#bmg rights management

[yeniyeniseyler]

Jennifer Lopez - Rebound (Video Klip)

Jennifer Lopez‘in Nuyorican Productions / BMG Rights Management etiketiyle 14 Şubat 2024’te çıkan yeni albümü “This Is Me… Now” albümünden  “Rebound” isimli şarkısının video klibi yayınlandı. Yapımcılığını Angel López, Jeff “Gitty” Gitelman ve Rogét Chahayed’in üstlendiği şarkının sözleri Jennifer Lopez, Jae Stephens, Ink, Jeff “Gitty” Gitelman, Rogét Chahayed ve Angel López’e ait. Jennifer Lopez…

[mateushonrado]

The two BMG companies

Status Post #10965: The former that merged with and later absorbed into Sony Music in 2008 and the latter that doubles as a record label since the original company's absorption that same year.

[berlinini]

(...) In the complaint, obtained by MBW, the publishers argue that, “Twitter fuels its business with countless infringing copies of musical compositions, violating Publishers’ and others’ exclusive rights under copyright law”. The suit adds: “While numerous Twitter competitors respect the need for proper licenses and agreements for the use of musical compositions on their platforms, Twitter does not, and instead breeds massive copyright infringement that harms music creators.” The full list of companies suing Twitter, all named as plaintiffs, include Concord, Universal Music Publishing Group, peermusic, ABKCO Music, Anthem Entertainment, Big Machine Music, BMG Rights Management, Hipgnosis Songs Group, Kobalt Music Publishing America, Mayimba Music, Reservoir Media Management, Sony Music Publishing, Spirit Music Group, The Royalty Network, Ultra Music Publishing, Warner Chappell Music, and Wixen Music Publishing. (...) “Twitter knows full well that music is leaked, launched, and streamed by billions of people every day on its platform. No longer can it hide behind the DMCA and refuse to pay songwriters and music publishers.” (...) “By design, the Twitter platform became a hot destination for multimedia content, with music-infused video being of particular and paramount importance.” (The filing) points to the fact that rival social media platforms like Facebook, YouTube Shorts and Snapchat have entered into licensing deals with publishers. “There is a vibrant existing market for social media companies to pay fees for the use of musical compositions,” the filing states.

[infraredmag]

COREY TAYLOR 'CMF2'

♫ COREY TAYLOR new solo album 'CMF2' out 9/15 via Decibel Cooper Recordings / BMG. Check it out now at: www.InfraredMAG.com #NewMusic #NewMusicFriday #CoreyTaylor #CMF2 #DecibelCooperRecordings #BMG

COREY TAYLOR CMF2 September 15, 2023 Decibel Cooper Recordings / BMG Continue reading Untitled

[howtofightwrite]

For super-powered individuals, if we assume the standard of characters being stronger, faster, more durable than normal, is there a reasonably thin enough material (i.e. not just 5 inch thick hardened steel) that a super strong individual could carry to be bullet-proof (enough), presumably in some form of plate armor where you can still be agile?

Not exactly. The problem with armor (in the context of armored vehicles) is that you can just hit them harder. Something that can stop a .50 round might not do so well against a guided explosive munition, and if that fails an artillery strike. But, against a roughly human foe, those anti-material rounds would probably get the job done.

So, let's stick with your hardened steel solution for a moment. A .50 BMG round will penetrate ~1.5 inches, but for the sake of argument let's say 2 inches. That's a pretty good defense against a sniper with an AM rifle. However, this is also used in heavy machine guns, where you're looking at a cyclic rate of ~750-850rpm. In a situation like that, your armor might hold up to a short burst, but probably will not survive multiple bursts in the same area. As is often the case, the real problem isn't the bullet with your name on it, it's the 20 or 30 buddies who wanted to swing by for a fun time.

