weeks depending on school schedules and role responsibilities. Intern candidates were selected from more than 40 colleges and universities, and will work in various cities across the country including Los Angeles, Nashville, Philadelphia, Chicago, Atlanta, Houston and more.


Read the full article

............................................................



Live Nation Moves to Paid Internships, Receives 15,000 Applications
 
Posted: 20 May 2022, 11:00 am

Live Nation’s concert division has moved to a paid internship model in 2022 with the hope of developing a more equitable live entertainment industry. The decision is part of the promoter?s mission to diversify its workforce and paid positions give a wider range of young people the opportunity to participate. In previous years, Live Nation interns earned college credit for their time.

?Moving to a paid internship program is an important step that allows us to keep bringing in the best candidates – not just the ones that can afford to intern for school credit,? Live Nation president of touring Omar Al-Joulani in a release. ?The music business isn?t taught in most schools so interning at Live Nation will give students great real world experience, and we?re excited to help them explore all the career paths in live music.?

This year, the world?s largest promoter chose 50 applicants out of a record-breaking 15,000 submissions. Those chosen are a mix of college students in their junior or senior years and recent graduates. Recent graduates have been expanded to include those who graduated in 2020 and 2021 since those students had fewer opportunities for internships during the pandemic.

Interns will work in various departments across the company’s U.S. concerts division including talent, marketing, business development, accounting, booking, creative production, as well as strategy and analytics.

According to Live Nation, the internship program runs from 12 to 16 weeks depending on school schedules and role responsibilities. Intern candidates were selected from more than 40 colleges and universities, and will work in various cities across the country including Los Angeles, Nashville, Philadelphia, Chicago, Atlanta, Houston and more.


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Executive Turntable: UMG’s Bravado Names Licensing Head; 4AD Taps US/UK Label Managers
 
Posted: 20 May 2022, 8:46 am

Bravado, Universal Music Group?s merchandise and brand management company, expanded the job responsibilities of Lisa Streff to oversee the licensing rosters and global licensing strategies of both Bravado and Epic Rights, which Bravado acquired in 2019, while reporting to Jesper Poulsen, general manager at Bravado. Her clients now include KISS, AC/DC, Def Leppard, David Bowie, John Lennon, Britney Spears and NSYNC, along with Bravado clients such as The Rolling Stones, Black Sabbath, Sex Pistols, Run DMC, Beastie Boys, Spice Girls, Avril Lavigne and many more. She can be reached at Lisa.streff@epicrights.com.

4AD promoted Alyssa DeBonis to U.S. label manager in New York, Sophie Hall to U.K. label manager in London, Will Tompsett to worldwide head of marketing in New York and Isa Castro-Cota as U.S. communications manager in New York. DeBonis will oversee 4AD?s U.S. team and manage all campaigns while Hall will spearhead all campaigns in the U.K. and the world outside of the U.S. Castro-Cota can be reached at isacastrocota@4ad.com.

Zach Katz was named president and COO at lifestyle and media platform FaZe Clan, where he will oversee FaZe Clan?s content, talent, merchandise, consumer goods, sponsorships and esports businesses while reporting to CEO Lee Trink. He will work closely with the senior leadership team to grow the brand, prioritizing global expansion and developing new revenue-driving verticals while also focusing on building internal systems that maximize efficiency.

YMU launched a U.S. entertainment division under the leadership of UTA veteran April Tombs, who has been named managing director, YMU Entertainment U.S. Also appointed to the U.S. team were Spencer Goldstein from UTA and Jared Greenwald from ICM.

Starr Butler-Jemison joined OVG360 as senior vp of content development & private events in Detroit, where she will oversee a new division focused on innovative private functions, major corporate events and content development across the OVG360 universe, which encompasses 300+ arenas, stadiums and convention centers. She starts in the role on July 5 and will report to OVG360 president Chris Granger.

Nettwerk Music Group added several to its A&R team, including Meg Tarquinio as vp of strategy and A&R in New York, Spencer Kelley as A&R in New York/London, Marshall Altman as VP of A&R in Nashville, Mark Abramowitz as director of A&R in Nashville, Eric Robinson as director of A&R in Los Angeles and Dan Medland as Australia strategy & A&R in Sydney. Tarquinio can be reached at mtarquinio@nettwerk.com, Kelley can be reached at skelley@nettwerk.com, Altman can be reached at maltman@nettwerk.com, Abramowitz can be reached at mabramowitz@nettwerk.com, Robinson can be reached at erobinson@nettwerk.com and Medland can be reached at dmedland@nettwerk.com.

Saban Music Group announced two new executive hires for the company?s Saban Music Latin department: Liz Leyva joined the team as vp of Latin marketing while Cristobal Brito was hired as senior director of Latin A&R. Both will ?spearhead a new of era of Latin artists? and report to Alejandro Reglero, Saban Music Latin?s executive vp and general manager. Leyva can be reached at LLeyva@sabanmusic.com and Brito can be reached at CBrito@sabanmusic.com.

Rick Butterworth joined ONErpm as director of business development for Australia, New Zealand and Southeast Asia as the company expands to those markets. Based in Brisbane, Australia, Butterworth will oversee the business development of all three markets while reporting to ONErpm CEO Emmanuel Zunz. He can be reached at Rbutterworth@onerpm.com.

Jolene Herz was named vp of booking for the Kia Forum in Inglewood, California. Her role has been expanded to overseeing all live events at the venue, where she will continue to report to Geni Lincoln, general manager and senior vp of live events at the venue. She can be reached at Jolene.Herz@thekiaforum.com.

Julia Hummel was named vp of digital strategy & business development at Warner Music Canada in Toronto, where she will help the label?s artists leverage opportunities in the web3 arena while reporting to Warner Music Canada executive vp and general manager Andy West.

MNRK Music Group promoted Tasha Stoute to senior director of urban publicity and Vinny Geonnetti to director of artist management, A&R, publishing. The company also hired JY Williams as director of A&R. Based in New York, Stoute will continue to develop and execute campaigns for MNRK’s urban divisions while working closely with the label’s marketing and sales teams. The Los Angeles-based Geonnetti will assist with the strategy and development of new and established artists for the music publishing team, including managing sessions, fostering opportunities and pairing writers and other possible collaborators. Williams, who founded the companies Lifted Lights and VisionPlay Entertainment, is based in New York.

Chad Kudelka joined Creative Artists Agency (CAA) as an agent in the music touring department. He will split his time between Austin, Texas and the agency?s Nashville office. He can be reached at chad.kudelka@caa.com.

Livestream buying and selling platform talkshoplive hired John Hall as CTO and Tony Grotticelli as vp of marketing. Both will be tasked with helping expand the company, which has set a goal of increasing its team by 300% by the end of 2023. Grotticelli can be reached at Tony@talkshop.live.

Acast appointed former Audible and Verizon CMO John Harrobin and SHE Media CEO Samantha Skey to its board. Harrobin was also elected chairman of the board. Both are the first U.S.-based appointments to the Acast board, bolstering Acast?s goal of growing its market share in the U.S. and surrounding regions. They can be reached at john.harrobin@acast.com and samantha.skey@acast.com.

Caitlin Haurie was hired as senior director of creative synch ? ads & brands at Position Music. She?ll report to Emily Weber, Position Music?s vp, head of synch. She can be reached at caitlin@positionmusic.com.

Tim Hare was named senior director of synch at production, publishing and sound design company Ghostwriter Music, where he will lead the company?s synch department for advertising and TV. He?ll also work alongside internal A&R staff to develop the company?s catalog and artist series while maintaining a strong company-wide business development focus. He can be reached at tim@ghostwritermusic.com.


Read the full article

............................................................



Executive Turntable: UMG’s Bravado Names Licensing Head; 4AD Taps US/UK Label Managers
 
Posted: 20 May 2022, 8:46 am

Bravado, Universal Music Group?s merchandise and brand management company, expanded the job responsibilities of Lisa Streff to oversee the licensing rosters and global licensing strategies of both Bravado and Epic Rights, which Bravado acquired in 2019, while reporting to Jesper Poulsen, general manager at Bravado. Her clients now include KISS, AC/DC, Def Leppard, David Bowie, John Lennon, Britney Spears and NSYNC, along with Bravado clients such as The Rolling Stones, Black Sabbath, Sex Pistols, Run DMC, Beastie Boys, Spice Girls, Avril Lavigne and many more. She can be reached at Lisa.streff@epicrights.com.

4AD promoted Alyssa DeBonis to U.S. label manager in New York, Sophie Hall to U.K. label manager in London, Will Tompsett to worldwide head of marketing in New York and Isa Castro-Cota as U.S. communications manager in New York. DeBonis will oversee 4AD?s U.S. team and manage all campaigns while Hall will spearhead all campaigns in the U.K. and the world outside of the U.S. Castro-Cota can be reached at isacastrocota@4ad.com.

Zach Katz was named president and COO at lifestyle and media platform FaZe Clan, where he will oversee FaZe Clan?s content, talent, merchandise, consumer goods, sponsorships and esports businesses while reporting to CEO Lee Trink. He will work closely with the senior leadership team to grow the brand, prioritizing global expansion and developing new revenue-driving verticals while also focusing on building internal systems that maximize efficiency.

YMU launched a U.S. entertainment division under the leadership of UTA veteran April Tombs, who has been named managing director, YMU Entertainment U.S. Also appointed to the U.S. team were Spencer Goldstein from UTA and Jared Greenwald from ICM.

Starr Butler-Jemison joined OVG360 as senior vp of content development & private events in Detroit, where she will oversee a new division focused on innovative private functions, major corporate events and content development across the OVG360 universe, which encompasses 300+ arenas, stadiums and convention centers. She starts in the role on July 5 and will report to OVG360 president Chris Granger.

Nettwerk Music Group added several to its A&R team, including Meg Tarquinio as vp of strategy and A&R in New York, Spencer Kelley as A&R in New York/London, Marshall Altman as VP of A&R in Nashville, Mark Abramowitz as director of A&R in Nashville, Eric Robinson as director of A&R in Los Angeles and Dan Medland as Australia strategy & A&R in Sydney. Tarquinio can be reached at mtarquinio@nettwerk.com, Kelley can be reached at skelley@nettwerk.com, Altman can be reached at maltman@nettwerk.com, Abramowitz can be reached at mabramowitz@nettwerk.com, Robinson can be reached at erobinson@nettwerk.com and Medland can be reached at dmedland@nettwerk.com.

Saban Music Group announced two new executive hires for the company?s Saban Music Latin department: Liz Leyva joined the team as vp of Latin marketing while Cristobal Brito was hired as senior director of Latin A&R. Both will ?spearhead a new of era of Latin artists? and report to Alejandro Reglero, Saban Music Latin?s executive vp and general manager. Leyva can be reached at LLeyva@sabanmusic.com and Brito can be reached at CBrito@sabanmusic.com.

Rick Butterworth joined ONErpm as director of business development for Australia, New Zealand and Southeast Asia as the company expands to those markets. Based in Brisbane, Australia, Butterworth will oversee the business development of all three markets while reporting to ONErpm CEO Emmanuel Zunz. He can be reached at Rbutterworth@onerpm.com.

Jolene Herz was named vp of booking for the Kia Forum in Inglewood, California. Her role has been expanded to overseeing all live events at the venue, where she will continue to report to Geni Lincoln, general manager and senior vp of live events at the venue. She can be reached at Jolene.Herz@thekiaforum.com.

Julia Hummel was named vp of digital strategy & business development at Warner Music Canada in Toronto, where she will help the label?s artists leverage opportunities in the web3 arena while reporting to Warner Music Canada executive vp and general manager Andy West.

MNRK Music Group promoted Tasha Stoute to senior director of urban publicity and Vinny Geonnetti to director of artist management, A&R, publishing. The company also hired JY Williams as director of A&R. Based in New York, Stoute will continue to develop and execute campaigns for MNRK’s urban divisions while working closely with the label’s marketing and sales teams. The Los Angeles-based Geonnetti will assist with the strategy and development of new and established artists for the music publishing team, including managing sessions, fostering opportunities and pairing writers and other possible collaborators. Williams, who founded the companies Lifted Lights and VisionPlay Entertainment, is based in New York.

Chad Kudelka joined Creative Artists Agency (CAA) as an agent in the music touring department. He will split his time between Austin, Texas and the agency?s Nashville office. He can be reached at chad.kudelka@caa.com.

Livestream buying and selling platform talkshoplive hired John Hall as CTO and Tony Grotticelli as vp of marketing. Both will be tasked with helping expand the company, which has set a goal of increasing its team by 300% by the end of 2023. Grotticelli can be reached at Tony@talkshop.live.

Acast appointed former Audible and Verizon CMO John Harrobin and SHE Media CEO Samantha Skey to its board. Harrobin was also elected chairman of the board. Both are the first U.S.-based appointments to the Acast board, bolstering Acast?s goal of growing its market share in the U.S. and surrounding regions. They can be reached at john.harrobin@acast.com and samantha.skey@acast.com.

Caitlin Haurie was hired as senior director of creative synch ? ads & brands at Position Music. She?ll report to Emily Weber, Position Music?s vp, head of synch. She can be reached at caitlin@positionmusic.com.

Tim Hare was named senior director of synch at production, publishing and sound design company Ghostwriter Music, where he will lead the company?s synch department for advertising and TV. He?ll also work alongside internal A&R staff to develop the company?s catalog and artist series while maintaining a strong company-wide business development focus. He can be reached at tim@ghostwritermusic.com.


Read the full article

............................................................



Executive Turntable: UMG’s Bravado Names Licensing Head; 4AD Taps US/UK Label Managers
 
Posted: 20 May 2022, 8:46 am

Bravado, Universal Music Group?s merchandise and brand management company, expanded the job responsibilities of Lisa Streff to oversee the licensing rosters and global licensing strategies of both Bravado and Epic Rights, which Bravado acquired in 2019, while reporting to Jesper Poulsen, general manager at Bravado. Her clients now include KISS, AC/DC, Def Leppard, David Bowie, John Lennon, Britney Spears and NSYNC, along with Bravado clients such as The Rolling Stones, Black Sabbath, Sex Pistols, Run DMC, Beastie Boys, Spice Girls, Avril Lavigne and many more. She can be reached at Lisa.streff@epicrights.com.

4AD promoted Alyssa DeBonis to U.S. label manager in New York, Sophie Hall to U.K. label manager in London, Will Tompsett to worldwide head of marketing in New York and Isa Castro-Cota as U.S. communications manager in New York. DeBonis will oversee 4AD?s U.S. team and manage all campaigns while Hall will spearhead all campaigns in the U.K. and the world outside of the U.S. Castro-Cota can be reached at isacastrocota@4ad.com.

Zach Katz was named president and COO at lifestyle and media platform FaZe Clan, where he will oversee FaZe Clan?s content, talent, merchandise, consumer goods, sponsorships and esports businesses while reporting to CEO Lee Trink. He will work closely with the senior leadership team to grow the brand, prioritizing global expansion and developing new revenue-driving verticals while also focusing on building internal systems that maximize efficiency.

YMU launched a U.S. entertainment division under the leadership of UTA veteran April Tombs, who has been named managing director, YMU Entertainment U.S. Also appointed to the U.S. team were Spencer Goldstein from UTA and Jared Greenwald from ICM.

Starr Butler-Jemison joined OVG360 as senior vp of content development & private events in Detroit, where she will oversee a new division focused on innovative private functions, major corporate events and content development across the OVG360 universe, which encompasses 300+ arenas, stadiums and convention centers. She starts in the role on July 5 and will report to OVG360 president Chris Granger.

