Receiving the first award of the evening for best British female solo artist, Dua Lipa thanked ‘every single female that’s been on this stage before me that has given girls like me – not just in the music industry but in society – something to look up to, and has allowed us to dream this big. Here’s to more women on these stages, more women winning awards, and more women taking over the world.’Continue reading... [from http://ift.tt/2lmv3YG]
Wednesday, February 21, 2018
After three practice albums that built up a huge fanbase in their native Australia, but didn’t do jack shit here, Midnight Oil had a minor breakthrough on MTV and a major breakthrough on college radio with their fourth album 10,9,8,7,6,5,4,3,2,1, which combined lead singer Peter Garrett’s walked-it-like-he-talked-it politics with his band’s unique brand of beat-heavy post-punk.
And for me, no song resonated more on that record than the nuclear paranoia of “Read About It.”
As I’ve written before, the early 1980s was rife with songs worrying about when the bombs were going to drop, something I’m so glad we don’t have to worry about — ah, I can’t do that again: yesterday I read an article in Vox about what might happen if we went to war with North Korea, and it was fucking terrifying.
So a song like “Read About It” is relevant once again, where after a stop-and-start riff gives way to a river of guitars, Garrett sings:
The rich get richer
The poor get the picture
The bombs never hit you
When you’re down so low
One of those songs that’s continually shape-shifting while maintaining its original essence, “Read About It” piles on jangly guitar, cowbells, acapella, handclaps(!) and modulations, in a desperately transparent attempt to keep its message from depressing the fuck out of everyone with his existential problems.
Nothing ever happens
Nothing really matters
No one ever tells me what am I to know
So what am I to know
It even kind of works, in the way that getting run over by a tank also distracts you from your normal existential problems. Near the end, Garrett screams out “ah-ahhhh” over and over again while relentless drummer Rob Hirst powers through big drum rolls, and “Read About It” cycles back to its stop and start riff and crashes into it end.
BTW, the live version below is worth it just for Garrett’s manic dancing during the instrumental section.
“Read About It”
“Read About It” performed live in 1985
Official music video for “Read About It” (muddy sound)
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The 2018 Oxfam Inequality Report found that the top 1% of the world bagged 82% of all wealth created in 2017.
This massive discrepancy between the top 1% and the rest of the world made us wonder if musicians, too, could be added to this list?
We all know that top musicians and entertainers make a lot of money. Forbes’ annual rankings of the world’s highest paid musicians is a testament to that fact.
What really illustrates the contrast between these top-earning musicians and average people is when you start comparing their wages to ordinary jobs.
Beyonce, for instance, made $105M in 2017.
The average truck driver made a little over $41,000, according to the Bureau of Labor Statistics (BLS).
This effectively means that Beyonce made nearly $12,000/hour.
Or in other words, Beyonce made a truck driver’s annual wage in just over 3.5 hours.
We’ve been mapping top musician incomes against average salaries for the last two years. In 2016, the world’s highest paid musician, Taylor Swift, made $170M (dropping to $44M in 2017). This meant that Swift made the equivalent of annual minimum wage in under an hour.
In our study, we focused on these six common professions with the following average annual income (all figures taken from BLS) :
Minimum wage - $15,080/year
Truck drivers - $41,340
Elementary school teachers - $59,020
Registered nurses - $68,450
Real estate brokers - $79,340
Software developers - $100,080
We then calculated the hourly incomes of the world’s 25 most well-paid musicians. Next, we mapped these incomes against average salaries for the professions above.
This analysis revealed that top musician incomes dwarf even well-paid professions such as software developers. Diddy, for instance, made a software developer’s annual income in just under 7 hours. Even the lowest grossing musician on the list - The Chainsmokers - made a software developer’s annual income in under a day.
Based on this data, we graphed how the long it took for a top musician to make average incomes, like this:
Additionally, we mapped Forbes’ highest earning musicians list by genre. Hip-hop artists led the list thanks to Diddy and Drake’s dominance at the top. Electronic musicians came in last, the same result as last year.