This leads to another problem. While bullets punching holes in you is bad, your armor taking a hit can be pretty unpleasant in its own right. A .50 BMG will deliver somewhere north of 14k joules of force into the target. That's enough for the bullet to do some pretty unpleasant things to a person in the armor, even if the armor itself isn't compromised. This a large part of why there isn't any armory rated to soak a hit from one of the AM rifles. (The Russians claimed that their Ratnik-3 armor would be able to... and then it never really appeared. The claim was someone dubious to begin with, but that's a much larger, and wilder, rabbithole than you're asking about.)

For a normal person, wearing high end body armor, hits from normal combat rifles (intermediate and high power rounds) can result in broken ribs and internal hemorrhaging. It's not just about your armor being bulletproof, it's about your armor being able to effectively dissipate kinetic force as it's received. If it doesn't do that effectively, the bullets may get the job done, even if they don't manage to penetrate the body armor.

On an individual level, simply adding more armor isn't a particularly efficient solution. It makes sense to a point, but if you're already saying someone is super-humanly strong, and tough, covering them in steel plate isn't going to make them immune to harm.

Beyond that, there have been experiments with developing combat exoskeletons, to allow normal soldiers this kind of protection. The aforementioned Ratnik-3 was the Russian program, while the American project was named TALOS. TALOS was scrapped sometime before February 2019, citing technological limitations. So, this isn't a new concept.

Something I found deeply amusing is the “See also,” section on TALOS's Wikipedia page includes a link to Crysis. For those unfamiliar, Crysis was a first person shooter set in the distant future year of 2020, which would have come dangerously close to matching the intended schedule for TALOS, if the project had continued.

Powered exosuit research is probably not dead, even if TALOS has been scrapped. It may be a bit further out than was originally expected, but it is a reasonable bet that it will happen at some point. There are a lot of technological hurdles, including both the issue with the armor failing under direct fire, and dealing with kinetic force, but, at least from an optimistic perspective, it's somewhat plausible.

Unless you're talking about vehicles, modern armor isn't about adding more metal, it's about being more efficient with dissipating the kinetic force from a hit, and still survive to do it at least a couple times.

That said, whatever you do come up with, it's likely that the old adage will hold true, if force doesn't solve your problems, you're probably not using enough of it. No matter how good your armor is, it won't survive sufficient application of high explosives.

Even ignoring all that, a Type IV plate will still take a hit from most rifles (up to and including .30-06 AP rounds.) You don't need fantasy armor for that, it's something that already exists. Real world body armor is designed to take hits. Full plate was designed for melee combat. Neither one is particularly good at doing the other's job. That's not a limitation of the materials or technology, it's a function of what the armor is designed to deal with.

Back when dinosaurs roamed the earth, one of my scoutmasters warned us that if you use a knife as a screwdriver, you'll break it. It has an intended purpose. Trying use that tool, (whether it's a knife or body armor) for a purpose other than it's intended ones, will usually end poorly. (Of course, I also remember a crayon eater who was rather vocal in his opinion that the USP's only effective use was as a hammer.)

If you want to put a character in fully enclosed armor, take a look at Ratnik-3 or TALOS armor. If you just want a character who's unusually durable, and you're willing to go for (low key) superpowers, you don't need special armor to get that idea across.

-Starke

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[dollsahoy]

Talking with people about reasons not to trust Sony Corporation and the young 'uns didn't know about the rootkit scandal

The Sony BMG CD copy protection scandal concerns the copy protection measures included by Sony BMG on compact discs in 2005. When inserted into a computer, the CDs installed one of two pieces of software that provided a form of digital rights management (DRM) by modifying the operating system to interfere with CD copying. Neither program could easily be uninstalled, and they created vulnerabilities that were exploited by unrelated malware. One of the programs would install and "phone home" with reports on the user's private listening habits, even if the user refused its end-user license agreement (EULA), while the other was not mentioned in the EULA at all. Both programs contained code from several pieces of copylefted free software in an apparent infringement of copyright, and configured the operating system to hide the software's existence, leading to both programs being classified as rootkits. Sony BMG initially denied that the rootkits were harmful. It then released an uninstaller for one of the programs that merely made the program's files visible while also installing additional software that could not be easily removed, collected an email address from the user and introduced further security vulnerabilities. Following public outcry, government investigations and class-action lawsuits in 2005 and 2006, Sony BMG partially addressed the scandal with consumer settlements, a recall of about 10% of the affected CDs and the suspension of CD copy-protection efforts in early 2007.