Nettwerk Music Group added several to its A&R team, including Meg Tarquinio as vp of strategy and A&R in New York, Spencer Kelley as A&R in New York/London, Marshall Altman as VP of A&R in Nashville, Mark Abramowitz as director of A&R in Nashville, Eric Robinson as director of A&R in Los Angeles and Dan Medland as Australia strategy & A&R in Sydney. Tarquinio can be reached at mtarquinio@nettwerk.com, Kelley can be reached at skelley@nettwerk.com, Altman can be reached at maltman@nettwerk.com, Abramowitz can be reached at mabramowitz@nettwerk.com, Robinson can be reached at erobinson@nettwerk.com and Medland can be reached at dmedland@nettwerk.com.

Saban Music Group announced two new executive hires for the company?s Saban Music Latin department: Liz Leyva joined the team as vp of Latin marketing while Cristobal Brito was hired as senior director of Latin A&R. Both will ?spearhead a new of era of Latin artists? and report to Alejandro Reglero, Saban Music Latin?s executive vp and general manager. Leyva can be reached at LLeyva@sabanmusic.com and Brito can be reached at CBrito@sabanmusic.com.

Rick Butterworth joined ONErpm as director of business development for Australia, New Zealand and Southeast Asia as the company expands to those markets. Based in Brisbane, Australia, Butterworth will oversee the business development of all three markets while reporting to ONErpm CEO Emmanuel Zunz. He can be reached at Rbutterworth@onerpm.com.

Jolene Herz was named vp of booking for the Kia Forum in Inglewood, California. Her role has been expanded to overseeing all live events at the venue, where she will continue to report to Geni Lincoln, general manager and senior vp of live events at the venue. She can be reached at Jolene.Herz@thekiaforum.com.

Julia Hummel was named vp of digital strategy & business development at Warner Music Canada in Toronto, where she will help the label?s artists leverage opportunities in the web3 arena while reporting to Warner Music Canada executive vp and general manager Andy West.

MNRK Music Group promoted Tasha Stoute to senior director of urban publicity and Vinny Geonnetti to director of artist management, A&R, publishing. The company also hired JY Williams as director of A&R. Based in New York, Stoute will continue to develop and execute campaigns for MNRK’s urban divisions while working closely with the label’s marketing and sales teams. The Los Angeles-based Geonnetti will assist with the strategy and development of new and established artists for the music publishing team, including managing sessions, fostering opportunities and pairing writers and other possible collaborators. Williams, who founded the companies Lifted Lights and VisionPlay Entertainment, is based in New York.

Chad Kudelka joined Creative Artists Agency (CAA) as an agent in the music touring department. He will split his time between Austin, Texas and the agency?s Nashville office. He can be reached at chad.kudelka@caa.com.

Livestream buying and selling platform talkshoplive hired John Hall as CTO and Tony Grotticelli as vp of marketing. Both will be tasked with helping expand the company, which has set a goal of increasing its team by 300% by the end of 2023. Grotticelli can be reached at Tony@talkshop.live.

Acast appointed former Audible and Verizon CMO John Harrobin and SHE Media CEO Samantha Skey to its board. Harrobin was also elected chairman of the board. Both are the first U.S.-based appointments to the Acast board, bolstering Acast?s goal of growing its market share in the U.S. and surrounding regions. They can be reached at john.harrobin@acast.com and samantha.skey@acast.com.

Caitlin Haurie was hired as senior director of creative synch ? ads & brands at Position Music. She?ll report to Emily Weber, Position Music?s vp, head of synch. She can be reached at caitlin@positionmusic.com.

Tim Hare was named senior director of synch at production, publishing and sound design company Ghostwriter Music, where he will lead the company?s synch department for advertising and TV. He?ll also work alongside internal A&R staff to develop the company?s catalog and artist series while maintaining a strong company-wide business development focus. He can be reached at tim@ghostwritermusic.com.


Read the full article

............................................................



FestivalPass Unveils Subscription Platform For Live Entertainment, Eyes Expansion
 
Posted: 20 May 2022, 2:35 am

FestivalPass launches with a membership platform that unlocks access to the show — tens of thousands of them.

The brainchild of founder and CEO Ed Vincent, festivalPass claims to be the world?s first subscription platform for live events, through which members can nab no-fee tickets to more than 80,000 concerts, festivals and more.

Membership can gain entry to such festivals as Coachella and ACL Music Festival, live shows featuring Dua Lipa, John Mayer, Billie Eillish and more.

Based in Austin, Texas, the festivalPass model uses a novel credit system, which can be redeemed for a smorgasbord of film, food, art and sports experiences across the U.S. and for booking rooms at thousands of hotels across the world at reduced rates.

Members rack up credits through a subscription plan, ranging from $19 to $99 each month.

The higher the tier, the lower the cost of the tickets, notes Vincent, whose business accepts cryptocurrency for subscription and ticket payments, and, from next month, launches its ?Lifetime Founder NFT? for live events.

Vincent, an entrepreneur with 25 years’ business, technology and management experience, hit on the idea of applying the all-you-can eat approach to live entertainment while in New York City, waiting for the lockdown to lift.

?It was early in the pandemic and I was looking for a city to launch and grow festivalPass knowing live events would be coming back and the industry would be thirsty for a new way to play,? he tells Billboard.

Over a decade ago, Vincent spotted Austin, the home of SXSW, as a tech and music hotspot. ?With the growing diversity in the Austin start-up culture and the overall love of music and live events that Austin offered,? he continues. ?I chose to move to Austin in 2020 to grow festivalPass. It was the right choice.?

.

The immediate plan is to focus on NorthAmerica as the business targets 1 million members on the platform.

The first likely expansion will be to Europe followed by Australia, Vincent explains.Other markets of interest include Asia and Latin America.?Our roadmap timing will be influenced by regional demand for our product and success in securing partners to help us grow in each region,? he adds.

Investors include Brian Sharples, co-founder HomeAway (sold to Expedia); Shelli Taylor, CEO of Alamo Drafthouse; Jacob Trouba, NHL professional for the NY Rangers; Tom Chavez (sold Krux to Salesforce and Rapt to Microsoft); Jason Dorsey, millennial and Gen Z expert; Townsquare Media, and others.

Sharples, Taylor and Dorsey join the advisory board, as does Lisa Licht, former CMO of Live Nation, among others, while experienced HomeAway – VRBO exec Stephan de Bernede is on board as festivalPass chief business officer.

?When we founded festivalPass, it was under the belief that live entertainment should not be transactional,? Vincent adds in a statement. ?We envisioned a community in which members could interact and share around the entertainment passions they hold and where their participation is rewarded.?


Read the full article

............................................................



FestivalPass Unveils Subscription Platform For Live Entertainment, Eyes Expansion
 
Posted: 20 May 2022, 2:35 am

FestivalPass launches with a membership platform that unlocks access to the show — tens of thousands of them.

The brainchild of founder and CEO Ed Vincent, festivalPass claims to be the world?s first subscription platform for live events, through which members can nab no-fee tickets to more than 80,000 concerts, festivals and more.

Membership can gain entry to such festivals as Coachella and ACL Music Festival, live shows featuring Dua Lipa, John Mayer, Billie Eillish and more.

Based in Austin, Texas, the festivalPass model uses a novel credit system, which can be redeemed for a smorgasbord of film, food, art and sports experiences across the U.S. and for booking rooms at thousands of hotels across the world at reduced rates.

Members rack up credits through a subscription plan, ranging from $19 to $99 each month.

The higher the tier, the lower the cost of the tickets, notes Vincent, whose business accepts cryptocurrency for subscription and ticket payments, and, from next month, launches its ?Lifetime Founder NFT? for live events.

Vincent, an entrepreneur with 25 years’ business, technology and management experience, hit on the idea of applying the all-you-can eat approach to live entertainment while in New York City, waiting for the lockdown to lift.

?It was early in the pandemic and I was looking for a city to launch and grow festivalPass knowing live events would be coming back and the industry would be thirsty for a new way to play,? he tells Billboard.

Over a decade ago, Vincent spotted Austin, the home of SXSW, as a tech and music hotspot. ?With the growing diversity in the Austin start-up culture and the overall love of music and live events that Austin offered,? he continues. ?I chose to move to Austin in 2020 to grow festivalPass. It was the right choice.?

.

The immediate plan is to focus on NorthAmerica as the business targets 1 million members on the platform.

The first likely expansion will be to Europe followed by Australia, Vincent explains.Other markets of interest include Asia and Latin America.?Our roadmap timing will be influenced by regional demand for our product and success in securing partners to help us grow in each region,? he adds.

Investors include Brian Sharples, co-founder HomeAway (sold to Expedia); Shelli Taylor, CEO of Alamo Drafthouse; Jacob Trouba, NHL professional for the NY Rangers; Tom Chavez (sold Krux to Salesforce and Rapt to Microsoft); Jason Dorsey, millennial and Gen Z expert; Townsquare Media, and others.

Sharples, Taylor and Dorsey join the advisory board, as does Lisa Licht, former CMO of Live Nation, among others, while experienced HomeAway – VRBO exec Stephan de Bernede is on board as festivalPass chief business officer.

?When we founded festivalPass, it was under the belief that live entertainment should not be transactional,? Vincent adds in a statement. ?We envisioned a community in which members could interact and share around the entertainment passions they hold and where their participation is rewarded.?


Read the full article

............................................................



FestivalPass Unveils Subscription Platform For Live Entertainment, Eyes Expansion
 
Posted: 20 May 2022, 2:35 am

FestivalPass launches with a membership platform that unlocks access to the show — tens of thousands of them.

The brainchild of founder and CEO Ed Vincent, festivalPass claims to be the world?s first subscription platform for live events, through which members can nab no-fee tickets to more than 80,000 concerts, festivals and more.

Membership can gain entry to such festivals as Coachella and ACL Music Festival, live shows featuring Dua Lipa, John Mayer, Billie Eillish and more.

Based in Austin, Texas, the festivalPass model uses a novel credit system, which can be redeemed for a smorgasbord of film, food, art and sports experiences across the U.S. and for booking rooms at thousands of hotels across the world at reduced rates.

Members rack up credits through a subscription plan, ranging from $19 to $99 each month.

The higher the tier, the lower the cost of the tickets, notes Vincent, whose business accepts cryptocurrency for subscription and ticket payments, and, from next month, launches its ?Lifetime Founder NFT? for live events.

Vincent, an entrepreneur with 25 years’ business, technology and management experience, hit on the idea of applying the all-you-can eat approach to live entertainment while in New York City, waiting for the lockdown to lift.

?It was early in the pandemic and I was looking for a city to launch and grow festivalPass knowing live events would be coming back and the industry would be thirsty for a new way to play,? he tells Billboard.

Over a decade ago, Vincent spotted Austin, the home of SXSW, as a tech and music hotspot. ?With the growing diversity in the Austin start-up culture and the overall love of music and live events that Austin offered,? he continues. ?I chose to move to Austin in 2020 to grow festivalPass. It was the right choice.?

.

The immediate plan is to focus on NorthAmerica as the business targets 1 million members on the platform.

The first likely expansion will be to Europe followed by Australia, Vincent explains.Other markets of interest include Asia and Latin America.?Our roadmap timing will be influenced by regional demand for our product and success in securing partners to help us grow in each region,? he adds.

Investors include Brian Sharples, co-founder HomeAway (sold to Expedia); Shelli Taylor, CEO of Alamo Drafthouse; Jacob Trouba, NHL professional for the NY Rangers; Tom Chavez (sold Krux to Salesforce and Rapt to Microsoft); Jason Dorsey, millennial and Gen Z expert; Townsquare Media, and others.

Sharples, Taylor and Dorsey join the advisory board, as does Lisa Licht, former CMO of Live Nation, among others, while experienced HomeAway – VRBO exec Stephan de Bernede is on board as festivalPass chief business officer.

?When we founded festivalPass, it was under the belief that live entertainment should not be transactional,? Vincent adds in a statement. ?We envisioned a community in which members could interact and share around the entertainment passions they hold and where their participation is rewarded.?


Read the full article

............................................................



Sony Music Launching RCA Records in Mainland China
 
Posted: 19 May 2022, 9:00 pm

Sony Music Entertainment is starting an outpost of RCA Records in mainland China.

From its base in Shanghai, the new label, RCA Records Greater China, will focus on signing artists in China and expanding the company?s presence in the region. RCA will invest in artists looking to ?broaden their artistic and commercial opportunities? across streaming, gaming, virtual reality, NFTs and the metaverse, Sony said in a statement on Thursday (May 19).

In making the announcement, Sony Music said RCA Greater China agreed to a distribution deal with Chinese artist Jackson Wang and signed Taiwanese singer A-Lin.

The deal with Wang, who is also a member of K-pop group GOT7, is for one album in Chinese; he is signed to indie 88rising for his English-language productions and previously had exclusive album deals with Tencent Music Entertainment, a Sony Music spokesperson tells Billboard. RCA Records Greater China has already released the single, ?Jackson Wang.?

A-Lin is a five-time Golden Melody Awards nominee, which are known as the ?Mandarin Grammys.? Her deal with RCA Greater China is a multi-rights deal that replaces her earlier deal with Sony Music Taiwan, a Sony spokesperson says.

Sony Music named Kevin Foo, who had been overseeing Sony?s Taiwanese operations since 2019, as managing director of the new label. He launched the careers of several Asian artists, including Linying, Charlie Lim and The Steve McQueens, Sony Music says.

New York-based RCA Records, one of Sony Music?s four flagship labels, also has offices in the United Kingdom, Germany and France.

The new RCA Records office comes as Sony Music has been expanding and reorganizing its Asia operations. In 2020, the major label, which had been overseeing Asia from Sydney, Australia, for 12 years, divided Asia into four hubs ? India and the Middle East, Greater China, South Korea and Southeast Asia. Then this March, Sony Music said it was opening a Singapore office to oversee Southeast Asia, including Thailand, Singapore, Vietnam, Indonesia, the Philippines and Malaysia.


Read the full article

............................................................



Sony Music Launching RCA Records in Mainland China
 
Posted: 19 May 2022, 9:00 pm

Sony Music Entertainment is starting an outpost of RCA Records in mainland China.

From its base in Shanghai, the new label, RCA Records Greater China, will focus on signing artists in China and expanding the company?s presence in the region. RCA will invest in artists looking to ?broaden their artistic and commercial opportunities? across streaming, gaming, virtual reality, NFTs and the metaverse, Sony said in a statement on Thursday (May 19).

In making the announcement, Sony Music said RCA Greater China agreed to a distribution deal with Chinese artist Jackson Wang and signed Taiwanese singer A-Lin.

The deal with Wang, who is also a member of K-pop group GOT7, is for one album in Chinese; he is signed to indie 88rising for his English-language productions and previously had exclusive album deals with Tencent Music Entertainment, a Sony Music spokesperson tells Billboard. RCA Records Greater China has already released the single, ?Jackson Wang.?

A-Lin is a five-time Golden Melody Awards nominee, which are known as the ?Mandarin Grammys.? Her deal with RCA Greater China is a multi-rights deal that replaces her earlier deal with Sony Music Taiwan, a Sony spokesperson says.

Sony Music named Kevin Foo, who had been overseeing Sony?s Taiwanese operations since 2019, as managing director of the new label. He launched the careers of several Asian artists, including Linying, Charlie Lim and The Steve McQueens, Sony Music says.

New York-based RCA Records, one of Sony Music?s four flagship labels, also has offices in the United Kingdom, Germany and France.

The new RCA Records office comes as Sony Music has been expanding and reorganizing its Asia operations. In 2020, the major label, which had been overseeing Asia from Sydney, Australia, for 12 years, divided Asia into four hubs ? India and the Middle East, Greater China, South Korea and Southeast Asia. Then this March, Sony Music said it was opening a Singapore office to oversee Southeast Asia, including Thailand, Singapore, Vietnam, Indonesia, the Philippines and Malaysia.


Read the full article

............................................................



Sony Music Launching RCA Records in Mainland China
 
Posted: 19 May 2022, 9:00 pm

Sony Music Entertainment is starting an outpost of RCA Records in mainland China.