Here’s the graph:
In a world where there is much hand-wringing about rising income inequality, this data begs the question: do our artists, entertainers, and heroes earn too much?
Or rather, do our lowest paid workers make too little? Should a musician, as talented as he/she might be, make annual minimum wage in a matter of minutes? Or should we increase wages to a more respectable leve?
I’ll leave you with this food for thought.
Meanwhile, you can get the full data in the infographic below.
What do you think? Are top musicians overpaid?
On June 2, 2017 a group of Canadian telecoms giants including Bell Canada, Bell ExpressVu, Bell Media, Videotron, Groupe TVA, Rogers Communications and Rogers Media, filed a complaint in Federal Court against Montreal resident, Adam Lackman.
Better known as the man behind Kodi addon repository TVAddons, Lackman was painted as a serial infringer in the complaint. The telecoms companies said that, without gaining permission from rightsholders, Lackman communicated copyrighted TV shows including Game of Thrones, Prison Break, The Big Bang Theory, America’s Got Talent, Keeping Up With The Kardashians and dozens more, by developing, hosting, distributing and promoting infringing Kodi add-ons.
To limit the harm allegedly caused by TVAddons, the complaint demanded interim, interlocutory, and permanent injunctions restraining Lackman from developing, promoting or distributing any of the allegedly infringing add-ons or software. On top, the plaintiffs requested punitive and exemplary damages, plus costs.
On June 9, 2017 the Federal Court handed down a time-limited interim injunction against Lackman ex parte, without Lackman being able to mount a defense. Bailiffs took control of TVAddons’ domains but the most controversial move was the granting of an Anton Piller order, a civil search warrant which granted the plaintiffs no-notice permission to enter Lackman’s premises to secure evidence before it could be tampered with.
The order was executed June 12, 2017, with Lackman’s home subjected to a lengthy search during which the Canadian was reportedly refused his right to remain silent. Non-cooperation with an Anton Piller order can amount to a contempt of court, he was told.
With the situation seemingly spinning out of Lackman’s control, unexpected support came from the Honourable B. Richard Bell during a subsequent June 29, 2017 Federal Court hearing to consider the execution of the Anton Piller order.
The Judge said that Lackman had been subjected to a search “without any of the protections normally afforded to litigants in such circumstances” and took exception to the fact that the plaintiffs had ordered Lackman to spill the beans on other individuals in the Kodi addon community. He described this as a hunt for further evidence, not the task of preserving evidence it should’ve been.
Justice Bell concluded by ruling that while the prima facie case against Lackman may have appeared strong before the judge who heard the matter ex parte, the subsequent adversarial hearing undermined it, to the point that it no longer met the threshold.
As a result of these failings, Judge Bell vacated the Anton Piller order and dismissed the application for interlocutory injunction.
While this was an early victory for Lackman and TVAddons, the plaintiffs took the decision to an appeal which was heard November 29, 2017. Determined by a three-judge panel and signed by Justice Yves de Montigny, the decision was handed down Tuesday and it effectively turns the earlier ruling upside down.
The appeal had two matters to consider: whether Justice Bell made errors when he vacated the Anton Piller order, and whether he made errors when he dismissed the application for an interlocutory injunction. In short, the panel found that he did.
In a 27-page ruling, the first key issue concerns Justice Bell’s understanding of the nature of both Lackman and TVAddons.
The telecoms companies complained that the Judge got it wrong when he characterized Lackman as a software developer who came up with add-ons that permit users to access material “that is for the most part not infringing on the rights” of the telecoms companies.
The companies also challenged the Judge’s finding that the infringing add-ons offered by the site represented “just over 1%” of all the add-ons developed by Lackman.
“I agree with the [telecoms companies] that the Judge misapprehended the evidence and made palpable and overriding errors in his assessment of the strength of the appellants’ case,” Justice Yves de Montigny writes in the ruling.