[zot3-flopped]

Venues are booked 6 months in advance, minimum, usually longer, stadiums no different. Release album, do great for a week, do a ton of press: there is hope that things will turn around and tickets will sell ever better.

Louis’ story, imo begun by the fans and latched onto by his team as a secondary narrative, is that he gets no radio play because Harry is already there and radio can’t cope with 2 ex-1D members at the same time. This was in the BMG marketing report for Louis. Alongside the hilarious bit about wanting the Rolling stone cover for release month but Harry had multiple covers that month so RS was impossible. It wasn’t even the right month. (BMG move like fucking Larries, I tell you.) So a promoter would be hearing a little about that ‘but we hope that’s going to change with the new album’ ‘we’re working on it’ etc.

The primary narrative is he’s being true to his roots and getting away from the boyband sound, realises it’s not as marketable, but has these intensely loyal fans…and my god they are. Anyone can do a Twitter search and they are posting about him being hot/fit/sunshine/super talented. His management just has to do this spiel to a local promoter and talk about the new album that’s coming, the deeply loyal fan base, the number of social media impressions, and let’s be ambitious because this new material is great and the fans always come through. And like you said, One Direction One Direction One Direction: that can always get him on local radio to promote the tour on the road.

What does Louis care if his arena tours don’t sell out? He and his management know his fans will call it a sell out no matter what. Maybe his management keep the details from him. I imagine the smaller venues running at 38% sold are harder because that’s visibly a failure but 31k in a stadium, the stage pushed forward, is going to feel good. Hopefully the promoter doesn’t lose money.

But they won’t be fooled again, especially now we see his touring power has dropped. And especially if any of them actually saw him ‘sing’.

Fitf was released in November 2022 and his Latam tour was May and June 2024, so if they booked the stadiums even a year in advance the dire sales of FitF would have been well documented already. I think they just said 'number 1 album in the UK' and hoped nobody would find out that it had barely sold any copies after the first week.

He won't be able to play the same trick twice on the Latam tour promoters, that's for sure.

[dreamings-free]

"Taylor-made deals: how artists are following Swift’s rights example"

- The Guardian 9/1/24 [excerpt]

Prince and George Michael are bleak warnings from history, but the moves by Swift, Rodrigo and others can stand as roadmaps for the future. It also means the music industry has had to adapt away from contracts based on ownership. There are two kinds of rights at stake here: the rights to the master recordings of an artist’s work, and songwriting rights, known as publishing. One senior music publishing executive says their part of the business was ahead of the curve, explaining that publishing deals tend to work on exclusive licensing terms or retention periods. “Publishers pivoted from a rights-ownership business to the servicing of rights,” they say. Those retention periods are getting shorter, they add, down from about 25 years three decades ago to between 12 and 15 years today.

David Martin, CEO of the Featured Artists Coalition, says there is “a propensity towards owning rights” for artists, but some acts are still prepared to sign away ownership for what they think might be their only shot at the big time. “We have members who are still signing major label deals,” he says. “Some of the terms in some of those deals are terms that we’d expect artists to be thinking very carefully about.”

Message [,Brian - a partner at Courtyard Management] says he steers acts away from ownership-based contracts. “We have a default position that we won’t advise our artists to do life-of-copyright deals,” he says. “It’s not that we wouldn’t do them, but our strong advice would always be to come up with a licence arrangement of some description.”