From its base in Shanghai, the new label, RCA Records Greater China, will focus on signing artists in China and expanding the company?s presence in the region. RCA will invest in artists looking to ?broaden their artistic and commercial opportunities? across streaming, gaming, virtual reality, NFTs and the metaverse, Sony said in a statement on Thursday (May 19).

In making the announcement, Sony Music said RCA Greater China agreed to a distribution deal with Chinese artist Jackson Wang and signed Taiwanese singer A-Lin.

The deal with Wang, who is also a member of K-pop group GOT7, is for one album in Chinese; he is signed to indie 88rising for his English-language productions and previously had exclusive album deals with Tencent Music Entertainment, a Sony Music spokesperson tells Billboard. RCA Records Greater China has already released the single, ?Jackson Wang.?

A-Lin is a five-time Golden Melody Awards nominee, which are known as the ?Mandarin Grammys.? Her deal with RCA Greater China is a multi-rights deal that replaces her earlier deal with Sony Music Taiwan, a Sony spokesperson says.

Sony Music named Kevin Foo, who had been overseeing Sony?s Taiwanese operations since 2019, as managing director of the new label. He launched the careers of several Asian artists, including Linying, Charlie Lim and The Steve McQueens, Sony Music says.

New York-based RCA Records, one of Sony Music?s four flagship labels, also has offices in the United Kingdom, Germany and France.

The new RCA Records office comes as Sony Music has been expanding and reorganizing its Asia operations. In 2020, the major label, which had been overseeing Asia from Sydney, Australia, for 12 years, divided Asia into four hubs ? India and the Middle East, Greater China, South Korea and Southeast Asia. Then this March, Sony Music said it was opening a Singapore office to oversee Southeast Asia, including Thailand, Singapore, Vietnam, Indonesia, the Philippines and Malaysia.


Read the full article

............................................................



Music Companies Are Not Immune From Sliding Stock Market
 
Posted: 19 May 2022, 8:38 pm

The stock market’s downturn in recent weeks has hit music with mixed results: bad, badder and baddest. For all their troubles, music stocks don’t always look bad compared to major retailers like Target, which lost 30.2% this week, and Terra, the cryptocurrency that went bust last week.

For example, take the concert business, which was hammed by COVID-19 shutdowns in 2020 and was one of the last industries to returned to life in 2022. Since then, live music and ticketing companies have performed relatively well. On average, Live Nation, CTS Eventim, MSG Entertainment, Eventbrite and Vivid Seats share prices have dropped only 18.9% this year ? about the same as the S&P 500’s 18.2% decline and better than the Nasdaq’s 27.2% deficit (although not as good as the New York Stock Exchange composite’s 12.5% drop in 2022).

Over the last four weeks, these stocks have fallen 10.2%, outpacing the S&P 500 (down 8.7%) and NYSE composite (down 6.4%).

Not all sectors have fared as well.

Music streaming companies have performed very poorly ? in part because they had so far to fall. Spotify, Anghami, Tencent Music Entertainment and Cloud Village have fallen 46.1% year to date and 8.0% since April 22 (about four weeks). In general, the streaming business model has lost some luster as investors realized gains made during the pandemic weren’t just unsustainable but threatened by high inflation.

As a point of comparison, streaming video on-demand stocks (Netflix, Roku, Warner Bros. Discovery, Walt Disney, Comcast) have fallen 9.4% and 40.1% since April 22 and year-to-date, respectively. The bellwether here is Netflix, which reported a decline in subscribers in the first quarter and warned of more losses in the current quarter. Music companies have tried to distance music subscription services from SVOD platforms that compete on original content and are arguably more susceptible to churn. Music services might temper their growth expectations, music executives said, but they’re more stable than SVOD services.

Still, Spotify’s subscription growth has not pleased investors, either. The company’s shares are down 54.8% in 2022, although the Thursday’s (May 19) $105.79 closing price is well above the all-time low of $89.03 set on May 12. Anghami’s first earnings report on Tuesday showed encouraging double-digit year-over-year growth. That put Anghami shares up 1.5% this week, although they’re down 26.6% this year. And TME and Cloud Village are special cases: While they are growing their subscription businesses, they face unique challenges from Chinese regulators, and TME is subject to a U.S. law that will de-list foreign companies that don’t allow U.S. authorities to audit their books.

In general, music is seen as a sturdy, countercyclical business that maintains consumer spending during recessions, leaving it unaffected by wider market trends. But even its bread and butter ? copyrights ? have gotten burnt this year. Labels and publishers Universal Music Group, Warner Music Group, Believe, Reservoir Media, HYBE, Hipgnosis Songs Fund and Round Hill Music Royalty Fund have collectively fallen 10.4% in the four weeks since April 22 and 20.1% year to date. The companies' fundamentals remain strong, and streaming's prospects remain bright, but in today's economy, investors are more concerned about margins and profitability than pure growth.

Among these companies, the stabler royalty funds ? Hipgnosis and Round Hill ? which raise money to invest in relatively steady and predictable assets,have performed well amid the downturn: Hipgnosis has dropped only 1.9% and Round Hill's down just 3.1% so far this year.

Otherwise, the best performer of the bunch has been Universal Music Group ?down 15.6% over the past four weeks and down 19.4% so far this year. Meanwhile,French distributor/label Believe (down 21.4% since April 22, down 42.2% year to date) and South Korea's HYBE (down 14.1% since April 22, down 37.4% year to date) have fared the worst. Take away Hipgnosis and Round Hill, and these label and publishers have collectively lost 27.0% year-to-date.

Radio companies iHeartMedia, Cumulus Media, Audacy and Townsquare Media have fallen an average of 24.4% since April 22, almost double the Nasdaq's 10.7% decline and more than three times the New York Stock Exchange composite's 6.7% drop over that time period. Radio companies are particularly sensitive to economic swings because they subsist mainly on advertising revenues. As witnessed at the onset of the COVID-19 pandemic in March 2020, when brands pull back on advertising spending, radio companies will suffer the consequences.

A Barrington analyst lowered the earnings per share estimate for iHeartMedia on May 11. Earlier in May, B. Riley and JPMorgan Chase analysts lowered their iHeartMedia price targets to $36 and $19, respectively, and Zacks Investment Research downgraded the stock from a "buy" rating to "hold." Cumulus has followed a different trajectory. Following news that Cumulus rejected a takeover bid in the $15 to $17 per share range, the company's share price jumped from $10.16 on April 13 to $15.10 on April 25, although it fell below $13 and closed at $12.67 on Thursday. In the last four weeks, Cumulus shares are up 12.6%.

Still, these four radio stocks' average year-to-date decline is just 18.9% ? about the same as the S&P 500's 18.2% drop and better than the Nasdaq's 27.2% deficit.


Read the full article

............................................................



Music Companies Are Not Immune From Sliding Stock Market
 
Posted: 19 May 2022, 8:38 pm

The stock market’s downturn in recent weeks has hit music with mixed results: bad, badder and baddest. For all their troubles, music stocks don’t always look bad compared to major retailers like Target, which lost 30.2% this week, and Terra, the cryptocurrency that went bust last week.

For example, take the concert business, which was hammed by COVID-19 shutdowns in 2020 and was one of the last industries to returned to life in 2022. Since then, live music and ticketing companies have performed relatively well. On average, Live Nation, CTS Eventim, MSG Entertainment, Eventbrite and Vivid Seats share prices have dropped only 18.9% this year ? about the same as the S&P 500’s 18.2% decline and better than the Nasdaq’s 27.2% deficit (although not as good as the New York Stock Exchange composite’s 12.5% drop in 2022).

Over the last four weeks, these stocks have fallen 10.2%, outpacing the S&P 500 (down 8.7%) and NYSE composite (down 6.4%).

Not all sectors have fared as well.

Music streaming companies have performed very poorly ? in part because they had so far to fall. Spotify, Anghami, Tencent Music Entertainment and Cloud Village have fallen 46.1% year to date and 8.0% since April 22 (about four weeks). In general, the streaming business model has lost some luster as investors realized gains made during the pandemic weren’t just unsustainable but threatened by high inflation.

As a point of comparison, streaming video on-demand stocks (Netflix, Roku, Warner Bros. Discovery, Walt Disney, Comcast) have fallen 9.4% and 40.1% since April 22 and year-to-date, respectively. The bellwether here is Netflix, which reported a decline in subscribers in the first quarter and warned of more losses in the current quarter. Music companies have tried to distance music subscription services from SVOD platforms that compete on original content and are arguably more susceptible to churn. Music services might temper their growth expectations, music executives said, but they’re more stable than SVOD services.

Still, Spotify’s subscription growth has not pleased investors, either. The company’s shares are down 54.8% in 2022, although the Thursday’s (May 19) $105.79 closing price is well above the all-time low of $89.03 set on May 12. Anghami’s first earnings report on Tuesday showed encouraging double-digit year-over-year growth. That put Anghami shares up 1.5% this week, although they’re down 26.6% this year. And TME and Cloud Village are special cases: While they are growing their subscription businesses, they face unique challenges from Chinese regulators, and TME is subject to a U.S. law that will de-list foreign companies that don’t allow U.S. authorities to audit their books.

In general, music is seen as a sturdy, countercyclical business that maintains consumer spending during recessions, leaving it unaffected by wider market trends. But even its bread and butter ? copyrights ? have gotten burnt this year. Labels and publishers Universal Music Group, Warner Music Group, Believe, Reservoir Media, HYBE, Hipgnosis Songs Fund and Round Hill Music Royalty Fund have collectively fallen 10.4% in the four weeks since April 22 and 20.1% year to date. The companies' fundamentals remain strong, and streaming's prospects remain bright, but in today's economy, investors are more concerned about margins and profitability than pure growth.

Among these companies, the stabler royalty funds ? Hipgnosis and Round Hill ? which raise money to invest in relatively steady and predictable assets,have performed well amid the downturn: Hipgnosis has dropped only 1.9% and Round Hill's down just 3.1% so far this year.

Otherwise, the best performer of the bunch has been Universal Music Group ?down 15.6% over the past four weeks and down 19.4% so far this year. Meanwhile,French distributor/label Believe (down 21.4% since April 22, down 42.2% year to date) and South Korea's HYBE (down 14.1% since April 22, down 37.4% year to date) have fared the worst. Take away Hipgnosis and Round Hill, and these label and publishers have collectively lost 27.0% year-to-date.

Radio companies iHeartMedia, Cumulus Media, Audacy and Townsquare Media have fallen an average of 24.4% since April 22, almost double the Nasdaq's 10.7% decline and more than three times the New York Stock Exchange composite's 6.7% drop over that time period. Radio companies are particularly sensitive to economic swings because they subsist mainly on advertising revenues. As witnessed at the onset of the COVID-19 pandemic in March 2020, when brands pull back on advertising spending, radio companies will suffer the consequences.

A Barrington analyst lowered the earnings per share estimate for iHeartMedia on May 11. Earlier in May, B. Riley and JPMorgan Chase analysts lowered their iHeartMedia price targets to $36 and $19, respectively, and Zacks Investment Research downgraded the stock from a "buy" rating to "hold." Cumulus has followed a different trajectory. Following news that Cumulus rejected a takeover bid in the $15 to $17 per share range, the company's share price jumped from $10.16 on April 13 to $15.10 on April 25, although it fell below $13 and closed at $12.67 on Thursday. In the last four weeks, Cumulus shares are up 12.6%.

Still, these four radio stocks' average year-to-date decline is just 18.9% ? about the same as the S&P 500's 18.2% drop and better than the Nasdaq's 27.2% deficit.


Read the full article

............................................................



Music Companies Are Not Immune From Sliding Stock Market
 
Posted: 19 May 2022, 8:38 pm

The stock market’s downturn in recent weeks has hit music with mixed results: bad, badder and baddest. For all their troubles, music stocks don’t always look bad compared to major retailers like Target, which lost 30.2% this week, and Terra, the cryptocurrency that went bust last week.

For example, take the concert business, which was hammed by COVID-19 shutdowns in 2020 and was one of the last industries to returned to life in 2022. Since then, live music and ticketing companies have performed relatively well. On average, Live Nation, CTS Eventim, MSG Entertainment, Eventbrite and Vivid Seats share prices have dropped only 18.9% this year ? about the same as the S&P 500’s 18.2% decline and better than the Nasdaq’s 27.2% deficit (although not as good as the New York Stock Exchange composite’s 12.5% drop in 2022).

Over the last four weeks, these stocks have fallen 10.2%, outpacing the S&P 500 (down 8.7%) and NYSE composite (down 6.4%).

Not all sectors have fared as well.

Music streaming companies have performed very poorly ? in part because they had so far to fall. Spotify, Anghami, Tencent Music Entertainment and Cloud Village have fallen 46.1% year to date and 8.0% since April 22 (about four weeks). In general, the streaming business model has lost some luster as investors realized gains made during the pandemic weren’t just unsustainable but threatened by high inflation.

As a point of comparison, streaming video on-demand stocks (Netflix, Roku, Warner Bros. Discovery, Walt Disney, Comcast) have fallen 9.4% and 40.1% since April 22 and year-to-date, respectively. The bellwether here is Netflix, which reported a decline in subscribers in the first quarter and warned of more losses in the current quarter. Music companies have tried to distance music subscription services from SVOD platforms that compete on original content and are arguably more susceptible to churn. Music services might temper their growth expectations, music executives said, but they’re more stable than SVOD services.

Still, Spotify’s subscription growth has not pleased investors, either. The company’s shares are down 54.8% in 2022, although the Thursday’s (May 19) $105.79 closing price is well above the all-time low of $89.03 set on May 12. Anghami’s first earnings report on Tuesday showed encouraging double-digit year-over-year growth. That put Anghami shares up 1.5% this week, although they’re down 26.6% this year. And TME and Cloud Village are special cases: While they are growing their subscription businesses, they face unique challenges from Chinese regulators, and TME is subject to a U.S. law that will de-list foreign companies that don’t allow U.S. authorities to audit their books.

In general, music is seen as a sturdy, countercyclical business that maintains consumer spending during recessions, leaving it unaffected by wider market trends. But even its bread and butter ? copyrights ? have gotten burnt this year. Labels and publishers Universal Music Group, Warner Music Group, Believe, Reservoir Media, HYBE, Hipgnosis Songs Fund and Round Hill Music Royalty Fund have collectively fallen 10.4% in the four weeks since April 22 and 20.1% year to date. The companies' fundamentals remain strong, and streaming's prospects remain bright, but in today's economy, investors are more concerned about margins and profitability than pure growth.

Among these companies, the stabler royalty funds ? Hipgnosis and Round Hill ? which raise money to invest in relatively steady and predictable assets,have performed well amid the downturn: Hipgnosis has dropped only 1.9% and Round Hill's down just 3.1% so far this year.

Otherwise, the best performer of the bunch has been Universal Music Group ?down 15.6% over the past four weeks and down 19.4% so far this year. Meanwhile,French distributor/label Believe (down 21.4% since April 22, down 42.2% year to date) and South Korea's HYBE (down 14.1% since April 22, down 37.4% year to date) have fared the worst. Take away Hipgnosis and Round Hill, and these label and publishers have collectively lost 27.0% year-to-date.

Radio companies iHeartMedia, Cumulus Media, Audacy and Townsquare Media have fallen an average of 24.4% since April 22, almost double the Nasdaq's 10.7% decline and more than three times the New York Stock Exchange composite's 6.7% drop over that time period. Radio companies are particularly sensitive to economic swings because they subsist mainly on advertising revenues. As witnessed at the onset of the COVID-19 pandemic in March 2020, when brands pull back on advertising spending, radio companies will suffer the consequences.

