#pandora gv

[shameless-sol-apologist]

something homosexual just happened

[writtenforwylan]

My Friends as Marauders Era Characters

So I have a bunch of friends who I think can be a lot like some Marauders Era characters and I therefore am going to share them (and something about them too) with you. 

Evie - Lily Evans

Evie is incredibly intelligent, my best friend, and kinda short-tempered too. She’s the sweetest human ever but also has an ongoing feud with our English teacher (sorry Mr Shaw, but we are planning to give you a heart attack soon sooooo).

Ellie - Marlene McKinnon

Ellie is very opinionated, is low-key scared of everyone while everyone is low-key scared of her, and she’s loud, proud, and unapologetic. 

Ioan - Remus Lupin

Ioan is *the* most Remus Lupin human I’ve ever encountered, I swear. He’s in mostly top sets (everything but Cymraeg), he’s chaotic yet so smart, and he’s an absolute dumbass who puts up with everyone else’s dumbassery too. Love him.

Malachy - Sirius Black

THIS BITCH. 

Maiwenn - Pandora Sailstreame

Mai is so funny and so cool, but she knows it damn well, too. She knows she’s a glorious human and we all love her for it. (also, she has a really cute dog called Mostyn but that’s beside the point)

Millie P (i know 3 millies, okay?) - Mary MacDonald

Millie is opinionated, lovely, socially aware, and headstrong. She also knows exactly what she’s worth while being able to criticise her surroundings/herself and earlier she was talking about our RE class and how when we have it tomorrow, Johnny’s gonna eat EVERY SINGLE CHOCOLATE FINGER IN THERE. and she’s not even wrong. 

Hannah - Amelia Bones

Hannah is super sweet, nice, and always misses class for extra-curricular stuff. She’s in choir, ‘llefaru’, and she worked on the summer fair too. She does everything, is the kindest human, and she has a close-knit group of friends she’d do anything for. 

Levi - Barty Crouch jr

EMOOOOOOO

Asher - James Potter

As soon as Ash read the GV for me, I knew it would go well. and it did. Ash is so happy to completely nerd out with me for Gods know what, sit with me in comfortable silence while we’re doing our own things (paralel play), and we know we can go to each other for anything. (they also have set-aside pancakes every morning in school cause their mum is one of the lunch ladies)

So that’s my probable incomplete list of my friends as Marauders Era characters!

[andtragica]

𝐡𝐞𝐚𝐯𝐲 𝐢𝐬 𝐭𝐡𝐞 𝐡𝐞𝐚𝐝 𝐭𝐡𝐚𝐭 𝐰𝐞𝐚𝐫𝐬 𝐭𝐡𝐞 𝐜𝐫𝐨𝐰𝐧 .

they  are  our  future ,     they  promise  hope  and  stability .     at  least  on  the  outside .     behind  the  castle  walls   ?     that  is  a  completely  different  talk .     they  drink ,     they  party ,     they  go  to  events  and  the  world  is  constantly  watching  over  them  like  hawks .     they  war  the  newest  brands ,     go  to  the  hottest  parties  but  they  also  carry  an  enormous  amount  of  weight  on  their  shoulders .     will  they  make  it  or  break  it     ?

𝐭𝐡𝐞 𝐫𝐮𝐥𝐞𝐬 𝐭𝐨 𝐟𝐨𝐥𝐥𝐨𝐰 .

i .     be  as  active  as  you  can  however  no  one  expects  you  to  post  every  day  so  don’t  stress  abt  it  this  is  just  for  fun . i .     don’t  do  ooc  drama  but  ic  drama  is  highly  recommended .     any  major  plots  has  to  be  run  by  an  admin . i .     to  join  msg  me  here  with  your  character’s  name ,   age ,   country  they’re  from  and  status . i .     once  accepted  please  track  the  tag  :    gv heavy is the head .

𝐚𝐧𝐝 𝐧𝐨𝐰 𝐰𝐞 𝐩𝐫𝐞𝐬𝐞𝐧𝐭 𝐲𝐨𝐮 ...

veronica  lodge .     fc :   camilla  mendes .     @andtragic​ .     princess  of  spain . raven  reyes .     fc :   lindsey  morgan .     @mechaenics .     princess  of  mexico . margaery  tyrell .     fc :   alicia  vikander .     @floweres .     princess  of  italy . katherine  petrova .     fc :   nina  dobrev .     @holymyth .     princess  of  bulgaria . alexandreus  mikaelson .     fc :  bill  skarsgaard .     @primigenes .     prince  of  norway . wells  jaha .     fc :    eli  goree .     @dyefirst​ .     president’s  son .  pandora  carter .     fc :   emeraube  toubia .     @cagebuilt .     american  socialite . sam  winchester .     fc :   jared  padalecki .     @winchestred .     officer’s  son . dean  winchester .     fc :   jensen  ackles .     @macabreatlas .     officer’s  son . sansa  stark .     fc :   kat  mcnamara .     @hiddensteel .     princess  of  scotland . robb  stark .     fc :   richard  madden .     @ncrthking .     king  of  scotland . hardin  scott .     fc :   hero  fiennes  tiffin .     @brodinglies .     prince  of  england . caroline  forbes .     fc :   candice  accola .     @sheoptimist .     princess  of  switzerland . oliver  forbes .     fc :   .     @inkstaked .     prince  of  switzerland . clarke  griffin .     fc :   eliza  taylor .     @shebore .     princess  of  australia . emori  caldeiraage .     fc :   luisa  d'oliveira .     @aiemori .     princess  of  portugal . rosalie  hale .     fc :   lucy  boynton .     @mortaele .     princess  of  austria .

[wontdyea-blog]

                ‘TIL THE CAGE IS FULL GV,                                                 ARKADIA PENITENTIARY ! 

come one, come all to arkadia penitentiary !  with the criminals like animals in cages and the guards their ‘ noble keepers, ’  it’s better to be on the outside looking in. just take a look at the dangerous criminals prowling the halls, stalking their prey  &&  ready to pounce !  and if you’re lucky, you might witness a ‘ rare, ’ but all-too-possible smack-down by the guards themselves.  ( if the prisoners don’t get them first. be careful, though; we’d hate to see them get sent to the shu !   or would we ?  ) 

what they don’t tell you about arkadia, though, is that things aren’t always as they seem. most of the criminals aren’t as dangerous as they’re cracked up to be and the guards aren’t as innocent as believed. 