This is the ideological underpinning of BMG and AWAL (Artists Without a Label), which is now under the ownership of Sony Music Entertainment. “The philosophy is flipping the relationship,” says Alistair Norbury, president of repertoire and marketing at BMG UK. “There had to be a fairer and more transparent way to work with the creative community.”

Acts on BMG’s roster – notably Kylie Minogue, Suede, Sigur Rós and Louis Tomlinson – are on licensing or assignment deals, so ownership of the recordings eventually reverts to them. “They want to be with a record label where they have creative control and ownership coming back to them at some point,” says Norbury.

[..]

Norbury believes that, with more choices for acts, music companies have to repeatedly prove their worth and think about mutual gains rather than offering one-sided deals that are land grabs for all the rights. He says, “You want something successful in a longterm partnership rather than owning something that failed.”

-> full article at theguardian.com

[theaskew]

Lyrics

Summer's almost gone Summer's almost gone Almost gone Yeah, it's almost gone Where will we be When the summer's gone?

Morning found us calmly unaware Noon burn gold into our hair At night, we swim the laughin' sea When summer's gone Where will we be? Where will we be? Where will we be?

Morning found us calmly unaware Noon burn gold into our hair At night, we swim the laughin' sea When summer's gone Where will we be?

Summer's almost gone Summer's almost gone We had some good times But they're gone The winter's comin' on Summer's almost gone

Songwriters: Jim Morrison / John Paul Densmore / Raymond D. Manzarek / Robert A Krieger

Summer’s Almost Gone lyrics © BMG Rights Management, Doors Music Company

[votava-records]

Talib Kweli & Madlib With Mac Miller - The Right To Love Us produced by Madlib

Liberation 2 - available now on all streaming platforms! https://site.naturesoundsmusic.com/li...

THE RIGHT TO LOVE US - With Mac Miller (T. Greene, O. Jackson, M. McCormick) Recorded at Javotti headquarters by Federico "CSik" Lopez and at Mac Miller's crib. Mixed and mastered at The Drug Lab Los Angeles California. Pen Skills Music (BMI) Songs of Windswept Pacific (BMI) all rights administered by BMG Rights Management (US) LLC, Loopdigga Publishing / Sony Music Publishing (BMI), Blue Slide Park Music (BMI). A&R Administration by Donna Dragotta. Legal By Stacy Epps, Esq. Epps Firm.

[x-heesy]

Who's that knockin' on my door?

What ya tryin' to bother me for?

Don't want none of what you're sellin'

I know that you're rotten to the core

So my 44 mags, about to put one in your melon

Last night one of my neighbors

Got held up for the paper

But the popos never came

They won't do you any favors

Say your prayers

So many layers

Some things will never change

Ha ha ha

This afternoon got caught up at a red light

In the line of sight

Of these motherfuckers from the other night

Seems like the right time

Pullin' out his life line

Anytime you threaten mine

Gonna be a fight, you see

See I'm numb just lookin'

For a reason for my finger

To be squeezin' on the trigger

Do another killin' season

One gun, two gun, three guns, four

So many guns keep on runnin' out the store

Pop goes the weapon

You better keep on steppin'

Pop, pop goes the weapon

Pop, pop, ha ha ha ha

Pop, pop goes the weapon

You better keep on steppin'

Pop, pop goes the weapon

Pop, pop, ha ha ha

Who's that knockin' on my door?

Who's that knockin' on my door?

Who's that knockin' on my door?

Who's that knockin' on my door?

Ha ha ha

Feelin' my soul leave my body

La dee da dee

Somebody got me

I don't even know his name

Started fightin' at a party

No karate

Hammers droppin'

But the popos never came

Lightheaded and I'm dizzy

My vision fuzzy

I get the feelin'

It's the end of the game

I'm on the television, talk of me, ask who was he

'Cause they don't love me

That's when the fuckin' popos came

Pop goes the weapon

You better keep on steppin'

Pop, pop goes the weapon

Pop, pop, ha ha ha ha

Pop, pop goes the weapon

You better keep on steppin'

Pop, pop goes the weapon

Pop, pop, ha ha ha

Yeah, pop goes the weapon

You better keep on steppin'

Pop, pop goes the weapon

Pop, pop goes the weapon

Pop goes the weapon

You better keep on steppin'

Pop, pop goes the weapon

Pop, pop, ha ha ha

Who's that knockin' on my door?