A Barrington analyst lowered the earnings per share estimate for iHeartMedia on May 11. Earlier in May, B. Riley and JPMorgan Chase analysts lowered their iHeartMedia price targets to $36 and $19, respectively, and Zacks Investment Research downgraded the stock from a "buy" rating to "hold." Cumulus has followed a different trajectory. Following news that Cumulus rejected a takeover bid in the $15 to $17 per share range, the company's share price jumped from $10.16 on April 13 to $15.10 on April 25, although it fell below $13 and closed at $12.67 on Thursday. In the last four weeks, Cumulus shares are up 12.6%.

Still, these four radio stocks' average year-to-date decline is just 18.9% ? about the same as the S&P 500's 18.2% drop and better than the Nasdaq's 27.2% deficit.


Read the full article

............................................................



‘Make the world a better place’: Brewers’ Brent Suter and Jacques Cousteau’s grandson are teaching students about sustainability
 
Posted: 4 May 2022, 8:56 am

By Hannah Kirby,Milwaukee Journal Sentinel

Yes, Brent Suter is a Milwaukee Brewers pitcher. But for a little while on Tuesday, he was also a yellow perch.

He was playing a game at American Family Field with local students, who were also representing different animals and organisms in the food web and learning aboutwho eats what, why that’s important and the impact of plastics.

“To see the looks on the kids’ faces, learning about the food chains and plastics and what we can do about it, it warms my heart,” said Suter, a longtime sustainability advocate.

This spring, the Brewers, theEarthEcho International nonprofitand Racine-headquarteredSC Johnsonteamed up to create the ?Waste-Free Crew,”an educational initiative that gives local educators ways to teach students about environmentally friendly practices, according to a news release.

More than 4,000 students in fourth through sixth grades from 55schools in the Milwaukee, Racine andKenosha areas participated in the inaugural program.This year’s lessons focused on plastics and were delivered through EarthEcho Academy.

 

After completing the program, which ran from World Water Day through Earth Day, hundreds of kids visited the ballpark Tuesday to participate in interactive workshops and activities withabout 16community organizations that complemented what they had learned in their classrooms.

“We did all kinds of really hands-on exercises forthe kids so they can get their heads around and make relevant for them what conservation is and what sustainability is,” said Alan VanderMolen, SC Johnson chief communications officer.

“I think it’s helping them make more connections to what they’re seeing now in their own lives,” said Emily Useman, a fifth grade teacher from Evergreen Elementary in Waterford.

EarthEchofounderPhilippe CousteauJr., an explorer and advocate, told the students that spending time with them is “the most exciting work” he gets to do.He started the organization in honor of his father, Philippe Cousteau Sr., and grandfather,explorer Jacques Cousteau.

Suter told the kids he’s excited to see them start recycling, composting, reducing and reusing.

“I just want to encourage you to be ambassadors for change, be people who want to go out and make the world a better place and do everything in your life as a selfless act and try to maybe make future generations have a planet that’s very healthy,” he said.

The?Waste-Free Crew”programhits home for Suter, whohas an environmental science degree from Harvard.

Environmental issues have been on Suter’s heart “in a big way” since 2006 after seeingthe documentary “An Inconvenient Truth,” which followsAl Gore’s campaign to raise awareness of global warming. Suter said it “smacked me upside the head” and motivated him to make a difference.

Suter doesn’t buy paper towels or napkins, frequents farmers markets to buy food that hasn’t been packaged, has a garden in his basement and has volunteered forcleanup projects, according toa 2020 Journal Sentinel report. He’s also worked with Nature Conservancy, Players for the Planet and EcoAthletes.

SC Johnson, the Brewers and Suter have also launched theBrewers Sustainability Council, an advisory board to review, discuss and implement best sustainability practices at the ballpark, a news release said.

For the second year, SC Johnson is turning plastic cups used at the ballpark into packaging forScrubbing Bubbles,VanderMolen said.

Contact Hannah Kirby athannah.kirby@jrn.com. Follow her on Twitter at@HannahHopeKirby.

View the original story here.

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............................................................



Crawford Architects Joins The Green Sports Alliance
 
Posted: 26 Apr 2022, 11:25 am

FOR IMMEDIATE RELEASE:

Crawford Architects Joins The Green Sports Alliance

Kansas City, April 25, 2022:

Crawford Architects announces an official corporate partnership with the Green Sports Alliance (GSA), an environmentally and socially focused nonprofit organization that convenes stakeholders from around the sporting world to promote healthy, sustainable communities. This partnership continues Crawford?s dedication to providing environmentally conscious design through sustainability, recycling, and carbon neutrality.

Crawford believes the advancement of sustainable communities starts at the heart of the design process. The new partnership supports both Crawford?s sustainable design efforts and GSA?s mission to use the influence of sports to promote sustainable practices across the globe. The organization?s members include over 300 professional sports leagues, sports governing bodies, colleges, teams, and venues representing millions of fans.

?The Green Sports Alliance is passionate about protecting the future of our pastimes,?said David Murphy, Crawford Architect Co-Owner and Senior Principal.?Crawford is proud to be partnered with GSA and supports their dedication to the preservation of sports, venues, and the communities they serve. We look forward to collaborating with GSA and its fellow members to continue to learn and create meaningful change towards sustainability in the design of sports facilities of the future.?

Crawford Architects has a successful track record in incorporating sustainable design approaches that respond to the local context and climate of several of our projects as highlighted by our involvement in the University of California Merced, 2020 Project, recognized as the first public research university in the country to achieve carbon neutrality, two years ahead of its goal.

About Crawford Architects: Crawford Architects is an award-winning international planning, architecture, and interior design firm headquartered in Kansas City, with offices in Los Angeles, San Francisco, San Diego, Honolulu and Sydney. As a professional services firm, Crawford Architects specializes in all aspects of the planning and design of stadiums, arenas, athletic training centers, sports medicine facilities, entertainment venues, lifestyle & workplace facilities, and the mixed-use developments which accompany these projects. Learn more at crawfordarch.com.

About Green Sports Alliance: The Green Sports Alliance leverages the cultural and market influence of sports to promote healthy, sustainable communities where people live and play. The GSA inspires professional sports leagues, sports governing bodies, colleges, teams, venues, their partners, and millions of fans to embrace renewable energy, healthy food, recycling, water efficiency, safer chemicals, and other environmentally preferable practices. Visitgreensportsalliance.org



CONTACT:

Crawford Architects
1801 McGee Street Suite 200
Kansas City, MO 64108
Dakota Miller Zinn
dmillerzinn@crawford-usa.com

The post Crawford Architects Joins The Green Sports Alliance appeared first on Green Sports Alliance.


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............................................................



Penske Entertainment Announces Next Phase of Transformational Sustainability Initiatives
 
Posted: 25 Apr 2022, 3:13 pm

 

 

Indy 500 Continues To Set Industry-Leading Pace on Environmental Impact

Firestone To Introduce New Race Tire with Sustainable Natural Rubber
at Indy 500 Carb Day

INDIANAPOLIS (Friday, April 22, 2022)? Penske Entertainment announced a robust and innovative lineup of environmental impact initiatives this afternoon, aiming to dramatically reduce the carbon footprint for this year?s Indianapolis 500 presented by Gainbridge and significantly boost sustainability efforts within the sport of INDYCAR. These steps are the latest and most comprehensive elements of a long-term strategy for the organization that has been developed over the last two years.

The announcements made today at the Indianapolis Motor Speedway DEX Imaging Media Center coincided with wider efforts across the nation and globe to celebrate Earth Day on Friday, April 22. They were unveiled in partnership with Firestone, Shell and additional corporate partners, which have worked with IMS and INDYCAR on a comprehensive sustainability strategy for the venue and sport.

?This will be the most sustainable Indy 500 in our 100-plus year history,? Penske Entertainment Corp. President & CEO Mark Miles said. ?Moreover, through excellent coordination and teamwork with partners who are true innovators in this field, we?re moving INDYCAR toward industry leadership when it comes to environmental awareness and impact.?

Month of May ? Fueling Progress & Building Toward a Greener Future

Longtime series partner and tire supplier Firestone will play a key role in efforts surrounding the Indianapolis Motor Speedway and throughout the NTT INDYCAR SERIES. Firestone is a trailblazer in the charge for alternative and renewable sources of natural rubber and will debut a new and eco-friendly tire this May.

The Firestone Firehawk guayule race tire will be used for the first-time during Miller Lite Carb Day?s INDYCAR Pit Stop Challenge and will make its competition debut as the alternate race tire in August at the Big Machine Music City Grand Prix. It is partially composed of a new sustainable natural rubber derived from the guayule shrub, which requires less reharvesting than traditional sources of rubber.

?It will take partnership and collaboration to combat the impacts of global climate change, and we are proud to partner with Penske, INDYCAR and IMS to advance the future of sustainable mobility,? said Nizar Trigui, chief technology officer and group president, Solutions Businesses, Bridgestone Americas, Inc. ?The introduction of guayule natural rubber to America?s preeminent open-wheel racing series speaks to the confidence we have in the technology and its promise as a scalable, sustainable and domestic raw material.?

Firestone, IMS, the state of Indiana and veteran motorsports partner Shell also announced today that all race tires being supplied for Indy 500 practice, qualifications and Race Day will be delivered to the ?Racing Capital of the World? from their Central Indiana warehouse using the Freightliner eCascadia from Penske Truck Leasing?s fleet of electric vehicles. To assist with the effort, a 150kW, high-power electric charger is being installed on the IMS grounds, in coordination with the Indiana Economic Development Corporation and Shell Recharge Solutions. The EV charging station is manufactured by BTC Power (Broadband TelCom Power, Inc.).

?We?re working every day to make sure Indiana is a leader when it comes to renewable energy solutions,? Indiana Governor Eric J. Holcomb said. ?I can?t think of a better way to show our commitment to cleaner energy than by putting it on display during the largest sporting event in the world.?

The Indianapolis Motor Speedway also will take significant steps toward cleaner energy consumption and a lowered carbon footprint across the Month of May. Like in 2021, all electricity consumed throughout the facility in May will continue being purchased via 100 percent renewable energy credits.

In addition, IMS has teamed up with Shell and climate technology company CHOOOSE on the implementation of a new customer program that allows fans to offset their travel footprint through a nominal contribution to the GreenTrees reforestation project. IMS also will offset its entire operational carbon footprint during the Month of May through its contributions to GreenTrees, a vital effort that restores natural habitats in more than 1 million acres across seven states in the Mississippi Alluvial Valley.

?At Shell, we aim to provide more and cleaner energy solutions in a responsible manner ? in a way that balances short- and long-term interests,? explained Dani Silva, Shell vice president of Enterprise Accounts. ?We are very pleased to be a part of Penske Entertainment Corp.?s efforts in increasing the sustainability of motorsports and the off-track potential it also enables.?

Other initiatives of note during the Month of May include:

  • Increased waste diversion efforts throughout the facility with expanded recycling and food recovery programs.
  • Legends, the official IMS retail partner, will open a fully sustainable store inside an electric truck. All items sold in the truck will be reusable or designed from recycled plastic bottles.

Last year, the Indy 500 was certified at the Silver level by the Council for Responsible Sport after achieving 37 social and environmental standards of good practice. The venue implemented facility upgrades to increase both energy and water-use efficiency, calculated a robust greenhouse gas emissions inventory and enhanced its ?Bike to the 500? program. IMS is working toward becoming the first sports facility in the world to become a Responsible Sport Certified venue.

INDYCAR?s Sustainable Path Forward

Alongside work with Firestone on expanded use of the guayule natural rubber, INDYCAR also announced today that starting with the Chevrolet Detroit Grand Prix presented by Lear in June, all 26 NTT INDYCAR SERIES cars will be transported by trucks that are fueled by renewable diesel, which significantly reduces travel-related emissions.

?The NTT INDYCAR SERIES and its partners are continually evaluating ways to lower our footprint and create a more sustainable future,? said INDYCAR President Jay Frye. ?We?re looking forward to using renewable diesel in our transporters beginning in June and expect to have several more important initiatives to unveil in the near future.?

This year?s Indianapolis 500 at the world-famous Indianapolis Motor Speedway takes place on Sunday, May 29 on NBC, Telemundo Deportes on Universo and the INDYCAR Radio Network. The schedule for the 17-race NTT INDYCAR SERIES season can be foundhereand is available to fans to watch across NBC Sports platforms.

 

MEDIA CONTACTS

Amanda Stanley
Director, Communications
Indianapolis Motor Speedway
+1-317-492-6649,astanley@indycar.com

Dave Furst
Vice President, Communications
INDYCAR
+1-317-492-6244,dfurst@indycar.com

 

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............................................................



MLB TO HIGHLIGHT ENVIRONMENTAL AWARENESS & SUSTAINABILITY ON “EARTH DAY” AND CONTINUING THROUGHOUT THE SEASON
 
Posted: 23 Apr 2022, 9:26 am
FOR IMMEDIATE RELEASE ? April 21, 2022

 

Efforts to Include Club Initiatives on Earth Day, Supporting Key Partnerships,

Launching Activations During All-Star Week in Los Angeles & More

League Also Names the Minnesota Twins Recipient of the

?Green Glove Award? for First Time in Club History

Major League Baseball and Clubs will continue the important tradition of celebrating ?Earth Day? on Friday, April 22ndwith a particular focus on highlighting everyday environmental sustainability practices that can be applied in ballparks, offices, and homes. Beyond Earth Day, MLB will continue to focus on environmental awareness at various points throughout the season, including during MLB All-Star Week and through important partnerships, including with ?Players For The Planet.?

By the Numbers: Greening at MLB

 

  • 22 Clubs practice E-Waste recycling
  • 22 Clubs have installed LED field lighting
  • 19 Clubs operate food donation programs
  • 12 Ballparks utilize on-site gardens
  • 10 Ballparks utilize solar power
  • 10 Ballparks feature EV charging stations
  • 10 Clubs activate regular-season Green Teams
  • Seven Clubs have permanently eliminated plastic straws from Ballparks
  • Six MLB Ballparks are LEED certified

NOTE: For a more detailed list of Club Sustainability, please visitMLB.com/Green. Additional Club Activation Examples for 2022 Earth Day is enclosed in the separate attachment.

 

Minnesota Twins Win 2021 Green Glove Award? During the offseason, MLB awarded the Minnesota Twins with the Club?s first?Green Glove Award?for achieving nearly a 100% Diversion Rate. MLB Clubs divert waste away from landfill through practices such as recycling, composting, food donations, and energy recovery. This is the first time that a Club outside the San Francisco Giants and Seattle Mariners have received the Award.

The 2021 finalists for the Green Glove Award included:

  • American League East: Toronto Blue Jays
  • American League Central: Minnesota Twins
  • American League West: Seattle Mariners
  • National League East: Washington Nationals
  • National League Central: Pittsburgh Pirates (co-finalist) and St. Louis Cardinals (co-finalist)
  • National League West: San Francisco Giants

MLB Network?MLB Network has produced a special videohighlighting Baseball?s Earth Day initiatives, which will be played across MLB?s digital platforms. On Friday, MLB Network also will light up Studio 3?s broadcast desk in green as a symbolic recognition of Earth Day. Additionally, MLB Network, MLB Green and the Minnesota Twins have teamed up to provide fans with a branded 100% recyclable tote bag as the giveaway for the Twins home game on Monday, August 1stfor the first 10,000 fans.

 

MLB Office Sustainability Efforts? MLB is mirroring Club sustainability best practices in the League?s headquarter offices in New York City as well as satellite offices in Boulder, CO and San Francisco, CA. MLB employees are encouraged to use reusable water bottles & coffee mugs, improving recycling efforts through updated signage & education, and reducing energy consumption through motion-sensored LED lighting and an updated television schedule that reduced energy consumption by 328 hours during the off-season. Additionally, MLB employees in New York City participated with the Central Park Conservancy on a beautification volunteer project at the park on Monday, April 18thas well as a building-wide E-Waste drive on Wednesday, April 20th.