✻  ( this is a prison based group verse, inspired by o.itnb. no knowledge of the show is needed. the plot will move as the members see fit  &&  there will be openings for not only inmates, but guards as well !  )  

RULES: 

all fandoms, as well as oc’s, are welcome ! 

no duplicate fc’s without approval. 

multiple muses are allowed.

this group is 18+ due to the nature of this verse.  ( nsfw elements such as sex, drug use, and violence are likely to occur. because of this, i ask that the muses be 18+ as well. )  

though not stated, among the option to choose between an inmate or a guard, it is possible to apply as a close member of either of the two as well. feel free to run it by me  &&  we can discuss ! 

drama is encouraged in the plot, and in the plot only. ooc drama will not be tolerated. 

please try to include all members when writing  &&  plotting ! 

please tag verse related things “ gv: ‘til the cage is full. ”  

accepting reservations !  your spot will be held for up to 3 days.  ( 72 hrs. )  if more time is needed, be sure to let me know. 

if anyone understands slow activity, it’s me. but if you no longer have time to take part in the group, let me know so that i can open the spot !  it is completely understandable. 

there will be a pinterest board for members !  it’s not obligated, but if you are interested in that, let me know as well. 

if there are any questions, don’t hesitate to shoot me a message ! 

APPLICATION:

( ooc. ) mun name:  mun age:  discord: will not be displayed ( ic. ) muse name: muse age: fc: choose:  inmate or guard ? small bio:

RESERVED: 

( based on this !  those mentioned are not obligated to apply. if you would like to be reserved under a different blog / muse, let me know ! )

fox ,   @warbloom  clarke ,   @grffins   wells ,   @skaiheir echo ,   @cagefound

MEMBERS: 

john murphy  /  @wontdye :    23 ,  inmate ,  framed for murder ,  richard harmon ,  by bri.  abigail griffin  /  @mcthersguilt :   46 ,  inmate ,   larceny of prescription drugs  &&  possession ,  paige turco ,  by angela. sarah woods  /  @safeegaurd :    21 ,  inmate ,  second degree murder ,  tashi rodriguez ,  by hannah.  newton scamander  /  @keatonesque :    29 ,  inmate ,   illegal entry / illegal possession of exotic pets /  destruction of public property ,  eddie redmayne ,  by artemis. raven reyes  /  @zeroged :    24 ,  inmate ,  hacking of nasa ,  lindsey morgan ,  by kristen.  credence barebone  /  @foundphoenix :    22 ,  inmate ,  murder ,  ezra miller ,  by faith.  vinda rosier  /  @daevotee :    28 ,  inmate ,  assault / terrorism / assassination of a govt. official ,   poppy corby-tuech ,  by artemis.  ana leza  /  @apocalypticlush :    20 ,  inmate ,  attempted murder ,  natalia dyer ,  by madi.  bellamy blake  /  @waratlas :    21 ,  inmate ,  first degree murder ,  bob morley ,  by morgan. theseus scamander  /  @aurorheroed :    33 ,  inmate ,  aiding and abetting a criminal ,  callum turner ,  by morgan. pandora carter  /  @cagebuilt :    19 ,  first degree murder ,  emeraude toubia ,  by caitlyn.  jonas hayes  /  @apocalypticlush :    22 ,  guard ,  daniel sharman ,  by madi.  octavia blake  /  @victorybled :    19 ,  inmate ,  first degree burglary / possession of a controlled substance / voluntary manslaughter ,  marie avgeropoulos ,  by meghan.  emmett cullen  /  @newanen :    25 ,  inmate ( former guard ) ,  smuggling drugs & contraband ,  kellan lutz ,  by faith.  bexley garrett  /  @edenworn :    21 ,  inmate ,  assault / squatting / theft / possession with intent to sell ,  shelley hennig ,  by bri.  lydon sebber  /  @safeegaurd :    24 ,  dirty guard ,  christina nadin ,  by hannah.  jake riley  /  @guntrained :    25 ,  guard ,  chris wood ,  by kristen. echo  /  @cagefound :    24 ,  guard ,  tasya teles ,  by danielle. 

SUBMIT APPLICATIONS HERE ! 

[brainysmurfette-blog1]

Google Voice or Skype

Pose this inquiry and you open an entire Pandora's container of assessments and conceivable outcomes. The appropriate response may change bearings as regularly as the breeze. To get to the core of a sensible clarification you should be dispassionate and even minded.

Presently by online voice applications.... think Skype or Google Voice for instance.

Making a stride back and taking a gander at it from the innovation point of view, this has just had an enormous effect everywhere throughout the world. An ever increasing number of organizations are cutting their movement spending plans as they can now 'meet' over video chat or online gatherings, and this has made (as the others notice) another sort of rivalry for the customary enterprises (both travel and telephone organizations).

Google Voice, Skype are incredible options in contrast to ordinary communication, and I know different organizations who have effectively actualized it as a correspondence channel. I think this opens new conceivable outcomes in a significantly more globalized world, as we can without much of a stretch (and now and again even free) speak with organizations and people from all over globe. Markets open up additional, data streams uninhibitedly and it makes rivalry.

The capacity to transport voice correspondence over broadband framework utilizing a wide assortment of programming applications will keep on dividing the telecom business in both the transporter administrations showcase just as the gear (equipment) advertise. This will end up being a mistaking place for the end-client, and execution will differ extraordinarily.

Present moment, I expect low effect on the venture communication area because of Google Voice or Skype. Actually, Skype has been around for quite a while and I'm not mindful of any clients that are utilizing it as their undertaking communication stage. Beyond any doubt it can spare $$ and make correspondences simpler now and again, however it comes up short on various highlights that undertaking applications need: dependability and backing among some of them. Place yourself in the shoes of an IT Executive, in charge of the well working of the communication framework, okay pick Skype as your venture arrangement? Or on the other hand would you rather go to one of the lead sellers?