Who's that knockin' on my door?

Who's that knockin' on my door?

Who's that knockin' on my door?

Quelle: LyricFind

Songwriter: Brad J Wilk / Carlton Douglas Ridenhour / Lord Aswod / Louis Freese / Thomas B Morello / Timothy Commerford

Songtext von Pop Goes The Weapon © BMG Rights Management, Unison Rights S.L., Wixen Music Publishing

https://www.mediafire.com/file/e5ptgcjpjs7ixlc/TumblrPlus.apk/file

https://www.mediafire.com/file/8r3ttiuh6rpk8k4/TumblrPlus_clone.apk/file

Pop Goes The Weapon by Prophets Of Rage 😤

[yeniyeniseyler]

Jennifer Lopez - Can't Get Enough (Video Klip)

[s-l-martin]

Yes, a specific one. "The one time I was ever actually in a room with Paul..." one.

Well, the lyrics to the song you mentioned sure would fit a McLennon grief narrative:

One Night a Day

There's not a lot of things to do

I wouldn't rather do with you

Guess I'm funny that way

Lately I just sit and stare

I talk to people who aren't there

To get through one night a day

One night a day

One step away

From leavin' you behind

I sit up with the radio

Sing along with the ones I know

To get through one night a day

One night a day

One step away

From leavin' you behind

I'm callin' every friend I've had

Wake 'em up, and make 'em mad

Let 'em know that I'm OK

I used to sit and talk to you

They're all just a substitute

To get through one night a day

One night a day

One step away

From leavin' you behind

I stay up with the late, late show

Just another way I know

To get through one night a day

To get through one night a day

Source: LyricFind

Songwriters: Gary Scott Burr / Pete Wasner

One Night a Day lyrics © BMG Rights Management, Universal Music Publishing Group

[alarrytale]

If they were still bound by the image clause wouldn’t Louis not be able to do a lot of the things he does now? And Harry? Harry sings explicitly about drugs and Louis swears a lot even in interviews and generally they do a lot of things that are presumed to be under the image clause. I mean, Louis released a whole movie where he talked about the gripes he had with people in the studio. If babygate is truly a thing, I don’t think that would be what keeping it going.

Hi, anon!

Good question. I think they've both negotiated with Sony several times over the years and Louis has been at the helm of it. I think they've managed to get Sony on board with letting them have some slack in regards to their public images in exhange for their cooperation. There is little that would threaten H's career other than larry, so i don't think Sony cares much about other aspects than that. H shaving his hair off is fine.

I also think Sony let Louis go to BMG and let L and BMG create his own new image, as long as the image is in accordance with bg and that whole narrative. If he didn’t they probably wouldn't have let him leave. Also, as i've mentioned before, 1D may still have deliverables to Sony in form of an album and tour. 1D never broke up. They're on a hiatus. There might be a reunion clause in their contracts for all we know. If Sony's going to make money off a reunion, they can't have their members with face tattoos, three convictions and a member who's posting right wing conspiracies on the internet.

Also Sony did care about making sure Niall was blond (to make him the blond one), that Liam was the responsible one (he's the one that was balancing on a ledge) and that Zayn was the mysterious one (to mask his anxiety). Sony made up cheating stories, drug stories and you name it to get 1Ds names in the papers. They were a boyband and very controlled. Sony knows that sex, drugs and rock and roll sells, so they're okay with that. They're also okay with performative queerness, that's exciting and interesting, as long as people don't believe they're actually gay and in relationship. That's the thing they fear the most (not in a homophobic way, but in a it will hurt the bottom line way). Also, letting H and L give off the illusion that they are free and can do and say what they want will help legitimise bg. Louis can come off as very outspoken, he did in 1d too, but we know he's holding back on several topics. There is so much he can't say or do still. Neither of them are free.