 

All-Star Week in Los Angeles? Similar to previous years, MLB will continue to highlight sustainability efforts during the 2022 Midsummer Classic at Dodger Stadium and across Los Angeles. MLB will highlight the work of the Los Angeles Dodgers and the league with exciting new programs that will be reflective of the following:

  • Activation of Green Teams focusing on recycling throughout All-Star Week sites
  • Volunteer event with ?Players For The Planet?
  • Water filtration systems in broadcast, media, and staff areas to reduce single-use plastic products
  • Offsetting water and energy usage
  • Food donation programs
  • Promoting walking and public transportation to Dodger Stadium and throughout Los Angeles
  • Partnering with Mastercard to provide a unique, sustainable experience for contest winners of the ?Priceless Planet Coalition?

 

MLB will once again pursue Council For Responsible Sport Certification, which provides objective, independent verification of the socially and environmentally responsible work as a sustainable and socially responsible sporting event. This would follow certifications for the last three All-Star Weeks in 2018 (Washington), 2019 (Cleveland), and 2021 (Denver).

 

PARTNERSHIPS

Anheuser-Busch Recycle Like a Champion? MLB and several Clubs are teaming up with Anheuser-Busch to launch the National Recycling League, ?a new, multi-sports league coalition aiming to reduce waste on game day.? Through this partnership, Clubs are implementing new, innovative activations such as offering the infinitely recyclable cup for fans instead of single-use plastics, recycling hawkers, Club-to-Club recycling competition, and in-stadium signage. More information can be found in Anheuser-Busch?s Press Release:https://www.anheuser-busch.com/newsroom/2022/04/national-recycling-league/

 

Players for the Planet Educational Sessions? In partnership with MLB, Players for the Planet will raise awareness on environmental issues in the Dominican Summer League with a series of virtual sessions during the season, as well as an in-person beach clean-up. Players for the Planet, founded by former MLB outfielder Chris Dickerson, works to connect professional athletes, sports teams, and organizations with actionable opportunities to serve and protect the environment.

 

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CONTACT:

Steve Arocho, Major League Baseball,(212) 931-7800,mlbpressbox.com,@MLB_PR.

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Anheuser-Busch’s ‘National Recycling League’ Unites America’s Biggest Sports Leagues and Fans to Eliminate Waste on Game-Day
 
Posted: 12 Apr 2022, 12:21 pm

Anheuser-Busch's ?National Recycling League? Unites America?s Biggest Sports Leagues and Fans to Eliminate Waste on Game-Day

 

Recycle Like a Champion

ST. LOUIS, MO ? April 12, 2022 –As one of the country?s largest sponsors of live sports and entertainment, Anheuser-Busch is uniting its sports team partners ? including Major League Baseball and the National Football League ? to launch the National Recycling League: a new, multi-sports league coalition aiming to reduce waste on game day.

Building on Anheuser-Busch?s industry-leading sustainability efforts, the National Recycling League will leverage the scale and reach of the brewer’s professional sports team and league partnerships to elevate how the beverage industry encourages recycling. The National Recycling League aims to create meaningful connections between Anheuser-Busch’s brands including Budweiser, Bud Light and Michelob ULTRA, its league and team partners, and sports fans nationwide to raise awareness of the need for recycling and drive key recycling behaviors among consumers wherever they cheer on their favorite team ? whether it?s in-stadium, at home, or at a neighborhood bar.

?At Anheuser-Busch, we approach everything we do ? including sustainability ? with an innovation mindset so that we can create an outsized impact,?said Brendan Whitworth, CEO of Anheuser-Busch. ?Through the National Recycling League, we are thrilled to bring together our team partners and sports fans to work towards a shared dream of a future with less game day waste and more cheers.?

With Major League Baseball season officially underway, more than ten teams ? including The St. Louis Cardinals, Houston Astros, San Diego Padres, Texas Rangers, and Washington Nationals ? have signed on as inaugural members of the National Recycling League.

Each team has committed to adopting and implementing a range of new, innovative National Recycling League activations aimed at reducing waste and improving recycling rates at stadiums to help divert recyclable materials such as beer bottles and cans from landfills. Activations include offering infinitely recyclable aluminum cups to fans instead of single-use plastic as aluminum can be recycled over and over again without losing its quality, in-seat recycling decals, and in-stadium signage sharing a simple call-to-action with consumers ? ?Recycle Like a Champion.?

?Major League Baseball and our Clubs are excited to collaborate with Anheuser-Busch on the launch of their National Recycling League initiative. This commitment to environmental stewardship by our long-term partner perfectly aligns with our continued efforts to bring more recycling options and sustainable practices to our ballparks,?said Paul Hanlon, Senior Director of Ballpark Operations and Sustainability, Major League Baseball.

To launch the National Recycling League, Anheuser-Busch and select MLB partners will be introducing a new member of the sports arena team. Similar to the beloved beer hawker, new Recycling Hawkers will be deployed in stadiums to collect used cups, cans and bottles from fans to ensure they are recycled properly. Recycling Hawker volunteers from Keep America Beautiful will encourage fans to hand over their recyclables so that those items can be sorted from the trash and recycled.Check out the Recycling Hawkers in action here.

?As a longstanding partner of Anheuser-Busch, we applaud the action to improve communities by reducing waste in sporting arenas across the country,?said Becky Lyons, Interim Chief Executive Officer at Keep America Beautiful.?Our team of volunteers are energized and excited to step into the new Recycling Hawker role and help make it easy for fans at sporting events to recycle properly.?

In addition to in-stadium activations throughout regular season games, select partner teams will compete head-to-head in a new way as the brewer calls on MLB fans to join the National Recycling League and recycle their bottles and cans, with the winning city getting a round of beer on Anheuser-Busch. The city of the participating team which has the highest recycling rate during home games from Opening Day through May 31 will get a round of beer on Anheuser-Busch in celebration of their commitment to reducing waste on game day. More information is available atwww.mycooler.com/recyclelikeachampion

Looking ahead, Anheuser-Busch plans to work alongside teams across the National Football League among other league partners to enlist them to participate in the National Recycling League as the 2022 NFL season kicks off.

The National Recycling League builds on Anheuser-Busch’s ongoing commitment to sustainable packaging and recycling – including through its 2025 Sustainability Goals and as a member of theGreen Sports Alliance. By 2025, Anheuser-Busch has committed that 100% of their packaging will be made from majority recycled content or will be returnable, which will make recycling A-B products on game day easier than ever.

“The Green Sports Alliance is inspired by Anheuser-Busch?s 2025 Sustainability goals and its new National Recycling League program to motivate millions of fans to help improve recycling rates in stadiums across the nation through the power of sports,?said Roger McClendon, Executive Director of the Green Sports Alliance.?We are eager to support the National Recycling League in partnership with Green Sports Alliance programs like Play To Zero to amplify the message and impact of this zero-waste initiative across our membership of sports leagues, clubs, and teams.”

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About Anheuser-Busch

For more than 160 years, Anheuser-Busch has carried on a legacy of brewing great-tasting, high-quality beers that have satisfied beer drinkers for generations. Today, we own and operate more than 120 facilities, including breweries, wholesaler distribution centers, agricultural facilities and packaging plants, and have more than 19,000 colleagues across the United States. We are home to several of America?s most recognizable beer brands, including Budweiser, Bud Light, Michelob ULTRA and Stella Artois, as well as a number of regional brands that provide beer drinkers with a choice of the best-tasting craft beers in the industry. From responsible drinking programs and emergency drinking water donations to industry-leading sustainability efforts, we are guided by our unwavering commitment to supporting the communities we call home. For more information, visitwww.anheuser-busch.comor follow Anheuser-Busch onLinkedIn,Twitter,FacebookandInstagram.

 

For More Information:

Anheuser-Busch
Molly Kunst
Media@anheuser-busch.com

3PM
Mary Jane Baker
MJBaker@webershandwick.com

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WinCup’s phade® compost-certified, marine biodegradable straws and stirrers to be provided at Yankee Stadium concession stands in 2022
 
Posted: 7 Apr 2022, 11:16 am

WinCup?s phade compost-certified, marine biodegradable straws and stirrers to be provided at Yankee Stadium concession stands in 2022

 

NEW YORK (April 5, 2022) ? WinCup, Inc., today announced that it was partnering with the New York Yankees and Legends Hospitality to provide its phade straw ? an ecologically preferable non-petroleum, non-forest-based bio-plastic product ? to concessions stands at Yankee Stadium. The phade straw is a marine biodegradable, home & industrial, compostable drinking straw made with PHA (polyhydroxyalkanoate), a biodegradable biopolymer derived from the fermentation of canola oil. These straws maintain the convenience of petroleum-based plastic straws but with lower greenhouse gas production impacts and less risk to marine life and ecosystems. The phade drinking straw is certified for composting commercially and for at-home composting.

The introduction of the phade straw at Yankee Stadium will further the venue?s award-winning and globally recognized sustainability initiatives, including its commitment to achieving zero waste and promoting a circular economy based on composting and recycling. Through the dedicated efforts of Stadium staff, fans, and the Yankees? recycling and composting partners, approximately 85 percent of the Stadium’s total waste is diverted from landfills and incinerators, making Yankee Stadium one of the most environmentally responsible venues in all of sports.

?The global plastics pollution crisis has been building for decades as plastic debris has been identified everywhere from Arctic snow to the deepest points in the ocean. Most significantly, the greenhouse gas emissions from the production of petro-plastics raises global temperatures, which has profound deleterious effects on the health and well-being of people around the world. Yankee Stadium?s shift to a less impacting bio-based option for those who request a straw is a small but meaningful ecological step in the right direction that, hopefully, other businesses will emulate,? said Dr. Allen Hershkowitz, Environmental Science Advisor for the New York Yankees.

According to WinCup, phade has quickly become the environmentally preferable straw of choice for multiple professional sports venues, teams and events, including SoFi Stadium in Los Angeles, home of this year?s Super Bowl, Mercedes-Benz Stadium in Atlanta, Gillette Stadium in New England, and the 2021 PGA Championship in Kiawah Island, South Carolina.

?We continue to see the tremendous impact phade is having across the sports industry and the positive reaction from fans discovering our unique sustainable Caribbean blue straws and stirrers,? said Michael Winters, WinCup President and Chief Revenue Officer. ?The New York Yankees is one of the most well-known sports brands globally and the franchise is to be commended for using that influence to positively impact the environment. It is an honor for WinCup to partner with the Yankees as the 2022 season gets underway and provide a meaningful solution to help address the global plastic pollution crisis. The technology behind phade is unlike any other straw alternative because it?s formulated with PHA, which acts as a food source for bacteria, allowing for faster decomposition in bacteria rich environments in a matter of months. Based on the success of our phade straws there will be more innovative phade products coming in the future.?

WinCup has also won numerous awards for the development of phade straws including: the 2020 Innovation in Bioplastics Award from the Plastics Industry Association, the 2021 Innovation in Foodservice Award for Sustainability Solutions from the National Restaurant Association, and most recently, phade was recognized as a finalist or honorable mention in 4 out of 5 categories in Fast Company?s 2021 World Changing Idea Awards.

WinCup?s focus on sustainable solutions was bolstered in September 2020 when Los Angeles-based global private investment firm Atar Capital acquired the company. Among Atar?s core principles is a commitment to sustainability and investing in companies that work toward protecting the environment.

?We are incredibly proud to see WinCup Inc., and phade join forces with iconic brands like the New York Yankees that share our mission of changing the world for the better,? said Cyrus Nikou, Founder and Managing Partner of Atar Capital.

About WinCup, Inc. and phade
WinCup, Inc. is headquartered in Stone Mountain, Georgia and is a leading manufacturer of traditional and Eco-Friendly disposable cups, bowls, containers, lids, and straws. The company’s eight manufacturing locations are committed to high-quality products and superior customer service. To learn more, please visit www.wincup.com and www.phadeproducts.com.

Phade straws & stirrers is certification by TV AUSTRIA, a globally recognized independent third-party certifying body, as both industrial and home compostable. TV also certified the material from which phade straws is made from, as marine biodegradable. Additionally, the Biodegradable Products Institute Inc. (BPI) has certified phade as industrial compostable.

Vision of Sustainability in Yankee Stadium
The New York Yankees organization recognizes our responsibility to protect and promote the well-being of our community. Accordingly, the Yankees remain committed to inspiring our partners, players, fans and employees to create a sustainable environmental legacy.

In pursuit of these goals, the Yankees seek to measure and minimize identifiable environmental impacts related to our operations, including greenhouse gas emissions, energy use, water use and waste generation. The Yankees are committed to compliance with all applicable environmental regulations, and we support the development of innovative, economic and socially beneficial solutions to help reduce or offset the direct and indirect impacts we engender.

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Award-Winning Sustainable Sport Index Launches Second Annual Survey
 
Posted: 30 Mar 2022, 9:59 am

MEDIA CONTACT:
Lindsay Arell
connect@sustainablesportindex.com

 

Denver, Colorado (March 2022)?An upcoming research initiative will give sports teams and stadium operators the opportunity to receive personalized sustainability coaching while helping drive industry-wide adoption of sustainability measures. The Sustainable Sport Index (SSI) will launch its second annual data-gathering survey in early April, with a subsequent Industry Benchmarking Report to provide participating teams and venues insights into actual sustainability activities and investments their peers implement, as well as the ability to assess their own performance. SSI’s insights help bolster individual sports venues and the sports industry at large by identifying best practices and adoption rates while providing participating teams and venues with detailed recommendations for improving their own sustainability score.

The SSI is a first of its kind initiative to understand the collective environmental and social impacts of the sports industry and to establish and accelerate industry sustainability best practices. By surveying sports teams and facilities to collect metrics on sustainability activities ranging from waste and energy to diversity and inclusion, the SSI team creates a publicly available, anonymized, industry-wide collective Benchmarking Report and confidential individualized reports for all responders. In SSI?s inaugural year in 2021, 20 prominent sports venues participated, and the effort received widespread press and an Industry Leadership award, with many participating teams making sustainability improvements to their venues based on SSI?s findings.

Teams and venues are now invited to participate in the 2nd annual SSI Benchmarking Survey, which launches April 5 and will remain open through the end of May. The subsequent Benchmarking Report and individualized reports for each participating venue will be available by late summer. While the inaugural survey responders predominantly featured professional sports teams, this year?s initiative aims to expand the effort to minor league and collegiate teams to better represent the sports industry.

?In our second year of the Sustainable Sport Index, our emphasis is on broadening the opportunity to all sports venues. The more insights we collect, the more we are able to help stadium operators and teams move the needle to a more sustainable sports industry,? said Lindsay Arell, Director of Sustainability at APTIM, the environmental and sustainability solutions firm that owns SSI.

Key findings from last year?s SSI Benchmarking Report included:

  • 76 percent of facilities offer sensory relief rooms for fans.
  • 65 percent of responding facilities achieved some type of sustainability-related certification, with the most common certifications being Global Biorisk Advisory Council, Leadership in Energy and Environmental Design (LEED), and WELL Building.
  • 17 percent of facilities and teams track their carbon emissions with just one team offsetting emissions.

Sports teams, leagues, and venues representing professional, minor league, and collegiate athletics can visitthe SSI websiteor email the SSI team atconnect@sustainablesportindex.comto sign up to receive notifications for the survey?s launch, and to learn more about the SSI report?s goals, impact, and findings.

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About Sustainable Sport Index

The Sustainable Sport Index is an industry-wide initiative to understand the collective environmental and social impacts of the sports industry, with the goal to create industry consensus around the key environmental impacts of sports venues and teams through benchmarking data and sharing industry best practices. The Sustainable Sport Index is powered by APTIM, and partners with Honeycomb Strategies, Max-R, and Eco-Products.