“Nowhere did the appellants actually state that only a tiny proportion of the add-ons found on the respondent’s website are infringing add-ons.”
The confusion appears to have arisen from the fact that while TVAddons offered 1,500 add-ons in total, the heavily discussed ‘featured’ addon category on the site contained just 22 add-ons, 16 of which were considered to be infringing according to the original complaint. So, it was 16 add-ons out of 22 being discussed, not 16 add-ons out of a possible 1,500.
“[Justice Bell] therefore clearly misapprehended the evidence in this regard by concluding that just over 1% of the add-ons were purportedly infringing,” the appeals Judge adds.
After gaining traction with Justice Bell in the previous hearing, Lackman’s assertion that his add-ons were akin to a “mini Google” was fiercely contested by the telecoms companies. They also fell flat before the appeal hearing.
Justice de Montigny says that Justice Bell “had been swayed” when Lackman’s expert replicated the discovery of infringing content using Google but had failed to grasp the important differences between a general search engine and a dedicated Kodi add-on.
“While Google is an indiscriminate search engine that returns results based on relevance, as determined by an algorithm, infringing add-ons target predetermined infringing content in a manner that is user-friendly and reliable,” the Judge writes.
“The fact that a search result using an add-on can be replicated with Google is of little consequence. The content will always be found using Google or any other Internet search engine because they search the entire universe of all publicly available information. Using addons, however, takes one to the infringing content much more directly, effortlessly and safely.”
With this in mind, Justice de Montigny says there is a “strong prima facie case” that Lackman, by hosting and distributing infringing add-ons, made the telecoms companies’ content available to the public “at a time of their choosing”, thereby infringing paragraph 2.4(1.1) and section 27 of the Copyright Act.
On TVAddons itself, the Judge said that the platform is “clearly designed” to facilitate access to infringing material since it targets “those who want to circumvent the legal means of watching television programs and the related costs.”
Turning to Lackman, the Judge said he could not claim to have no knowledge of the infringing content delivered by the add-ons distributed on this site, since they were purposefully curated prior to distribution.
“The respondent cannot credibly assert that his participation is content neutral and that he was not negligent in failing to investigate, since at a minimum he selects and organizes the add-ons that find their way onto his website,” the Judge notes.
In a further setback, the Judge draws clear parallels with another case before the Canadian courts involving pre-loaded ‘pirate’ set-top boxes. Justice de Montigny says that TVAddons itself bears “many similarities” with those devices that are already subjected to an interlocutory injunction in Canada.
“The service offered by the respondent through the TVAddons website is no different from the service offered through the set-top boxes. The means through which access is provided to infringing content is different (one relied on hardware while the other relied on a website), but they both provided unauthorized access to copyrighted material without authorization of the copyright owners,” the Judge finds.
Continuing, the Judge makes some pointed remarks concerning the execution of the Anton Piller order. In short, he found little wrong with the way things went ahead and also contradicted some of the claims and beliefs circulated in the earlier hearing.
Citing the affidavit of an independent solicitor who monitored the order’s execution, the Judge said that the order was explained to Lackman in plain language and he was informed of his right to remain silent. He was also told that he could refuse to answer questions other than those specified in the order.
The Judge said that Lackman was allowed to have counsel present, “with whom he consulted throughout the execution of the order.” There was nothing, the Judge said, that amounted to the “interrogation” alluded to in the earlier hearing.
Justice de Montigny also criticized Justice Bell for failing to take into account that Lackman “attempted to conceal crucial evidence and lied to the independent supervising solicitor regarding the whereabouts of that evidence.”
Much was previously made of Lackman apparently being forced to hand over personal details of third-parties associated directly or indirectly with TVAddons. The Judge clarifies what happened in his ruling.
“A list of names was put to the respondent by the plaintiffs’ solicitors, but it was apparently done to expedite the questioning process. In any event, the respondent did not provide material information on the majority of the aliases put to him,” the Judge reveals.