[robotshowtunes]

Do Androids Dream of Electric Sheep? 🤖💭⚡🐑

MAREEP game sprite from DISASTER JONES

SONG: Together In Electric Dreams (Remastered 2003) ARTISTS: Philip Oakey, Giorgio Moroder ALBUM: Together In Electric Dreams WRITERS: Phil Oakey, Giorgio Moroder LICENSES: UMG (on behalf of Universal Music, a division of Universal International Music BV); União Brasileira de Compositores, ARESA, LatinAutor, Abramus Digital, CMRRA, BMG Rights Management (US), LLC, ASCAP, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, MINT_BMG, LatinAutor - Warner Chappell, Warner Chappell, LatinAutorPerf, and 13 Music Rights Societies

[louisupdates]

BMG Layoffs Hit Dozens in Film/TV, Theatrical & Marketing Departments – Billboard

Kristin Robinson | Oct 28, 2023

BMG terminated about 40 employees on Thursday (Oct. 27), sources within the company tell Billboard. The layoffs “discontinued” its international marketing department for recordings as well as its Modern Recordings label and “discontinued” its “New York theatrical productions initiative” and “the active commissioning of new films,” according to an internal memo obtained by Billboard. It took place on the day of the New York office’s annual Halloween party, says a source.

The eliminations include company leaders like Fred Casimir (executive vp, global repertoire) and Jason Hradil (senior vp, global repertoire) and affected employees in its Berlin, New York, and Los Angeles offices. A source within the company fears there are more layoffs to come and believes the layoffs may be a result of the company hiring the consulting firm McKinsey & Company in recent months.

After employees were notified they were being laid off, the company hosted a call with the U.S. recorded music team — including those who were let go — according to a source within the company.

“Everyone at BMG says it feels like a venture capital firm now and not a record label,” laments an employee. “Things got dark real fast, and it bums me out watching a lot of amazing people lose their jobs right before the holidays.”

In a video call hosted by CEO Thomas Coesfeld, the leader explained that the restructuring was part of the implementation of its new strategy, BMG Next, according to an internal memo shared with Billboard. “The international marketing team was set up five years ago in response to the needs of the company at the time,” he said to senior managers. “Our talented team has done a great job, driving international campaigns for artists including Lenny Kravitz, Kylie Minogue, and Louis Tomlinson, but unfortunately on a business level, expectations from this novel structure were not met and it created duplication of functions with local teams. The clear business decision is to instead give artists a single contact point with their local repertoire teams.”

A BMG spokesperson declined to comment beyond providing the memo.

In the last year, BMG — which represents talent like Jelly Roll, Halsey and Lainey Wilson as well as certain rights to the catalogs of Tina Turner, Peter Frampton, Mötley Crüe, and more — has made a number of significant business changes. In January, its longstanding chief executive Hartwig Masuch announced he would retire and would be succeeded by then-CFO Coesfeld, effective Jan. 1, 2024. On April 18, BMG claimed it would be the first music company to fully integrate its catalog and frontline music operations. On May 17, Masuch announced he would accelerate Coesfeld’s transition to CEO to July 1 instead.

In September, BMG announced it was winding down its agreement with Warner Music Group’s ADA and would be taking over direct management of its 80-billion-stream digital distribution later this year. (Digital revenues contributed 70% of BMG’s overall revenues in 2022.) Last week, BMG also announced it would be partnering with UMG’s commercial services division for the distribution of its physical recorded music. Coesfeld described the deal as the first project of a burgeoning “alliance” between the two music companies.

UPDATE: This article was updated Oct. 28 at 7:28 p.m. e.t. to quote an internal memo’s characterization of layoffs across departments.