About APTIM

APTIM is a global industry leader headquartered in Baton Rouge, Louisiana. With more than 4,000 employees worldwide, APTIM specializes in critical infrastructure, technical and data solutions, environmental services, program management, resiliency, and sustainability and energy solutions. Our dedicated people have proven experience and expertise to provide integrated services and solutions to government agencies, commercial, industrial, and energy markets. APTIM commits to accelerating the transition toward a clean and efficient energy economy, building a sustainable future for our communities and natural world, and creating an inclusive, equitable environment that celebrates the diversity of our people.

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FKP Scorpio Launches Show Production Company
 
Posted: 21 Mar 2022, 7:42 am
FKP Scorpio today announced the launch of FKP Show Creations GmbH, a new company arm that'll focus on musicals, shows, family entertainment and opera ? anything that can be brought to life inside theaters, but not just there.

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How Metallica & Billy Joel's Allegiant Shows Created A Way For Stadium Touring In 'The Great Glut Of 2022'
 
Posted: 18 Mar 2022, 3:05 pm
More than 80,000 fans and a gross of some $13.8 million over two nights by any measure in this industry is a runaway success. And that?s exactly what happened at Allegiant Stadium in Las Vegas on Feb. 25 and 26 when Metallica and Billy Joel played separately on consecutive evenings. The shows more than lived up to the billing as ?Two Epic Shows?One Unforgettable Weekend,? and serve as a model for future stadium touring amidst ?The Great Glut of 2022? while being a win-win-win for fans, artists, their teams and venues.

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UK/Euro Lineups: Lots Of Festival Premieres
 
Posted: 18 Mar 2022, 1:00 pm
Pollstar takes a look at some of the latest lineup announcements from the UK and Europe. Many have been unveiled by brand-new festivals making their debut in 2022.

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Johnnie Taylor Among Newest Blues Hall Of Fame Members
 
Posted: 18 Mar 2022, 12:56 pm
Five people, an album, five singles and a book have been chosen to join this year's Blues Hall of Fame class.

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Asia News: Japan Reviews Audience Caps; BTS Sets Another Record
 
Posted: 18 Mar 2022, 12:45 pm
The Japanese government is currently considering lifting the audience cap on large-scale gatherings, like concerts, as the pandemic eases and the number of daily cases drops steadily.

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Australia News: Festivals Return With A Vengeance; NZ: Auckland Releases City Of Music Report
 
Posted: 18 Mar 2022, 12:32 pm
?As more states drop live restrictions, major festivals are returning ? some bigger than before ? cashing in on enthusiasm for the live experience.

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Goodlive And Live Base Anounce Partnership Around Splash! Festival Germany
 
Posted: 18 Mar 2022, 5:22 am
German promoter Goodlive and UK-based booking agency and club promoter Live Base announced a strategic partnership to deliver international hip hop artists to the German-speaking market and the country's premier hip-hop festival, splash!

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Morgan Wallen: Boy Interupted Brings Lots of Music To Sold Out Bridgestone Arena
 
Posted: 17 Mar 2022, 2:22 pm
After a career put on pause following his drunken use of an egregious slur, Morgan Wallen is finding his way back to the world he was building when it all came to a screeching halt.

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Moment Factory Tops Fast Company List Of Innovators
 
Posted: 17 Mar 2022, 1:16 pm
Montreal-based creative design firmMoment Factorytopped the list of 50 Most Innovative Companies released this week by business magazine Fast Company to recognize forward-thinkers in technology, leadership and design.

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Inaugural Chicagoland Fest Sacred Rose Topped By Phil Lesh & Friends, Khruangbin, The War On Drugs
 
Posted: 17 Mar 2022, 1:03 pm
Another new festival announced its inaugural lineup Thursday. Sacred Rose will descend on SeatGeek Stadium, located just southwest of Chicago in Bridgeview, Ill., Aug. 26-28 with a lineup topped by Phil Lesh & Friends, Khruangbin, The War On Drugs and Black Pumas.

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With The Band: Big Time Rush Makes Big Time Comeback With First Post-Hiatus Headlining Tour
 
Posted: 17 Mar 2022, 12:55 pm
In the early 2010s, Big Time Rush had been among the most dominant boy bands. The group made up of Kendall Schmidt, Logan Henderson, James Maslow, and Carlos PenaVega was first formed in 2009 with a Nickelodeon TV show of the same name.

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Spotify Camp Nou: Streaming Giant Becomes FC Barcelona's Main Sponsor, Music Venue Trust Reacts
 
Posted: 17 Mar 2022, 12:00 pm
Spotify and FC Barcelona announced a partnership making the streaming company the soccer club's main sponsor and official audio streaming partner.

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Chaka Khan, Stephen Stills, Beck & More To Play MusiCares Joni Mitchell Tribute
 
Posted: 17 Mar 2022, 11:44 am
Chaka Khan, Stephen Stills, Sara Bareilles, Cyndi Lauper, Billy Porter and Beck will be among those performing in tribute to Joni Mitchell when she's honored as the 2022 MusiCares Person of the Year by the Recording Academy.

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'It's My Job To Be Professionally Nosy': Q's With 'Ronnie's' Director Oliver Murray
 
Posted: 17 Mar 2022, 5:58 am
Writer and director Oliver Murray, best known for his Bill Wyman documentary "The Quiet One," made a film about one of the most famous jazz venues in the world: Ronnie Scott's in London.

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HEINEKEN USA Partners with Cycle to Reward Inter Miami CF Fans for Recycling
 
Posted: 16 Mar 2022, 8:29 pm

By Inter Miami CF

Debuting at DRV PNK Stadium, Reverse Vending Machines Will Make Stadium Recycling More Efficient and Rewarding for Fans

HEINEKEN USA and Inter Miami CF in collaboration withCycle, a recycling technology and data company founded by University of Miami alumni, launched a new recycling program at DRV PNK Stadium. Leveraging innovative technology to improve recycling efforts at stadium sporting events, Inter Miami fans can now find Heineken branded Reverse Vending Machines (RVMs) throughout the stadium where they can recycle their empty beverage containers and win rewards in return.

The machines are designed to engage fans and incentivize recycling efforts in a moment where many people may not have enough opportunities to recycle their products during an event. The process for the fans is simple: insert empty beverage containers at the machines, and scan a QR code to get a unique transaction ID. Once information is entered into the web app, users find out instantly if they are a winner and are given instructions for how to redeem their prize. The initiative will be promoted on the stadium?s videoboard and through PA announcements and Inter Miami fans will be able to win a variety of items including Heineken 0.0, fan merchandise and exclusive access to stadium promotions, and even Inter Miami CF jerseys throughout the season.

The four RVMs are in the following locations throughout the stadium: two machines next to the Heineken Bar on the North side, one machines near section 120/121 (East side) and one machine near section 104/105 (West side).

The launch of this initiative supportsHEINEKEN?s Brew a Better Worldambitions aimed at creating a positive impact on the environment, social sustainability, and the responsible consumption of alcohol. These commitments build upon the progress the company has made since its initial launch in 2009.

?Through our efforts over the past decade with Brew a Better World, we have found that the best way to help consumers make sustainable choices is creating convenient opportunities that fit into real moments,? said Josephine Bertrams, SVP and Chief Corporate Affairs Officer of HEINEKEN USA. ?By meeting our consumers in more of these moments, this initiative seeks to eliminate the barriers fans may face at sporting events by encouraging and making it easier to make the responsible choice to recycle. As a passionate leader in supporting live events HEINEKEN USA is thrilled to be making sustainability more accessible and exciting for consumers with Cycle and Inter Miami.?

?Working with HEINEKEN USA and Cycle to make it easier for our fans to recycle at Inter Miami CF matches is a very important initiative for our club,? said Inter Miami VP of Marketing, Community and Fan Engagement, Chris Allan. ?Through research and listening to our supporters, we learned sustainability is particularly important to our fan base and we want to do the best we can to ensure our fans have the resources to put the environment first when they are enjoying ftbol matches at DRV PNK Stadium.?

?Sports stadiums are an important part of American culture and represent a unique opportunity to educate and incentivize people to participate in the circular economy. The Cycle team is honored to be collaborating with HEINEKEN USA and Inter Miami CF to launch this first-of-its-kind stadium recycling program,? said Anwar Khan, co-founder of Cycle.

?We want to make recycling collections more efficient while rewarding fans for their sustainable behavior, and our CTO, Harrison Mount, worked hard in conjunction with FanUp.io to make sure that process is simple, fast, and fun for the fans,? added Connor Pohl, co-founder of Cycle.

Globally, as an important part of the HEINEKEN?sEverGreenbalanced growth strategy, HEINEKEN remains committed to a path to net zero emissions and is working toward achieving zero waste by 2025. HEINEKEN aims to reduce its carbon footprint through an effort to cut overall emissions 30% by 2030 and decarbonize its full value chain by 2040. For more information on Brew a Better World 2030, clickhere.

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Elevation Festivals Announces Partnership With MedWish International To Support Ukrainian Relief
 
Posted: 16 Mar 2022, 4:56 pm
Elevation Festivals, the company that owns and produces WonderStruck In Cleveland, The WonderBus Music & Arts Festival in Columbus, and WonderRoad Indianapolis, is partnering with MedWish International to support relief in Ukraine.

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UCLA launches zero waste campaign to help increase sustainability efforts on campus
 
Posted: 16 Mar 2022, 3:13 pm

By Karen Hallisey, UCLA Newsroom

These bins, which are all over the UCLA campus, help people know what to recycle, compost and throw away for a landfill.

With more than 1 million pounds of waste produced each year at UCLA, the time has come for the campus community to clean up its act.

To reduce what the university is throwing away and protect air, water and soil from pollution, UCLA students and employees are encouraged to participate in theThink Outside the Landfill Challenge.

?The race to zero waste begins now, with every Bruin playing a role in helping this initiative succeed,? said Kikei Wong, UCLA?s zero waste manager. The project is a collaborative effort between staff in UCLA?s sustainability and facilities management departments.

The challenge features weekly waste-diversion tasks such as bringing your own bags to the supermarket, switching to rechargeable batteries, or shopping for clothes at a secondhand store. Students, faculty and staff who participate will be automatically entered into a random prize drawing, with a chance to win gift cards to the ASUCLA bookstore and Trader Joe?s, UCLA apparel, an air fryer and more.

The Environmental Protection Agency estimates about two-thirds of all waste in the United States gets dumped in a landfill ? literally trashing the planet. Currently, UCLA?s waste diversion rate, the amount of waste that is recycled or composted, is 56%.

Nurit Katz, UCLA?s chief sustainablity officer, said the goal for the future is to reach 90%.

Properly sorting trashis the key, Wong said. Waste bins distributed across campus utilize an easy-to-follow system that allows people to sort their waste into:

  • Recyclable material ? hard plastics, clean paper, glass and metals
  • Compostable material ? food and liquids, soiled paper products
  • Landfill material ? snack wrappers, plastic utensils and straws, Styrofoam

Recyclables like bottles and cans don?t have to be rinsed out, although that is preferred if there?s a lot of grease or food. Drain the liquids and scrape as much food out into the compost section.

UCLA?s zero waste initiative doesn?t stop at recycling and composting. Bruins can also support the effort by avoiding single-use items for example, drinking coffee from a reusable mug and skipping the straw when eating out.

These goals align with UCLA?s Sustainable LA Grand Challenge, which applies interdisciplinary UCLA research, expertise and education to help transform Los Angeles into the world?s most sustainable megacity by 2050 ? making it the most livable, equitable, resilient, clean and healthy megacity, and an example for the world.

UCLA Sustainability will be introducing more programs throughout the year to show the campus community other ways to make better, greener decisions, Katz said.

?Bruins, especially students, are more conscious than ever about waste and the negative impact on our planet, as well as public health,? Wong said. ?Achieving zero waste is a big step and reflects UCLA?s bold commitment to being a leader on environmental causes.?

Rethinking where rubbish ends up isn?t just about protecting the environment ? it concerns people as well. Landfills are often located in lower socioeconomic areas, with waste potentially close to homes. One person?s trash can be harmful to another, making zero waste a social justice issue, said Wong.

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The Future Is Now! Major Tours Are Here
 
Posted: 16 Mar 2022, 1:24 pm

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Merch Madness: Artist-Branded Guitar Pedals Create Revenue, Hit The Road
 
Posted: 16 Mar 2022, 12:20 pm
In the branding and merchandise space, artists are always looking for a partnership that is authentic and speaks to fans. What better way, then, than partnering with the actual instrument itself?

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Euro Ticketing: New CEO For Ticketcorner, TicketSwap Expands
 
Posted: 16 Mar 2022, 10:11 am
CTS Eventim announced the appointment of Oliver Niedermann as new CEO of its Swiss ticketing operation Ticketcorner. Meanwhile, Dutch ticket resale business TicketSwap has announced plans to expand its business.

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More To Speak About Than Ever Before: Greg Parmley Talks ILMC 34
 
Posted: 16 Mar 2022, 8:41 am
It feels like there's never been a greater need for this business to get together and talk, and ILMC 34 offers the ideal opportunity.

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Marc Solheim Joins Riot Fest As Senior Talent Buyer
 
Posted: 15 Mar 2022, 4:59 pm
Milwaukee music industry veteran Marc Solheim will be joining Riot Fest as their new Senior Talent Buyer starting on April 1.

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Life Is Beautiful Unveils 2022 Lineup: Arctic Monkeys, Calvin Harris, Gorillaz, Lorde & More
 
Posted: 15 Mar 2022, 4:49 pm

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Q's With Hartke Presents' Adam Hartke: Kansas Promoter Talks New Indie Touring Network D Tour
 
Posted: 15 Mar 2022, 4:09 pm
For professionals across the live industry, the pandemic-spurred shutdown offered the opportunity to rethink the fundamental processes that govern touring. For Adam Hartke, co-founder of Wichita-based promoter and venue operator Hartke Presents, and several other independent promoters and venue operators, that meant reimagining the very way tours are booked and routed through the country's secondary and tertiary markets.

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How Remi Wolf Is Set To Be A Freaky, Funky, Poppin', Jazzy, Technicolor, Post-Pandemic Superstar
 
Posted: 15 Mar 2022, 3:14 pm
Remi Wolf is on the cusp of her biggest touring year yet. She plays Lollapaloozas Brazil and Argentina at the end of March and in early April kicks off her most significant tour yet: opening for the Grammy-winning royal that is Lorde on her 22-date ?Solar Power Tour,? which debuts at The Opry on April 3 and includes two nights at New York?s Radio City and L.A.?s Shrine Auditorium. And that?s just for starters. On March 1, Wolf exuberantly announced her upcoming European tour and just as this story was going to press she announced a fall headlining tour entitled the "Gwingle Gwongle Tour" on her Instagram page which runs Sept. 12 to Oct. 16. The trek will take the 26-year-old phenom to the largest rooms of her blossoming headlining career, with shows at The Shrine, New York?s Terminal 5 and San Francisco's Warfield Theater.

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MSG Sphere London Planning Application To Be Heard Next Week, AEG Concerns Addressed
 
Posted: 15 Mar 2022, 11:28 am
The planning application for the MSG Sphere London, originally submitted in March 2019, will be heard in London on Tuesday, March 22.

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15 Years Of Global Publicity: Nikki McNeill Says 'It's Still Fun'
 
Posted: 15 Mar 2022, 5:00 am
There are days, when it feels like almost every press release about a European festival is coming from Global Publicity, the company Nikki McNeill founded in 2007. She has been instrumental in putting some of Europe's most famous annual events on the map internationally, and the 15th anniversary of her own company was the ideal occasion to have an extensive chat about her fascinating career.

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Wisin & Yandel Set Dates For Final Tour, ‘La Última Misión’
 
Posted: 14 Mar 2022, 6:09 pm
Wisin and Yandel are preparing to go their separate ways. But first the Puerto Rican reggaeton duo has a new album to release and a final tour to go along with it. Today?s announcement says ?La ltima Misin? world tour will mark ?the last time fans can see them on stage together.?

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Dolly Parton To Rock Hall Of Fame: Thanks But No Thanks
 
Posted: 14 Mar 2022, 4:49 pm
Dolly Parton has announced she is pulling out of this year's nominations for the Rock & Roll Hall of Fame, saying she hasn't "earned that right."

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Pearl Jam Announces Rescheduled North American Tour Dates
 
Posted: 14 Mar 2022, 2:17 pm
Pearl Jam is ready to get back out on the road after having to call off their 2020 tour, and the band has announced their rescheduled North American tour dates.

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BTS 'Permission To Dance On Stage' Seen By 45,000 On Site & 2.4M Remotely
 
Posted: 14 Mar 2022, 11:51 am
Pop phenomenon BTS wrapped up three nights of "BTS Permission to dance on Stage - Seoul" at the Seoul Olympic Stadium, March 10-13.The three-day in-person concert was attended by a total of 45,000 people. In compliance with COVID protocols, the stadium's capacity was limited to 15,000 per show.

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Rolling Stones Announce European Stadium Tour 'Sixty'
 
Posted: 14 Mar 2022, 6:04 am
The Rolling Stones return to Europe this summer to play 14 shows in ten countries, including two nights at British Summer Time Hyde Park in London, England, and their first concert in Liverpool, England, since more than 50 years.

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Real Betis-Athletic Club, a Forever Green match, will be the first LaLiga game for sustainability
 
Posted: 8 Mar 2022, 1:37 pm

By Real Betis

The Green and White Club aims to raise awareness and mobilise society against climate change with several initiatives. The team will play the game with a special kit made out of recycled material

Real Betis Balompi and professional football show their commitment, once again, against the climate crisis with the Forever Green match, the first LaLiga game for sustainability. The game between Real Betis and Athletic Club, that will be played on the 13th of March, will become the first football match aimed to preserve the environment, through different actions that will be carried out on match day.

One year and a half after Forever Green, the sustainability platform launched by Real Betis Balompi, was born, the Club kickstarts this pioneer initiative in football with a special focus on generating conscience among the general audience and all the sports fans.

For this match, Real Betis will use a sustainable kit, made out of 100% recycled polyester, that will be unveiled this week and will be available for purchase in the Cub’s official stores.

In the week prior to the game, the Forever Green sneakers will be presented, made with recycled and sustainable materials by people with disabilities.

Also, the Green and White institution will promote sustainable transport among the fans to go to Benito Villamarn Stadium on match day. For that, through an agreement between the Club and Lime, all the fans attending the game will have a discount code to use this company’s electric bicycles to go to the Stadium. A discount that will be also available for Acciona electric motorcycles and Voi scooters. Real Betis will assist and inform the best spots to park bicycles and scooters owned by the fans.

In this line, the start-up Ciclogreen will develop an app to encourage fans to commute in a sustainable way. The participants will enter a raffle to win the special kit and other Real Betis products, as well as meeting the first team players.

In this first LaLiga game for sustainability, players of both teams will use recycled material water bottles instead of the traditional ones.

On match day, Benito Villamarn Stadium will display messages in the stands staircases with advice about leading a more sustainable life and looking after the planet. There will also be a higher number of selective recycling containers inside the facilities and biodegradable bowls will be provided so the fans can dispose their sunflower seed shells. This waste will later be transformed into fertilising compost.

Before the game, LaLiga, Real Betis and Athletic Club will plant a tree right next to the Fans Monument as a symbol of the promotion of the reforestation, one of the Forever Green cornerstones.

This game for sustainability will have a promotional code for the purchase of online tickets. Using the code FOREVERGREEN, fans can purchase tickets at 30 euros, donating one euro out of each ticket to a reforestation project.

The Club will also measure their carbon footprint and the impact of the reduction measures currently undergoing, compensating as much as possible, to continue taking steps towards carbon neutrality.

A match that aims to open a new path in football and that will leave a print in all the fans in the necessary way towards environmental sustainability.

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Virginia’s History, Resorts and Culture Make it an Attractive Meetings Destination
 
Posted: 24 Oct 2019, 5:00 am

Virginia’s history, resorts and culture make it an attractive meetings destination in 2019. Read to discover the state’s best-in-class venues and other group offerings.

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New and Expanded Convention Centers Heat Up the Texas Market
 
Posted: 23 Oct 2019, 6:20 am

The Texas convention center scene is a competitive market. With new developments stretching from the DFW Metroplex to West Texas, read the latest on the Lone Star State convention scene.

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Caesars Forum Strides to Open
 
Posted: 23 Oct 2019, 4:00 am

Ahead of IMEX America 2019, Meetings Today content developer Kate Cripe got a sneak peek of the $375 million Caesars Forum. During a hard hat tour, she got a first hand look at how the conference center project, which is expected to open in March 2020, is progressing.

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4 Reasons to Leverage Digital Displays at Conventions
 
Posted: 26 Aug 2019, 12:10 pm

Learn why digital display technology is one of the best ways to take your event to the next level. We explore what it can mean for branding, the attendee experience, sustainability and more.

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Boise Centre Unveils New Art Installation
 
Posted: 23 Jul 2019, 4:30 am

A glass sculpture titled You Are Here by Boise native Amy Westover was designed to inspire attendees and guests to look beyond the walls of the city's Boise Centre.

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Speakers in the Open Expo Hall? A New Way to Maximize Conference Content
 
Posted: 21 May 2019, 6:00 am

When it comes to conference speaking, an innovative speaker stage setup can drive more and unexpected engagement. Meetings Today Chief Content Officer Christoph Trappe reports live from DES Madrid on how the "open air" concept works for attendees and presenters.

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6 Tips for Working With a Convention Services Team
 
Posted: 30 Apr 2019, 7:35 am

Meeting and event planners working with a facility’s convention services team can help ensure their program is a success by providing some very basic, but essential, information. Maxine Compean, associate event manager for the dual-branded the DOUGLAS, Autograph Collection and the JW Marriott Parq Vancouver, offered the following six tips to keep meeting and event planners and the convention services team on the same page.

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An Event Planner’s Take on the New Kentucky International Convention Center
 
Posted: 13 Mar 2019, 3:05 pm

Event planner Christa Mekki, founder and senior planner at Magnetic Magnificent Events, was one of the first to experience the brand-new Kentucky International Convention Center (KICC). Meetings Today reached out to Mekki for her take on the reimagined convention center.

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6 Innovative Convention Center Projects That Are Reinventing the U.S. Meetings Landscape
 
Posted: 13 Mar 2019, 7:30 am

Innovation is requisite for staying ahead in the convention business. It’s second nature for Las Vegas, and it’s also the watchword for reinvention in convention markets around the U.S.

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Event Venue Titans AEG Facilities and SMG Announce Merger
 
Posted: 8 Feb 2019, 10:20 am

AEG Facilities and SMG owner Onex announced they will merge to create ASM Global. The new company will be headquartered in Los Angeles and will operate over 300 venues across five continents that include arenas, stadiums, convention centers and performing arts centers.

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San Francisco’s Moscone Center Nearly Doubles in Size
 
Posted: 19 Dec 2018, 5:45 am

As the new year approaches, so does a new beginning for San Francisco’s meetings business. The long-awaited opening of an upgraded Moscone Center came in early January, as the convention complex debuted a $551 million expansion.

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Q&A With David Gibbons, Executive Director, Massachusetts Convention Center Authority (MCCA)
 
Posted: 20 Nov 2018, 8:45 am

Meetings Today Senior Contributor Jeff Heilman touched base with Massachusetts Convention Center Authority (MCCA) Executive Director David Gibbons on the MCCA’s increase in group business and the future of the facility.

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Orlando Continues Convention Center Expansion
 
Posted: 25 Oct 2018, 8:00 pm

Orlando's Orange County Convention Center is moving forward with a $605 million campus improvement plan. The project will bring expansions and new meeting and exhibit space in the North and South concourses, further increasing the center’s seven million square feet of total function space.

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IACC Set to Double European Members
 
Posted: 16 Oct 2018, 9:00 pm

IACC, the association that represents the global conference center segment, is set to more than double its number of European facilities within the next four months if a deal to add the supplier members of two conference center groups comes to fruition, according to IACC CEO Mark Cooper.

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St. Louis Convention Center Plans Extensive Renovation
 
Posted: 7 Oct 2018, 8:00 pm

The America’s Center Convention Complex in St. Louis will undergo an expansion and extensive renovations. The AC Next Gen Project, which will include the addition of 92,000 square feet of exhibit space, a 65,000-square-foot ballroom and meeting area, a new outdoor pavilion and 26 new loading docks, was announced during a press conference held on October 3.

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How to Cope With a Convention Center Renovation
 
Posted: 26 Sep 2018, 8:00 pm

On a recent tour of the Greater Columbus Convention Center, Meetings Today spoke with John Page, general manager for SMG for the Greater Columbus Convention Center (GCCC). Page shared his advice for navigating a convention center renovation or expansion.

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5 Things You May Not Have Known About the Chattanooga Convention Center
 
Posted: 18 Sep 2018, 8:00 pm

Once you’ve seen one convention center you’ve seen them all, right? A recent visit to the Chattanooga Convention Center left me surprised to find some nice touches that many of its bigger—and smaller—city counterparts lacked. Following are five standout features I noticed during my tour of the Chattanooga Convention Center led by Executive Director Mike Shuford, during a press trip with the Chattanooga CVB.

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Convention Center Reopens in Louisville
 
Posted: 5 Aug 2018, 8:00 pm

The Kentucky International Convention Center (KICC) hosted a grand opening ceremony, Monday, Aug. 6, 2018 following a two-year, $207 million renovation and expansion project. State and local government officials, along with KICC facility officials and staff welcomed meeting clients, local stakeholders, interested citizens, and media to an open house that showcased how the new facility will host small to large-scale events.

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Caesars Forum Conference Center Breaks Ground in Vegas
 
Posted: 16 Jul 2018, 8:00 pm

Caesars Entertainment broke ground on its $375 million, Caesars Forum conference center on Monday, July 16, during a ceremony for trade press, industry executives and Caesars staff members. The ceremony was also livestreamed by Caesars so that people could tune in from all over the world.

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Q&A With Jennifer B. Davis on Greater Columbus Convention Center Updates
 
Posted: 30 Jun 2018, 8:00 pm

Meetings Today contributor Carolyn Blackburn interviewed Jennifer B. David, Senior Marketing & Communications Manager with the Greater Columbus Convention Center (GCCC), to discuss recent updates to the facility. The GCCC, which features 373,000 square feet of contiguous exhibit space, wrapped a two-year $140 million renovation and expansion project in July 2017 to improve the overall guest experience, including the installation of an impressive art collection and local F&B concepts.

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5 Campus Conference Centers That Will Enhance Any Event
 
Posted: 1 May 2018, 8:00 pm

College towns are happening hubs of activity, where the arts, sports and culinary delights thrive. All that and more is on deck for planners who book a university setting for a conference.

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Vegas Convention Center Expansion Design Unveiled
 
Posted: 9 Apr 2018, 8:00 pm

Architects have submitted their designs for the phase two expansion of the Las Vegas Convention Center.

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Creativity Takes Center Stage at Convention Centers
 
Posted: 26 Mar 2018, 8:00 pm

The artwork installed at an increasing number of popular convention centers transforms these necessarily utilitarian buildings into magnificent galleries that rival some of the most inspired museums in the world.

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Arlington Unveils Plans for Massive Esports Stadium
 
Posted: 18 Mar 2018, 8:00 pm

The City of Arlington announced plans for Esports Stadium Arlington, an esports-specific venue designed to draw competitive gamers and fans from around the world. The proposed venue will be built within the existing Arlington Convention Center in collaboration with architecture firm Populous.

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Q&A With Michele Hughes, Director of Sales, Connecticut Convention Center
 
Posted: 24 Jan 2018, 7:00 pm

Meetings Today checked in with Michele Hughes, Director of Sales & Marketing with the Connecticut Convention Center (CTCC).

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Convention Centers Are Making Bold New Statements
 
Posted: 1 Jan 2018, 7:00 pm

Goodbye big-box, bunkeresque venues. Hello green rooftop micro-environments, wellness spaces and hip street-party-scapes.

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Conference centers revamp to provide connectivity
 
Posted: 1 May 2017, 8:00 pm

Addressing profound changes in how their customers are approaching learning, many conference centers are in a process of reinvention

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Convention centers design for a sense of place
 
Posted: 4 Apr 2017, 8:00 pm

Many convention centers are striving to reflect and showcase their locations.

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Groups in Greater Boston utilize college campuses
 
Posted: 31 Oct 2016, 8:00 pm

An exceedingly intelligent choice for meetings and events.

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CEIR Releases Third Report in Attendee Retention Insights Series
 
Posted: 24 May 2016, 1:00 am
DALLAS, 24 May 2016 ? The Center for Exhibition Industry Research (CEIR) announced today the release of the third report in its newest series, 2016 Attendee Retention Insights Part Three: Education Content that Builds a Loyal Alumni Attendee Audience. This landmark body of research offers organizers a comprehensive resource to help understand the profile of attendees that visit an exhibition repeatedly and the content that turns them into loyal customers.

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CEIR Releases Second Report in Attendee Retention Insights Series
 
Posted: 10 May 2016, 1:00 am
DALLAS, 10 May 2016 ? The Center for Exhibition Industry Research (CEIR) announced today the release of the second report in its newest series, 2016 Attendee Retention Insights Part Two: Exhibition Floor Features that Build a Loyal Alumni Attendee Audience. This landmark body of research offers organizers a comprehensive resource to help understand the profile of attendees that visit an exhibition repeatedly and the content that turns them into loyal customers

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Fourth Annual IAEE Women’s Leadership Forum Another Sold Out Event
 
Posted: 4 May 2016, 1:00 am
DALLAS, 4 May 2016 ? The International Association of Exhibitions and Events? (IAEE) celebrates another successful Women?s Leadership Forum on 26 April 2016 at the Walter E. Washington Convention Center in Washington, D.C. More than 200 attendees sold out this year?s event which featured education sessions for women at all stages of their career.

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IAEE Now Accepting Applications for 2016 Bob Dallmeyer Education Fund Grants
 
Posted: 3 May 2016, 1:00 am
DALLAS, 3 May 2016 ? The International Association of Exhibitions and Events? (IAEE) has opened the application process for the 2016 Bob Dallmeyer Education Fund Grants, which aid qualified professionals in their pursuit of continuing education and career development in the exhibitions and events industry.

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IAEE Now Accepting 2016 Helen Brett Scholarship Applications
 
Posted: 2 May 2016, 1:00 am
DALLAS, 2 May 2016 ? The International Association of Exhibitions and EventsTM (IAEE) has opened the application process for the Helen Brett Scholarship awards in 2016. The scholarship serves to promote the exhibitions and events industry by attracting college-level students into the field of study and encouraging their pursuit with financial support.

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Conference center education shifts dramatically
 
Posted: 30 Apr 2016, 8:00 pm

The times they are a changin’, and all for the better from this reporter’s perspective.

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CEIR Debuts New Report Series Focusing on Attendee Retention
 
Posted: 28 Apr 2016, 1:00 am
DALLAS, 28 April 2016 ? The Center for Exhibition Industry Research (CEIR) announced today the release of the first report in its newest series, 2016 Attendee Retention Insights. Reports from this exciting new, landmark study offers organizers a comprehensive resource to help understand the profile of attendees that visit an exhibition repeatedly and the content that turns them into a loyal fanbase. The series consists of five reports, beginning with Part One: Basics for Creating Your Attendee Retention Strategy: Tracking, Profiling and Why They Come Back.

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IAEE Public Events Council Releases 2016 Survey Report
 
Posted: 26 Apr 2016, 1:00 am
DALLAS, 26 April 2016 ? Today, the International Association of Exhibitions and Events? (IAEE) Public Events Council released its Public Events Industry Report: 2015 Results. In 2009, the Public Events Council distributed a survey to public event organizers across 22 public events industry sectors to examine overall industry performance. The report identified which public events industry sectors fared well, which sectors struggled and their expectations for the future. As a follow-up to the benchmark report, the survey is repeated annually with subsequent reports detailing individual and comparative statistics over the years.

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Your Industry - Your Voice!
 
Posted: 22 Apr 2016, 1:00 am

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CEM Week - Register Now!
 
Posted: 18 Apr 2016, 1:00 am

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2016 CEIR Index Report Now Available
 
Posted: 13 Apr 2016, 1:00 am
DALLAS, 12 April 2016 ? Today, the Center for Exhibition Industry Research (CEIR) released the 2016 CEIR Index Report. The CEIR Index analyzes the 2015 exhibition industry and provides a future outlook for the next three years. Despite widespread pessimism and deceleration of activity during the fourth quarter, the U.S. economy still displayed significant signs of strength in 2015, led by personal consumption and residential construction. These strengths were offset partially by deterioration in energy development and net exports to produce real GDP growth of 2.4%. According to CEIR?s current projection, 2016 growth will be about the same, or perhaps slightly weaker as the trade gap widens further, before GDP accelerates in 2018 (see Figure 1).

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IAEE Renews Reciprocity Agreement with JEXA
 
Posted: 5 Apr 2016, 1:00 am
DALLAS, 5 April 2016 ? The International Association of Exhibitions and Events? (IAEE) and the Japan Exhibition Association (JEXA) announced the renewal of a reciprocity agreement to benefit members of both organizations. Originally signed in 2012, the agreement renews the commitment of IAEE and JEXA to promote and develop the exhibitions and events industries in their respective countries through membership collaboration.

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IAEE Announces New Chapter in India
 
Posted: 4 Apr 2016, 1:00 am
DALLAS, 4 April 2016 ? The International Association of Exhibitions and Events? (IAEE) announces the addition of its latest chapter in Asia, the IAEE India Chapter. The IAEE Board of Directors approved the creation of this new chapter during its meeting held 31 March 2016 at the HITEX Exhibition Center in Hyderabad, India.

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Convention centers transform to meet attendees’ needs
 
Posted: 1 Apr 2016, 8:00 pm

Generic big-box convention centers seem to be going the way of the buggy whip and typewriter.

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IAEE MATSO Council Adds New Content for May Meeting
 
Posted: 31 Mar 2016, 1:00 am
DALLAS, 31 March 2016 ? The International Association of Exhibitions and Events? (IAEE) MATSO Council?s program for this year?s MATSO Spring Program on 23-24 May 2016 at McCormick Place in Chicago, Ill. will focus on exchanging information that address challenges, share best practices and understand the changing landscape of Tier 1 cities.

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IAEE Awards Jacqueline Russo with 2016 Woman of Achievement Award
 
Posted: 30 Mar 2016, 1:00 am
DALLAS, 30 March 2016 ? The International Association of Exhibitions and Events? (IAEE) proudly congratulates Jacqueline Russo, Vice President of Kuehne + Nagel, Inc., as this year?s recipient of the IAEE Woman of Achievement Award. This award recognizes a woman who has led the way in the advancement of women in the exhibitions and events industry, exhibited outstanding leadership, and made significant contributions to the industry and her community.

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CEIR Releases New Industry Insight Series Report Written by Candy Adams
 
Posted: 29 Mar 2016, 1:00 am
DALLAS, 29 March 2016 ? Today the Center for Exhibition Industry Research (CEIR) announces a new Industry Insight Series report, 99 Cost-Savings Tips and Tricks for Exhibit Managers written by Candy Adams, CTSM, CME, CEM, CMP, CMM, a revered and well-known exhibition industry veteran and owner of ?The Booth Mom? Trade Show Consulting.

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IAEE Announces 2016 Krakoff Leadership Institute
 
Posted: 28 Mar 2016, 1:00 am
DALLAS, 28 March 2016 ? Registration is now open for the International Association of Exhibitions and Events? (IAEE) Krakoff Leadership Institute (KLI) to be held 7-9 August 2016 at The Waterfront Beach Resort, A Hilton Hotel in Huntington Beach, Calif. The program is open to IAEE members interested in enhancing their strategic skills, and broadening their knowledge as current and future leaders in the exhibitions and events industry.

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IAEE Congratulates its 2016 International Excellence Award Recipient
 
Posted: 17 Mar 2016, 1:00 am
DALLAS, 17 March 2016 ? The International Association of Exhibitions and Events? (IAEE) congratulates Edward J. Krause III (Ned), President and CEO of E.J. Krause & Associates, Inc. (EJK) as this year?s recipient of the IAEE International Excellence Award. The IAEE International Excellence Award recognizes an individual or organization that has made exceptional strides in creating, launching and managing an international event in the exhibitions and events industry on an international scale.

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CEIR Releases Final Digital Toolkit Report
 
Posted: 15 Mar 2016, 1:00 am
DALLAS, 15 March 2015 ? Today, the Center for Exhibition Industry Research (CEIR) announced the release of the final report in the CEIR Digital Toolkit series. The new report, entitled Focus Report on Exhibition Organizer Onsite and Post-event Offerings provides an in-depth look at attendee preferences compared to business-to-business exhibition offerings for show mobile apps, as well as other onsite digital amenities and post-event digital communications.

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IAEE MATSO Council Announces City Working Group Initiative, Finalizes Governance Procedures
 
Posted: 9 Mar 2016, 1:00 am
DALLAS, 9 March 2016 ? The International Association of Exhibitions and Events? (IAEE) MATSO Council announced it will resurrect city task force updates following a recent council meeting that focused on future programming and governance procedures.

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IAEE Announces 2016 Call for Nominations for Individual Awards
 
Posted: 8 Mar 2016, 1:00 am
DALLAS, 8 March 2016 ? Today, the International Association of Exhibitions and Events? (IAEE) has opened the Call for Nominations for its annual awards program to recognize exceptional professionals in the exhibitions and events industry. Industry professionals who meet the outlined criteria may be nominated for any of the awards listed below, and recipients will be honored at Expo! Expo! IAEE?s Annual Meeting & Exhibition to be held 6-8 December in Anaheim, Calif.

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Conference center experts weigh in on five hot trends
 
Posted: 30 Apr 2015, 8:00 pm

Here is the top feedback when it comes to staging cutting-edge conference meets.

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Convention center tradeshows focus on interaction
 
Posted: 31 Mar 2015, 8:00 pm

Are you fully engaging your attendees?

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State College brims with entertaining endeavors
 
Posted: 30 Oct 2014, 8:00 pm

When it comes to putting fun on the agenda, State College is one smart choice.

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Ebola and the venue industry
 
Posted: 16 Oct 2014, 2:57 pm
IAVM is actively monitoring the impact of recent Ebola incidents. At the direction of Chair Kim Bedier, CFE ? in collaboration with our Industry Affairs Council and key IAVM staff ? an Ebola task force has been formed to work on relevant communications to the IAVM community.

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Close encounter of the third kind with Google Glass, part 2
 
Posted: 16 Oct 2014, 2:57 pm
More from Portland?5?s Joe Durr about this ?cool? technology product.

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Watch: Hugh Jackman talks about ticketing
 
Posted: 16 Oct 2014, 2:57 pm
Hugh Jackman and the show's producer are making sure pricing allows anyone that wants to see his new play will not have to worry about scalpers.

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Yarra, Australia, creates venue soundproofing fund
 
Posted: 16 Oct 2014, 2:57 pm
The city house 500 venues, 50 of them live music venues.

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Can a team have too much talent?
 
Posted: 16 Oct 2014, 2:57 pm
Yes, and here?s why having too much talent on a team is bad.

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Wesley Burtch Dickson
 
Posted: 16 Oct 2014, 2:57 pm
Wes founded his business, Advanced Equipment Corp., in 1957. In 1959, the business moved to Orange County, California.

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The Marvel Experience lets you save the world
 
Posted: 16 Oct 2014, 2:57 pm
The event will incorporate augmented reality, multiperson gaming, and RFID tracking for full fan immersion.

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Session proposals wanted
 
Posted: 16 Oct 2014, 2:57 pm
Please submit your session ideas for IAVM?s conferences. Presentations cannot be sales pitches, and if your topic is selected, IAVM will contact you concerning the coordination of the session speaker/panelists.

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The Firestation Centre launches its neo-ticketing project
 
Posted: 16 Oct 2014, 2:57 pm
With its new project, the venue wants to find out if it will sell more tickets, if guests will get better deals, and if artists will earn more.

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VenueConnect's environmental impact was minimal
 
Posted: 16 Oct 2014, 2:57 pm
VenueConnect's is the first conference that the Oregon Convention Center has measured the water, waste, and energy statistics.

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Shared activities make experiences more intense
 
Posted: 16 Oct 2014, 2:57 pm
Here?s some scientific support on the value of live experiences.

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Upcoming webinars
 
Posted: 16 Oct 2014, 2:57 pm
These two, free webinars next week will focus on becoming a CFE and the Mentor-Connector Program.

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AEG Live acquires two historic Virginia theatres
 
Posted: 16 Oct 2014, 2:57 pm
Those theatres are The National Theatre in Richmond and The NorVa Theatre in Norfolk, Virginia.

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Elmer Randolph 'Randy' Pugh
 
Posted: 16 Oct 2014, 2:57 pm
Randy was employed with the City of Virginia Beach as the Operations Supervisor of the Pavilion Convention Center from 1980-1999.

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Earl R. Williams
 
Posted: 16 Oct 2014, 2:57 pm
Earl was employed with Kimble Glass Co. and later Ball State University as Conference Director and General Manager of Emens Auditorium.

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New Miami convention center and hotel approved
 
Posted: 16 Oct 2014, 2:57 pm
The new development will be on the site of the old Miami Arena.

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Take 10 - Invigorate Your Large Events!
 
Posted: 13 May 2014, 8:00 pm

Dana Freker Doody answers questions from Meetings Focus' Invigorate Your Large Events webinar.

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Cookie-cutter conference centers are a thing of the past
 
Posted: 30 Apr 2014, 8:00 pm

Today's conference centers are more about standing out than fitting in.

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Scheduling events at Florida colleges and universities is a smart choice
 
Posted: 31 Mar 2014, 8:00 pm

Educational facilities throughout Florida give attendees a chance to relive the college experience.

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Convention centers adapt to tradeshows of today
 
Posted: 31 Mar 2014, 8:00 pm

Modern convention centers are about experience as much as setting.

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IACC Americas Conference Sees Attendee Uptick
 
Posted: 18 Mar 2014, 8:00 pm

The 2014 IACC Annual Conference reported it has attracted the most registered attendees since 2008.

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State College, Pennsylvania, is a happening, business-savvy hub
 
Posted: 27 Oct 2013, 8:00 pm

State College, home to Pennsylvania State University, welcomes groups with its vibrant ambiance and excellent on-campus (and off-site) facilities.

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A Q&A with Mark Cooper, new CEO of the International Association of Conference Centres
 
Posted: 24 Apr 2013, 8:00 pm
IACC's new CEO shares his insights on the events industry

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A quick take on recent openings and upgrades in the world of conference centers
 
Posted: 24 Apr 2013, 8:00 pm

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School Spirit
 
Posted: 17 Feb 2013, 7:00 pm
College stadiums and arenas are a classic choice for large groups

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Get Smart
 
Posted: 17 Feb 2013, 7:00 pm
On the fence about booking a college venue? These benefits might convince you.

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Areas of Study
 
Posted: 17 Feb 2013, 7:00 pm
University meetings think outside of the classroom

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Virtual Visionaries
 
Posted: 25 Nov 2012, 7:00 pm
Emilie Barta and John Pollard aim to take the fear out of planning hybrid events

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Take 10 - Conference Centers
 
Posted: 11 Jun 2012, 8:00 pm
Take 10 - Conference Centers

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New School
 
Posted: 30 Apr 2012, 8:00 pm

More...


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Final Bow
 
Posted: 28 Mar 2012, 8:00 pm

More...


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IACC Makes Global Push; Criteria to 'Evolve'
 
Posted: 21 Mar 2012, 8:00 pm

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IACC Board Sets New Service Standards
 
Posted: 30 Nov 2011, 7:00 pm

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Association Meetings 3.0
 
Posted: 16 Sep 2011, 5:10 pm
What does the association meeting of tomorrow look like and how can you prepare to provide your members with the type of meetings they need? A presenter at ASAE's 2011 Annual Meeting & Expo provides her expert glimpse into the future.

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Rethinking Sponsorships in the Age of Social Media
 
Posted: 16 Sep 2011, 4:56 pm
Technology is changing our lives in seemingly countless ways, including association event sponsorships. Find out what a leading event software expert believes are the best ways to make the most of sponsorships in the age of social media.

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What You Need to Know About Simultaneous Interpretation
 
Posted: 16 Sep 2011, 4:54 pm
As more associations venture overseas, simultaneous interpretation is more important than ever. Two experts who have conducted events around the globe share their insights.

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Reduce Expenses for Meetings of Any Size
 
Posted: 16 Sep 2011, 4:51 pm
Even the largest associations sometimes have meetings that don't represent a lot of room nights, which can reduce your ability to negotiate with the host hotel. Here are nine tips to help you get the best deal for your next meeting, no matter how many attendees you have.

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Strategic Meeting Planning
 
Posted: 6 Jul 2011, 11:00 am
We use strategic planning in our everyday lives but often get too caught up in all the details to apply it effectively during the meeting planning process. Discover how to be truly strategic the next time you're planning an important meeting.

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New Models for Successful Convention Strategy
 
Posted: 6 Jul 2011, 10:56 am
There's more to meetings than good content and a nice location. An ASAE Fellow and association business strategy consultant shares his views on factors such as information needs, competing resources, and strategic barriers that impact attendance at association conventions and tradeshows.

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Post-Recession Economy Requires New Guidelines for Association Events
 
Posted: 6 Jul 2011, 10:53 am
Association events are making a comeback following the deep recession, but everyone remains sensitive to appearing too extravagant and expensive. Here's a process for determining what's appropriate for your next events.

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Increase Exhibitor Engagement Without Increasing Your Budget
 
Posted: 6 Jul 2011, 10:49 am
Every association tradeshow is under pressure to increase traffic, but at what cost? Follow these strategies for increasing traffic and enhancing exhibitor loyalty without busting your budget.

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Letter From the Chair: ME Section Contributes to "199 Ideas" for Planners
 
Posted: 6 Jul 2011, 10:47 am
The Meetings & Expositions Section Council chair discusses the debut of an exciting new resource for association planners, provides a glimpse of the upcoming Annual Meeting & Exposition, and lends his perspective on the value of associations to society.

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Tips to Make Transportation at Your Conference Greener
 
Posted: 9 May 2011, 10:09 am
Greening meetings has come a long way in recent years, but you can take it to the next level with a little strategy and a lot of enthusiasm. Learn how to get your group actively involved in being a deeper shade of green.

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University Venues
 
Posted: 30 Apr 2011, 8:00 pm
Collegiate athletic venues are ideal for team building and spectator fun

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Conference Centers
 
Posted: 31 Dec 2010, 7:00 pm
With mounting competition, conference centers get flexible

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Conference Center Changes
 
Posted: 31 Dec 2010, 7:00 pm
Conference Center Changes

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On Location - Convention Centers
 
Posted: 31 May 2010, 8:00 pm

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University Venues
 
Posted: 30 Apr 2010, 8:00 pm
Campus Culture

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Conference Centers
 
Posted: 31 Mar 2010, 8:00 pm

After a tough year, conference centers see better times ahead

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University Venues
 
Posted: 28 Feb 2010, 7:00 pm

Universities offer an exciting range of museum venues

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