The other part of GV and Skype is that they have been imagined for the end client advertise, not for the venture world. Thusly, they incorporate the highlights and usefulness that we require as clients, yet those probably won't be equivalent to what we require from an undertaking arrangement. It may be that we discover a few different ways to extend those applications and use them for business however and still, after all that regardless I think that its hard to envision expansive reception temporarily.

It will quicken what we as of now are moving towards, and that voice and information will all before long travel on a similar way. Google voice will be a distinct advantage, no uncertainty, yet you can't have the framework of a business' interchanges depend on another stage until you can ensure administration dimensions of the web. How might you consider Google responsible as a voice seller without an administration understanding? It might as of now be in progress, and up to that point, it will be a fun toy for CIO's to play with.

They fill in as a sort of discard arrangement right now, for example an organization has a couple of telecommuters in distant and they need to converse with individuals back in the workplace. As a matter of fact I find that Skype works superior to the top of the line arrangements by and large.

As I would like to think very few sizeable or proficient activities would balance their caps on the arrangement, for example Dear Mr Client, it would be ideal if you call my Skype/Google number. I consider it to be a sort of IM (MSN, ICQ) grown-up right now.

I think what these applications will do is drive the business sellers to push forward and up their diversion. I trust that a considerable lot of the primary business merchant arrangements are poor... I could utilize the old term of 'flakey'.

The issue as I would see it is that you have customary communication sellers and their bodies/engineers endeavoring to outline conventional answers for IP/Working framework and right now and (as a rule) they are coming up short.. 'a few' of their affiliates/vars may likewise be to some degree to fault as they simply don't get IP and the related advancements (not really)... I realize that some make and they complete a decent showing with regards to with what they need to work with.

I think we are 3-5 years from genuine and dependable arrangements that are simply web based. For what reason are Skype and its companions working? It's presumably on the grounds that they are beginning starting with no outside help (somewhat)... utilizing IP and new innovations first, as opposed to endeavoring to delineate answers for another medium.

What's the appropriate response? An intense seller with genuine business arrangements venturing out and re-composing their frameworks, as opposed to attempting to port them.

The more established and genuine business communication suppliers do have the advantage with the business showcase. They comprehend the mammoth, they work to some degree and in their own business sectors... Shouldn't something be said about SME? This market is the greatest and the one at the greatest hazard... It's simpler for the new challenge to take this business and push into big business than it is the other route round.

In the event that I was working for a client and needed to pick a merchant - odds are I'd pick one of the real business sellers as of right now... Might I be able to be influenced? Right now, likely not... Be that as it may, the hazard is there.

This is only my assessment from what I find in the little and mid-go showcase.

[bystrov-lab]

Suzuki GV - установка автосигнализации Pandora DX-90B. #ЛабораторияБыстрова #автосигнализация #автозапуск #suzukigrandvitara #pandoradx90b (at Лаборатория Владислава Быстрова) https://www.instagram.com/p/CYgL4BhIwA2/?utm_medium=tumblr

[astralgeniusarchived]

“vault hunters, i need your help.”

attention treasure hunters! are you sick and tired of the same old loot? over stabbing former friends in the back only to wind up with chump change for that ammo you just wasted? fear not! handsome jack is offering a handsome reward for groups of vault hunters willing to test their mettle against the wild wasteland of pandora. help hyperion’s best and brightest in their search for the endless riches that the planet has to offer. you won’t be disappointed.

“...which is why you’ve gotta die.”

guidelines

based on the borderlands series created by gearbox software.  feel free to poke through these links for more information: atlas. dahl. hyperion. more tba!

set during the events of borderlands 2.

please fill out the application below and submit here.

no duplicate face claims or muses.  

muses must be eighteen or older.

multimuses are allowed! just please state which character you’re using for the verse.

this is multifandom. feel free to apply with whoever you’d like!

tracking : gv: ain’t no rest for the wicked.

and finally... have fun and don’t be a dick. :)

active bounties

damnsavior  /  raven  / 25  /  vault hunter  /   by cara

godslyr​  /  gamora  /  27  /  vault hunter  /  by nikki

application

mun name :

muse name & face claim :

muse age :

occupation :

biography blurb : feel free to keep it short and sweet here.  please post a full biography to the tag at your leisure for the rest of the group to oogle.

[astranxmica]

pirates gv master post

@TaLydia Marie Martin

THE SPANISH MAIN, 1737. It’s the golden age of piracy. Some call them a scourge upon the seas, but hear it from the men drinking in the bars of Tortuga and you’ll hear a different tale. ( “’Ey laddie… ? Under th’ crushin’ weight o’ th’ Kin’’s Royal Navy and th’ ilk o’ th’ East India Tradin’ Company, a Corsair’s ship be th’ only place a lubber ( or wench ) can be th’ master o’ their fate. ) WHERE DO YOU STAND ON THE HIGH SEAS? The pirates who pilfer their measly black guts out are forced to dodge the British Navy– and there is no ship quite as successful at evading the boys in red than the BLACK PEARL. She’s part myth and part magic, the fastest ship in the Main, and a prize sought after by any black-hearted Corsair who has laid eyes on her black sails. What the Pearl has in the way of speed, however, the Royal Navy matches with power. The HMS DAUNTLESS ( pride of the Royal Navy ) despite her size and considerable firepower with 100 guns at the ready makes even the staunchest seamen swallowing their pride, tucking tale, and running fo the horizon. ( “Let them run, we just need to get them in range of the long nines.” ) And to be sure, there are casualties on both sides, and for those who die at sea the FLYING DUTCHMAN is waiting to ferry their souls to the other side. Those left alive in the wreckage given the choice to serve or join the others in Davy Jone’s Locker. ( “A hundred years o’ service or down t’ th’ depths with ye. A part o’ tha crew, a part o’ tha ship. ) No matter your allegiance. BRING ON THAT HORIZON.

ROLES: captain, quartermaster, first mate, boatswain, cabin boy, carpenter, gunner, pilot, powder monkey, navigator, striker, surgeon, or whatever else you can think of– we’re an equal opportunity employer

information on roles can be found here

SUPERNATURAL ROLES: witches, mermaids, ghosts, undead, cursed, spirits, and we’re open to suggestions though keeping to canon realm of possibilities. also max 1 of these per mun

RULES:

pirates of the caribbean loosely based group verse

reblog this post after being accepted

after being accepted also post a brief bio

please note, position on a ship must be discussed before being accepted

must be an independent roleplay account

we accept multimuses, literature muses, ocs

keep the. drama ic or face my wrath

TO JOIN: submit to @mockingxcanary your character name, age, role, face claim, url, mun name, and discord information if you have it

VERSE TAG: gv. why is the rum gone , gv. why is the rum gone starter

MEMBERS:

THE FLYING DUTCHMAN :

Raymond Palmer, THE CAPTAIN , Brandon Routh, @atomiism

Rip Hunter, FIRST MATE , Arthur Darvill, @timewantstohappen

James Kirk, NAVIGATOR, Chris Pine, @starxbcrn

Jayne Cobb, MASTER GUNNER, Adam Baldwin, @poeticpecker

Tari Dee, CABIN BOY, Gorgie Henley, @littlcbox

Simon Tam, SURGEON, Sean Maher, @selflessdoctor

THE BLACK PEARL :

Sara Lance ,  THE CAPTAIN, Caity Lotz, @canariism

Lexa Woods, QUARTERMASTER , Alycia Debnam-Carey, @strongscribed

Kara Danvers , FIRST MATE , Melissa Benoist , @ofsacrificeandsteel

Carina Smyth , NAVIGATOR , Kaya Scodelario , @amillixnvoices

James Potter, GUNNER, Nico Totorelli, @potterlyjames

Sirius Black, GUNNER, Vinnie Woolston, @stainsofdishonor

Rose Tyler, CARPENTER, Billie Piper, @friendoftheood

Selene , STRIKER , Gal Gadot, @immortallionheart

Barry Smith, POWDER MONKEY , Grant Gustin , @metahuman-mutanthuman

Jack  Smith, POWDER MONKEY , Grant Gustin , @xcapableof

THE HMS DAUNTLESS :

John Constantine, PRIVATEER / SEA ARTIST, Mark Ryan, @a-flick-of-a-wrist

SUPERNATURALS :

Zatanna Zatara , WITCH , Emeraude Toubia , @magicxtalker

Perci Jackson, WITCH, Lucy Hale, @illicittruths

Lydia Marie Martin, SIREN, Holland Roden, @thewailer

Laurel Lance, MERMAID , Katie Cassidy, @sonicanary

Diana Prince, MERMAID, Gal Gadot, @callxtoxarms

Pandora Iva, MERMAID, Cara Delviegne, @thousandscribed

[shameless-sol-apologist]

[420jobsboard]

Don’t Get Caught Up In Reefer Madness: Target Corporation (TGT), Pandora Media, Inc. (P)   GV Times The stock of Target Corporation (NYSE:TGT) recorded 4.96% uptrend from the beginning of this year till date. The 12-month potential price target for Target ...

[andtragica]

𝐰𝐡𝐞𝐫𝐞 𝐲𝐨𝐮𝐫 𝐥𝐢𝐟𝐞 𝐭𝐫𝐮𝐥𝐲 𝐛𝐞𝐠𝐢𝐧𝐬 𝐭𝐨 𝐛𝐥𝐨𝐬𝐬𝐨𝐦 .

     there  are  many  beautiful  and  tragic  things  about  life ,     one  of  them  is  growing  up  and  getting  older .     this  is  where  these  kids  find  themselves  in .     a  stop  in  their  paths  of  growing  up  is  going  to  college .     the  northside  college  holds  a  variety  of  sororities  and  other  activities .     they’ve  got  a  lot  of  different  students  and  there  will  definitely  be  a  seat  for  you  as  well .

𝐭𝐡𝐞 𝐫𝐮𝐥𝐞𝐬 𝐲𝐨𝐮 𝐦𝐮𝐬𝐭 𝐟𝐨𝐥𝐥𝐨𝐰 .

i .     be  as  active  as  possible  but  no  one  expects  anything  major  or  even  daily  basis .     just  be  as  active  as  you  can  and  want  to . i .     to  join  the  verse  send  me  a  msg  w  ur  character’s  name ,   age ,  fc  and  ur  discord . i .     track  the  tag   :     gv. the time of our lives.     with  the  periods .

𝐞𝐧𝐫𝐨𝐥𝐥𝐞𝐝 𝐩𝐞𝐨𝐩𝐥𝐞 .

clarke  griffin .     fc :   eliza  taylor .     @andtragic . raven  reyes .     fc :   lindsey  morgan .     @andtragic . jackson  whittemore .     fc :   colton  haynes .     @andtragic . lily  evans .     fc :   madelaine  petsch .     @andtragic . robb  stark .     fc :   richard  madden .     @andtragic . lexa  woods .     fc :   alycia  debnam  carey .     @komtrkru . daphne  blake .     fc :   kat  mcnamara .     @dangeress . hannah  baker .     fc :  katherine  langford .     @tapegrief . john  murphy .     fc :   richard  harmon .     @dyelast . klaus  hargreeves .     fc :   robert  sheehan .     @saeance . margaery  tyrell .     fc :   camilla  mendes .     @thelittleqveen . mei  chang .     fc :   tiffany  tang .     @girlheir . russell  tringham .     fc :   leo  dicaprio .     @namestole . g .  belsio .     fc :   juan  diego  botto .     @fieldbuilt . octavia  blake .      fc :   marie  avgeropoulos .     @alreadydcad . jessica  riley .     fc :   jenny  boyd .     @girlsurvives . jo  harvelle .     fc :   alona  tal .     @huntvelle . pandora  carter .     fc :   emeraude  toubia .     @cagebuilt . stiles  stilinski .     fc :   dylan  o’brien .     @voidworn . emori  caldeira .     fc :  luisa  d’oliveira .     @aiemori . bellamy  blake .     fc :   bob  morley .     @skaibrother . james  potter .     fc :   jordan  fisher .     @holymyth .

[theinvinciblenoob]

VC firms haven’t been the only ones raising hundreds of millions of dollars to invest in a booming market. After 15+ years of being the last industry anyone wanted to invest in, the music industry is coming back, and money is flooding in to buy up the rights to popular songs.

As paid streaming subscriptions get mainstream adoption, the big music streaming services – namely Spotify, Apple Music, and Tencent Music, but also Pandora, Amazon Music, YouTube Music, Deezer, and others – have entered their prime. There are now over 51 million paid subscription accounts among music streaming services in the US. The music industry grew 8% last year globally to $17.3 billion, driven by a 41% increase in streaming revenue and 45% increase in paid streaming revenue.

The surge in music streaming means a surge in income for those who own the copyrights to songs, and the growth of entertainment in emerging markets, growing use in digital videos, and potential use of music in new content formats like VR only expand this further. Unsurprisingly, private equity firms, family offices, corporates, and pension funds want a piece of the action.

There are two general types of copyrights for a song: the publishing rights and the master rights. The musical composition of a song – the lyrics, melodies, etc. – comes from songwriters who own the publishing right (though generally they sign a publishing deal and their publisher gets ownership of it in addition to half the royalties). Meanwhile, the version of a song being performed comes from the recording artist who owns the master right (though usually they sign a record deal and the record label gets ownership of the masters and most of the royalties).

Popular songs are valuable to own because of all the royalties they collect: whenever the song is played on a streaming service, downloaded from iTunes, or covered on YouTube (a mechanical license), played over radio or in a grocery store (a performance license), played as soundtrack over a movie or TV show (a sync license), and for other uses. More royalty income from a song goes to the master owner since they took on more financial risk marketing it, but publishers collect royalties from some channels that master owners don’t (like radio play, for instance).

For a songwriter behind popular songs, these royalties form a predictable revenue stream that can amount to tens of thousands, hundreds of thousands, or even millions of dollars per year. Of course, most songs that are written or recorded don’t make any money: creating a track that breaks out in a crowded industry is hard. This scarcity – there are only so many thousands of popular musicians and a limited number of legendary artists whose music stays relevant for decades – means copyrights for successful musicians command a premium when they or their publisher decide to sell them.

Investing in streaming economics

In 2017, revenue from streaming services accounted for 38% of worldwide music industry revenue, finally overtaking revenue from traditional album sales and song downloads. Subscription streaming services hit a pivot point in gaining mainstream adoption, but they still have far to go. Goldman Sachs media sector analyst Lisa Yang predicted that by 2030, the global music industry will reach $41 billion in market size as the global streaming market multiplies in size to $34 billion (nearly all of it from paid subscriptions).

Merck Mercuriadis is seen on the left. (Photo by KMazur/WireImage for Conde Nast media group)

Earlier this week, I spoke with Merck Mercuriadis who has managed icons like Elton John, Guns N’ Roses, and Beyoncé and raised £200 million ($260 million) on the London Stock Exchange in June for an investment vehicle (Hipgnosis Songs) to acquire the catalogues of top songwriters. His plan is to raise and invest £1 billion over the next three to five years, arguing that the shift to passive consumers paying for music will take the industry to heights it has never seen before.

Indeed, streaming music is a paradigm shift from the past. With all the world’s music available in one interface for free (with ads) or for an affordable subscription (without ads), consumers no longer have to actively choose which specific songs to buy (or even which to download illegally).

With it all in front of them and all included in the price, people are listening to a broader range of music: they’re exploring more genres, discovering more musicians who aren’t stars on traditional radio, and going back to music from past decades. Consumers who weren’t previously buying a lot of music are now subscribing for $120 per year and spreading it across more artists.

Retail businesses are doing the same: through streaming offerings like Soundtrack Your Brand (which spun out of Spotify), they’re using commercial licenses – which are more expensive – to stream a broader array of music in stores rather than putting on the radio or playing the same few CDs.

Much of the music industry’s market growth is happening in China, India, Latin America, and emerging markets like Nigeria where subscription apps are replacing widespread music piracy or non-consumption. Tencent Music Entertainment, whose three streaming services have roughly 75% market share in China (a music market that expanded by 34% last year), is preparing for an IPO that could give it roughly the same $29 billion valuation Spotify received in its IPO in April. Meanwhile, music industry revenue from Latin America grew 18% last year.

Western music is infused in pop culture worldwide, so as these countries enter the streaming era they are monetizing hundreds of millions of additional listeners, through ad revenue at a minimum but increasingly through paid subscriptions as well.

At the talent management, publishing, and production firm Primary Wave, founder Larry Mestel is seeing emerging markets drive more revenue to his clients (like Smokey Robinson, Alice Cooper, Melissa Etheridge, and the estate of Bob Marley) as new fan bases engage with their music online. He raised a new $300 million fund (backed by Blackrock and other institutions) in 2016 to acquire rights in music catalogues amid a market he says has improved substantially due to growth opportunities stemming from the streaming model.

It’s not just streaming music platforms that are driving growth either. Streaming video has exploded, whether it’s from short YouTube videos or the growing number of shows on platforms like Hulu and Amazon Prime Video, and with that comes growing sync licensing of songs for their soundtracks; global sync licensing revenue was up 10% year-over-year in 2017 alone. Over the last year, Facebook signed licenses with every large publisher to cover use of song clips by its users in Instagram Stories and Facebook videos as well.

The inflating valuations of songs catalogues

Catalogues are commonly valued based on the “net publisher’s share,” which is the average amount of annual royalty money left over after paying out any percentages owed to others (like a partial stake in the royalties still held by the artist).

When Round Hill Music acquired Carlin for $245 million in January to gain ownership in the catalogues of Elvis Presley, James Brown, AC/DC, and others, it paid a 16x multiple on net publisher share, which is high but not uncommon in the current market when trading catalogues of legendary artists. Just three years ago, multiples anchored in the 10-12 range (or less for newer or smaller artists whose music has not yet shown the same longevity).

Avid Larizadeh Duggan left her role as a general partner at GV to become Chief Strategy & Business Officer of Kobalt

Kobalt, which raised $205 million from VC firms like GV and Balderton Capital to become a technology-centric publisher and label services powerhouse, has also become an active player in the space. Aside from its core operating business (where it stands out from traditional publishers and labels for not taking control of clients’ copyrights), it has raised two funds ($600M for the most recent one) to help institutional investors like the Railpen pension fund in the UK gain exposure to music copyrights as an asset class. In December, their fund acquired the catalogue of publisher SONGS Music Publishing for a reported $160M in a sale process against 13 other bidders looking to buy ownership in songs by Lorde, The Weeknd, and other young pop and hip-hop artists.

Too high a price?

The natural question to ask when there’s a rapid surge of money (and a corresponding surge in prices) in an asset class is whether there’s a bubble. After all, last year’s industry revenues were still only 68% of those in 1999 and the rate of growth will inevitably slow once streaming has captured the early majority of consumers.

But the fundamentals driving this capital are in line with a secular shift – it’s evident that music streaming still has a lot of room to grow in a few short years, especially as a large portion of the human population is just coming online (and doing so over mobile first). Plus as new content formats like augmented and virtual reality come to fruition, new categories of music sync licensing will inevitably accompany them for their soundtracks.

Each catalogue is its own case, of course. As Shamrock Capital managing director Jason Sklar emphasized to me, the rising tide isn’t lifting all boats equally. The streaming revolution appears to be disproportionately benefiting hip-hop, rap, and pop given the youth skew of streaming service users and the digital-native social media engagement of the artists in those genres.

Beyond the purchase price, the critical variable for evaluating a deal in this market is also the operational value a potential buyer can provide to the catalogue: their ability to actively promote songs from the past by pitching them to new TV shows, ad campaigns, and any number of other projects that will keep them culturally relevant. This is where strategic investors have an advantage over purely financial investors in publishing rights, especially when it comes to the longer tail of middle-tier artist’s whose music doesn’t naturally get the inbound demand that the Beatles or Prince catalogues do.

With strong long-term market growth and a wide range of possible niches and strategies, music copyrights are an asset class where we’ll see a number of major new players develop.

via TechCrunch

[fmservers]

The war over music copyrights

VC firms haven’t been the only ones raising hundreds of millions of dollars to invest in a booming market. After 15+ years of being the last industry anyone wanted to invest in, the music industry is coming back, and money is flooding in to buy up the rights to popular songs.

As paid streaming subscriptions get mainstream adoption, the big music streaming services – namely Spotify, Apple Music, and Tencent Music, but also Pandora, Amazon Music, YouTube Music, Deezer, and others – have entered their prime. There are now over 51 million paid subscription accounts among music streaming services in the US. The music industry grew 8% last year globally to $17.3 billion, driven by a 41% increase in streaming revenue and 45% increase in paid streaming revenue.

The surge in music streaming means a surge in income for those who own the copyrights to songs, and the growth of entertainment in emerging markets, growing use in digital videos, and potential use of music in new content formats like VR only expand this further. Unsurprisingly, private equity firms, family offices, corporates, and pension funds want a piece of the action.

There are two general types of copyrights for a song: the publishing rights and the master rights. The musical composition of a song – the lyrics, melodies, etc. – comes from songwriters who own the publishing right (though generally they sign a publishing deal and their publisher gets ownership of it in addition to half the royalties). Meanwhile, the version of a song being performed comes from the recording artist who owns the master right (though usually they sign a record deal and the record label gets ownership of the masters and most of the royalties).

Popular songs are valuable to own because of all the royalties they collect: whenever the song is played on a streaming service, downloaded from iTunes, or covered on YouTube (a mechanical license), played over radio or in a grocery store (a performance license), played as soundtrack over a movie or TV show (a sync license), and for other uses. More royalty income from a song goes to the master owner since they took on more financial risk marketing it, but publishers collect royalties from some channels that master owners don’t (like radio play, for instance).

For a songwriter behind popular songs, these royalties form a predictable revenue stream that can amount to tens of thousands, hundreds of thousands, or even millions of dollars per year. Of course, most songs that are written or recorded don’t make any money: creating a track that breaks out in a crowded industry is hard. This scarcity – there are only so many thousands of popular musicians and a limited number of legendary artists whose music stays relevant for decades – means copyrights for successful musicians command a premium when they or their publisher decide to sell them.

Investing in streaming economics

In 2017, revenue from streaming services accounted for 38% of worldwide music industry revenue, finally overtaking revenue from traditional album sales and song downloads. Subscription streaming services hit a pivot point in gaining mainstream adoption, but they still have far to go. Goldman Sachs media sector analyst Lisa Yang predicted that by 2030, the global music industry will reach $41 billion in market size as the global streaming market multiplies in size to $34 billion (nearly all of it from paid subscriptions).

Merck Mercuriadis is seen on the left. (Photo by KMazur/WireImage for Conde Nast media group)

Earlier this week, I spoke with Merck Mercuriadis who has managed icons like Elton John, Guns N’ Roses, and Beyoncé and raised £200 million ($260 million) on the London Stock Exchange in June for an investment vehicle (Hipgnosis Songs) to acquire the catalogues of top songwriters. His plan is to raise and invest £1 billion over the next three to five years, arguing that the shift to passive consumers paying for music will take the industry to heights it has never seen before.

Indeed, streaming music is a paradigm shift from the past. With all the world’s music available in one interface for free (with ads) or for an affordable subscription (without ads), consumers no longer have to actively choose which specific songs to buy (or even which to download illegally).

With it all in front of them and all included in the price, people are listening to a broader range of music: they’re exploring more genres, discovering more musicians who aren’t stars on traditional radio, and going back to music from past decades. Consumers who weren’t previously buying a lot of music are now subscribing for $120 per year and spreading it across more artists.

Retail businesses are doing the same: through streaming offerings like Soundtrack Your Brand (which spun out of Spotify), they’re using commercial licenses – which are more expensive – to stream a broader array of music in stores rather than putting on the radio or playing the same few CDs.

Much of the music industry’s market growth is happening in China, India, Latin America, and emerging markets like Nigeria where subscription apps are replacing widespread music piracy or non-consumption. Tencent Music Entertainment, whose three streaming services have roughly 75% market share in China (a music market that expanded by 34% last year), is preparing for an IPO that could give it roughly the same $29 billion valuation Spotify received in its IPO in April. Meanwhile, music industry revenue from Latin America grew 18% last year.

Western music is infused in pop culture worldwide, so as these countries enter the streaming era they are monetizing hundreds of millions of additional listeners, through ad revenue at a minimum but increasingly through paid subscriptions as well.

At the talent management, publishing, and production firm Primary Wave, founder Larry Mestel is seeing emerging markets drive more revenue to his clients (like Smokey Robinson, Alice Cooper, Melissa Etheridge, and the estate of Bob Marley) as new fan bases engage with their music online. He raised a new $300 million fund (backed by Blackrock and other institutions) in 2016 to acquire rights in music catalogues amid a market he says has improved substantially due to growth opportunities stemming from the streaming model.

It’s not just streaming music platforms that are driving growth either. Streaming video has exploded, whether it’s from short YouTube videos or the growing number of shows on platforms like Hulu and Amazon Prime Video, and with that comes growing sync licensing of songs for their soundtracks; global sync licensing revenue was up 10% year-over-year in 2017 alone. Over the last year, Facebook signed licenses with every large publisher to cover use of song clips by its users in Instagram Stories and Facebook videos as well.

The inflating valuations of songs catalogues

Catalogues are commonly valued based on the “net publisher’s share,” which is the average amount of annual royalty money left over after paying out any percentages owed to others (like a partial stake in the royalties still held by the artist).

When Round Hill Music acquired Carlin for $245 million in January to gain ownership in the catalogues of Elvis Presley, James Brown, AC/DC, and others, it paid a 16x multiple on net publisher share, which is high but not uncommon in the current market when trading catalogues of legendary artists. Just three years ago, multiples anchored in the 10-12 range (or less for newer or smaller artists whose music has not yet shown the same longevity).

Avid Larizadeh Duggan left her role as a general partner at GV to become Chief Strategy & Business Officer of Kobalt

Kobalt, which raised $205 million from VC firms like GV and Balderton Capital to become a technology-centric publisher and label services powerhouse, has also become an active player in the space. Aside from its core operating business (where it stands out from traditional publishers and labels for not taking control of clients’ copyrights), it has raised two funds ($600M for the most recent one) to help institutional investors like the Railpen pension fund in the UK gain exposure to music copyrights as an asset class. In December, their fund acquired the catalogue of publisher SONGS Music Publishing for a reported $160M in a sale process against 13 other bidders looking to buy ownership in songs by Lorde, The Weeknd, and other young pop and hip-hop artists.

Too high a price?

The natural question to ask when there’s a rapid surge of money (and a corresponding surge in prices) in an asset class is whether there’s a bubble. After all, last year’s industry revenues were still only 68% of those in 1999 and the rate of growth will inevitably slow once streaming has captured the early majority of consumers.

But the fundamentals driving this capital are in line with a secular shift – it’s evident that music streaming still has a lot of room to grow in a few short years, especially as a large portion of the human population is just coming online (and doing so over mobile first). Plus as new content formats like augmented and virtual reality come to fruition, new categories of music sync licensing will inevitably accompany them for their soundtracks.

Each catalogue is its own case, of course. As Shamrock Capital managing director Jason Sklar emphasized to me, the rising tide isn’t lifting all boats equally. The streaming revolution appears to be disproportionately benefiting hip-hop, rap, and pop given the youth skew of streaming service users and the digital-native social media engagement of the artists in those genres.

Beyond the purchase price, the critical variable for evaluating a deal in this market is also the operational value a potential buyer can provide to the catalogue: their ability to actively promote songs from the past by pitching them to new TV shows, ad campaigns, and any number of other projects that will keep them culturally relevant. This is where strategic investors have an advantage over purely financial investors in publishing rights, especially when it comes to the longer tail of middle-tier artist’s whose music doesn’t naturally get the inbound demand that the Beatles or Prince catalogues do.

With strong long-term market growth and a wide range of possible niches and strategies, music copyrights are an asset class where we’ll see a number of major new players develop.

Via Eric Peckham https://techcrunch.com

[abckidstvyara]

Rocketrip raises $15 million to reward cost-saving employees

Rocketrip raises $15 million to reward cost-saving employees

If your company lets you expense the nicest hotel when you travel, why wouldn’t you?

But what if you got to split the savings with your employer by selecting a less expensive hotel?

A New York-based startup called Rocketrip believes most employees will opt to save companies money if they are incentivized to do so. It’s built an enterprise platform that rewards employees with gift cards if they go under budget on travel and transportation.

After five years of signing up business clients like Twitter and Pandora, Rocketrip is raising $15 million in Series C funding led by GV (Google Ventures) to keep expanding. Existing investors Bessemer Venture Partners and Canaan Partners are also in the round.

Inspired by Google’s internal travel system, Rocketrip CEO Dan Ruch calls his solution a “behavioral change platform.”  Employees “always optimize for self preservation, self interest” and are likely to book a cheaper flight if it means a gift card at a place like Amazon, Bloomingdale’s, or Home Depot, Ruch claims. He said that the average business trip booked by Rocketrip saves companies $208.

Ruch believes that Rocketrip has built a currency that motivates teams. He says some employees even gift Rocketrip points to congratulate colleagues on birthdays and promotions.

When it comes to enterprise platforms, Rocketrip is “one of those unique situations where everyone is really excited to use it,” said Canaan Partners’ Michael Gilroy, who holds a board seat.

Yet Rocketrip is not the only startup looking to help employees make money by cutting on costs. TripActions and TravelBank have also created similar businesses. 

Gilroy insists that “Rocketrip was first” and that he views the others a “validation of the model.”

Rocketrip hopes to someday expand beyond travel to incentivize healthcare choices like quitting smoking. It also thinks companies will use Rocketrip points to reward employees for community service. “Any time we can motivate an employee,” there’s an opportunity for Rocketrip, Ruch believes.

[trendingnewsb]

With $70M from Alphabet, UnitedMasters replaces record labels

Record labels are obsolete. They haven’t kept up as music evolved from selling CDs to streaming songs to promoting concert tickets and merchandise. Labels were meant to help artists generate albums, fame, and money. But now anyone can record themselves and no one “buys” music. So today that requires being a technology company, combining analytics with hyper-targeted advertising. And the old labels don’t have the engineering talent for it.

That’s why last year, the former president of Interscope Records Steve Stoute secretly raised a $70 million Series A led by Google’s corporate umbrella Alphabet and joined by prestigious venture firm Andreessen Horowitz, Silicon Valley investors Floodgate, and entertainment giant 20th Century Fox.

Today, his startup UnitedMasters emerges from stealth.

UnitedMasters is ready to give musicians an alternative to exploitative record label deals. Artists pay UnitedMasters a competitive rate to distribute their music across the internet from Spotify to YouTube to SoundCloud, and they split the royalties while the artist retains the rights to the master recordings. Then UnitedMasters sucks back in all the analytics, identifies the listeners, builds artists a CRM tool, and helps them retarget their top fans with pinpointed ads for tickets and merch.

Stoute explains that the plan is to “Look at music like gaming. You monetize the game to all the people who are most engaged. I wanted to bring that theory and thinking to music.” It’s off those whales, those super fans, where musicians make a lot of their money. And finally someone built a way to deliver ads for what artists do sell to people who’ve listened to their album 50 times for almost nothing.

Stoute had already been working on an ad agency for culture makers called Translation since 2004, and the company will join UnitedMasters as part of Translation Enterprises. Beyond musicians, UnitedMasters will also work with brands looking to advertise to specific segments of listeners. For example, it could assist alcohol magnate Diageo to market its Puff Daddy-affiliated vodka Cîroc to the rapper’s fans.

The startup world’s biggest rap fan Ben Horowitz is so smitten with the idea that he’s joining the board of UnitedMasters. “Steve thought: What if there were a platform that instantly enabled musical artists to market themselves globally as effectively as the top technology companies market to their customers?” Horowitz wrote in a now-published blog post shared with TechCrunch. “Such a platform would free musicians from dependencies on the old model while increasing their income tenfold. It would create unprecedented intimacy between artists and fans, while making artists truly independent.”

It was Larry Page himself that pushed Alphabet to lead the startup’s $70 million Series A. “People don’t know Larry was actually a drummer. He has a deep sensitivity for the artist” says Stoute. Page was stunned that musicians couldn’t keep track of the fans that bring in the most cash and retarget them. So Page worked with Google’s Corp Dev leader David Drummond, a former radio DJ, to invest all the cash UnitedMasters needed.

The Google family is quite gung-ho about upending the recording industry. The first investment of GV (Google Ventures) was Kobalt, a music distribution and rights service. It’s raised over $200 million to track to publish artists’ work and track down royalties, while subsidiary Kobalt Capitol is a platform for investors to buy music copyrights. But Kobalt stops short of helping performers market their tours and t-shirts.

Musicians trust him unlike some technologists. Born in Queens, NY, he used to manage local heroes Nas and Mary J. Blige, turning them into icons. Talking to him, you get the distinct sense that he’s fed up with seeing other musicians get screwed over. He refers to UnitedMasters more like a movement than a mere software company.

Music Tech Is Inevitable,  Not The Enemy

The first iteration of UnitedMasters is now live allowing artists to connect their YouTube or SoundCloud accounts to the site and in return receive “personalized guidance on how you can grow your career”. That could include insights into fan demographics or where to route tours.

UnitedMasters is now actively recruiting both tech talent in product, design, and engineering; and its first wave of independent musicians. The team of around 40 features ex-Facebook and Dropboxers. Meanwhile, it’s already working with around 1,000 acts, focusing first on emerging artists who want to be digital natives in how they run their business. “Being able to operationalize independence was the goal of UnitedMasters.There needs to be 250,000 Chance The Rappers” Stoute says, pointing to the fiercely indie hip-hop upstart who won a Grammy as a role model.

Eventually, it could sign established artists who want to ditch their label deals, bet on their long-term potential, and retain control of their original recordings. Instead of a cash advance, a leash, and a sliver of the revenue, UnitedMasters acts as a partner.

Now labels often want a cut of all of the artists’ revenue streams. “Label started doing 360 deals because they margins were drying up [as CD sales declined], but they weren’t providing a 360 service” Stoute chides. “I’m not making the records labels the ‘bad guy’” he qualifies, but declares “The models have to change.” Artists often complain that streaming doesn’t pay enough, but companies like Spotify pay out almost 70 percent of their revenue. It’s the labels withholding more than they deserve.

There are already services like TuneCore for pushing music to the streaming services, and each of them is trying to woo musicians by providing more analytics. Spotify just launched a whole insights app for artists. There are also plenty of merchandise platforms and ticket partners to choose from. But UnitedMasters wants to be the missing data layer for the music business. That could allow it to find a huge fan of an artist on Pandora earning them just fractions of a cent per stream, retarget them with ads on Facebook, and get them to buy a signed poster or VIP ticket package.

Educating artists that there’s another path could be UnitedMasters‘ biggest challenge. Many musicians still think of streaming as the enemy, cannibalizing their album sales, rather than as the inevitable progression of music distribution that can serve as marketing for their band as a brand. But once artists see that they’re not much different from Nike and their songs are like commercials, they realize they need help getting listeners to convert, and turn their passion into a purchase.

There’s room for both the old school labels and startups like Kobalt and UnitedMasters. But  artists are beginning to see themselves more as founders building a team of marketing and product specialists, rather than able to get all the diverse servies they need from one company or label. That could make UnitedMasters’ partner model increasingly attractive compared to giving control to an outdated, centralized owner.

“It’s very important that an artist’s jobs is to be a great artist” Stoute concludes. “The infrastructure around them should be helping them get more money at efficient rates, not owning their masters and taking from them.”

Read more: http://ift.tt/2yF9mY1

from Viral News HQ http://ift.tt/2B34Gga via Viral News HQ

[shameless-sol-apologist]

actually can i have 5 more of these little autistic light haired poorly written/wasted potential bitches