But while not handing over evidence on third-parties will paint Lackman in a better light with concerned elements of the add-on community, the Judge was quick to bring up the Canadian’s history and criticized Justice Bell for not taking it into account when he vacated the Anton Piller order.
“[T]he respondent admitted that he was involved in piracy of satellite television signals when he was younger, and there is evidence that he was involved in the configuration and sale of ‘jailbroken’ Apple TV set-top boxes,” Justice de Montigny writes.
“When juxtaposed to the respondent’s attempt to conceal relevant evidence during the execution of the Anton Piller order, that contextual evidence adds credence to the appellants’ concern that the evidence could disappear without a comprehensive order.”
Dismissing Justice Bell’s findings as “fatally flawed”, Justice de Montigny allowed the appeal of the telecoms companies, set aside the order of June 29, 2017, declared the Anton Piller order and interim injunctions legal, and granted an interlocutory injunction to remain valid until the conclusion of the case in Federal Court. The telecoms companies were also awarded costs of CAD$50,000.
It’s worth noting that despite all the detail provided up to now, the case hasn’t yet got to the stage where the Court has tested any of the claims put forward by the telecoms companies. Everything reported to date is pre-trial and has been taken at face value.
TorrentFreak spoke with Adam Lackman but since he hadn’t yet had the opportunity to discuss the matter with his lawyers, he declined to comment further on the record. There is a statement on the TVAddons website which gives his position on the story so far.
Pandora listener hours continued their slow decline to 5.03 billion for the fourth quarter of 2017, compared to 5.15 billion hours last quarter and 5.38 billion for the same quarter last year. Paid subscriptions to Pandora Plus and Premium grew to 5.48 million in Q4, up 25% year-over-year, but just 5.6% for the last quarter. Ad revenue was up 7% last year.
Last month, Pandora announced an organizational restructuring that included layoffs in some departments as part of a $45 million in cost cutting "designed to prioritize its strategic growth initiatives and optimize overall business performance."
Here is Wednesday's full report.
PANDORA REPORTS Q4 2017 FINANCIAL RESULTSAd RPM Reaches an All-Time High; Subscription Revenue Grows 63%
- Q4 Revenue excluding Australia, New Zealand and Ticketfly was $395.3 million, growing 7% year-over-year
- Ad RPM hits an all-time high of $75.65 in Q4 2017, growing 12% year-over-year
- Q4 Subscription revenue was $97.7 million, growing 63% year-over-year
- Total subscribers were 5.48 million, growing 25% year-over-year
- Q4 Revenue and Adjusted EBITDA significantly exceeded our forecast
- Launched Premium Access, enabling greater interactivity in ad-supported tier
- Announced plans to reinvest $45 million of expected annualized cost-savings toward key growth initiativesOAKLAND, Calif. - Feb. 21, 2018 - Pandora (NYSE: P) today announced financial results for the fourth quarter and full year ended December 31, 2017.“Digital audio is on the verge of massive growth - music consumption is increasing, podcasts are gaining popularity and voice-activated devices are quickly becoming mainstream. Just like video, audio is transitioning from a one-to-many broadcast experience to a one-to-one model with personalization at the core. Pandora’s scale, listener engagement and data position us well to capitalize on these trends,” said Roger Lynch, CEO of Pandora. “From launching on-demand for our ad-supported listeners to expanding multiple device partnerships in the last quarter alone, we’re building a strong foundation for audience growth and improved monetization. These efforts will enable us to strengthen business fundamentals and reinvigorate Pandora in 2018.”Fourth Quarter 2017 Financial Results & HighlightsPremium Access: Pandora successfully launched Premium Access, which allows ad-supported listeners access to on-demand experiences including, for the first time, the ability to search, play and share songs, albums, and playlists by viewing a short video ad. Premium Access also unlocks new rewards-based video inventory for advertisers.Revenue: For the fourth quarter of 2017, total consolidated revenue was $395.3 million, an approximate 7% year-over-year increase compared to the year-ago quarter, excluding Australia, New Zealand and Ticketfly. This included $297.7 million in advertising revenue and $97.7 million in subscription revenue. Revenue in the year-ago quarter, excluding Australia, New Zealand and Ticketfly was $370.5 million. We discontinued our service in Australia and New Zealand on July 31, 2017 and Ticketfly was sold to Eventbrite on September 1, 2017. Including Australia, New Zealand and Ticketfly, total consolidated revenue for the fourth quarter of 2016 was $392.6 million.GAAP Net Loss and Adjusted EBITDA: For the fourth quarter of 2017, GAAP net loss was $44.7 million compared to a net loss of $90.0 million in the same quarter last year. Adjusted EBITDA was $5.8 million, compared to a loss of $30.4 million in the same quarter last year.Cash and Investments: For the fourth quarter of 2017, the Company ended with $500.8 million in cash and investments, compared to $499.4 million at the end of the prior quarter.Partnerships: Expanded partnerships across Sonos, Comcast’s Xfinity X1, Android TV and Amazon Fire TV in the fourth quarter.Listener Hours: Total listener hours were 5.03 billion for the fourth quarter of 2017, compared to 5.38 billion for the same period of the prior year.Active Listeners: Active listeners were 74.7 million at the end of the fourth quarter of 2017.Subscribers: Pandora Plus and Pandora Premium subscribers were 5.48 million at the end of the fourth quarter.Full Year 2017 Financial ResultsRevenue: For the full year 2017, consolidated total revenue was $1.467 billion, a 6% year-over-year increase. This included ticketing revenue of $76.0 million from the period. Our ticketing service was sold to Eventbrite on September 1, 2017. Excluding revenue from Australia, New Zealand and Ticketfly, full year 2017 revenue was $1.385 billion, an 8% year-over-year increase. This included advertising revenue of $1.071 billion and subscription and other revenue of $314.3 million.GAAP Net Loss and Adjusted EBITDA: For the full year of 2017, GAAP net loss was $518.4 million compared to a net loss of $343.0 million in the year ago period. Adjusted EBITDA was a loss of $125.0 million compared to a loss of $119.5 million last year.Recent Events & Other InformationStrategic Realignment: Pandora recently announced an organizational restructuring designed to prioritize its strategic growth initiatives and optimize overall business performance. A combination of eliminated roles and other measures are expected to result in combined annualized savings of approximately $45 million to adjusted EBITDA. The savings will be reinvested into growth initiatives including ad-tech, non-music content, device integration and marketing technology, toward which the company will redeploy existing employees and hire for new positions.Guidance: Guidance will be discussed during the fourth quarter and full year 2017 conference call.Fourth Quarter and Full Year 2017 Financial Results Conference Call: Pandora will host a conference call today at 2 p.m. PT/5 p.m. ET to discuss fourth quarter and full year 2017 financial results with the investment community. A live webcast of the event will be available on the Pandora Investor Relations website at http://investor.pandora.com. A live domestic dial-in is available at (877) 355-0067 or (443) 853-1239 internationally. A domestic replay will be available at (855) 859-2056 or (404) 537-3406 internationally, using passcode 3687488, and available via webcast replay until March 14, 2018.
Introducing, Jasmine Bodkin, Integrations Manager Prior to arriving here at The Orchard, I spent the last 16 years working at Sony Music UK. I have worked on amazing campaigns in various capacities from Promotions to Marketing, eventually heading the Label Co-ordination department (including Release Planning), across all Sony UK Labels. I spend my spare time trying to... Read more »
BRIT Awards 2018 Watch Live Here [2:30ET / 11:30PT] with Ed Sheeran, Dua Lipa, Foo Fighters, More | hypebot
Watch all of the action from the biggest night in UK music, live as it happens free her. It's hosted by Conor Maynard and Yasmin Evans and features performance by Ed Sheeran, Dua Lipa, Foo Fighters, Jorja Smith, Justin Timberlake, Rag'n'Bone Man, Rita Ora, Sam Smith and Stormzy.
Here's a quick preview: