Posts Tagged ‘Television Placement’

This Is What Makes It All So Worthwhile

Thursday, September 30th, 2010

from: Evan Field
to: Lior Shamir
date: Thu, Sep 30, 2010 at 1:12 AM
subject: THANK YOU from Honor By August!

Lior,

On behalf of the band I just wanted to thank you again — and emphatically — for everything that We Are Listening and Tinderbox have done for us.

As I mentioned to Jon, the band has been extremely excited about all of the success at radio and the licensing potential from the 10 show agreements Jon was able to secure for us.

We can’t thank everyone at Tinderbox enough for all of the great work and results they’ve achieved for Honor By August and, as Jon has been quick to point out, we have you to thank for making it all possible.

We hope to be able to maintain a relationship with you both moving forward and hope to be able to share success stories that we can attribute to your work and investment in the band.

As I said to Jon, if there’s anything we can do, like provide a quote or blurb from the band, please let us know and we’d of course be happy to provide anything that might be helpful. We’ve already raved about this experience to many of the bands we cross paths with on the road and will certainly continue to do so.

Cheers and thanks again,

Evan,
Honor By August

Song Contest Winner Lands Huge TV Placement

Sunday, September 26th, 2010

Thanks to Jon Delange, our TV licensing mojo maker, 2006 song contest winner, Laurell, landed a HUGE placement in the season finale of The Real World: New Orleans.  The show aired on the 15th September with Laurell’s “In The Air”, vocals up, with ID.  Success!

Give it up for Laurell…

Re-Title Publishing

Sunday, May 10th, 2009

PumpAudio

TheMusicSnob recently published a post which frowns upon PumpAudio’s changes to its standard licensing agreement, specifically the shift in the 50/50 split to 65/35 in favour of PumpAudio.  The post also highlights the practice of ‘Re-Title Publishing’ (also known as ‘Derivative Publishing’) where the song title is registered under an alternate title (e.g. Fields of Gold -> Gold Fields) on the cue sheet so that PumpAudio can collect a portion of the royalties.
 
PumpAudio was one of the first pre-cleared searchable music libraries that considered submissions from independent artists.  The company was acquired by Getty Images in 2007 for $42 million along with a catalogue of 20,000 independent artists.   Although the recent shift from 50/50 to 65/35 is bad news for the artist, it is a reflection of deflated upfront synchronization license fees in an increasingly competitive media landscape and down economy.

Re-Title Publishing is an accepted industry practice and serves two principle purposes:  It allows the broker to collect backend royalties in addition to frontend fees and protects the songwriter by ensuring that the broker only collects monies for the commercial use(s) he procures.  To combat any public confusion that this may cause and benefit the songwriter’s marketing efforts, many films and TV shows offer a “gratis” cue where the original song title is used as opposed to the derivative title in the screen credit roll or music soundtrack release.

Music licensing, a seemingly clandestine industry bisect, is a lucrative business for songwriters and PumpAudio was pivotal to lowering the barrier of entry for upstart and unsigned artists.  YouLicense followed suit with an ‘open’ music licensing marketplace and transparent business model.

Details on licensing music for TV and film.

Related Posts: SoundReef, Music Placement

Jesse Terry

Wednesday, March 25th, 2009

Jesse Terry

After winning The Singer/Songwriter Awards in the last quarter of 2008, Jesse Terry opted to work with We Are Listening’s accredited music supervisor and founder of Tinderbox Music, Jon Delange, as his prize package. With only ten copies of Jesse’s latest release, “The Runner”, Jon secured no less than nine network-sized television placement licenses on Jesse’s behalf, including MTV (Road Rules, The Real World, Road Rules Challenge, The Hills, The City, Human Giant, My Super Sweet Sixteen, Teen Cribs, Parental Control); E Network (Keeping Up With the Kardashians); and Oxygen Network (Bad Girls Club). The relative ease in which Jon placed “The Runner” is a reflection of Jesse’s adaptive songwriting style and compatibility with today’s leading pop-culture entertainment.

“Just got news that nine TV shows (including The Hills and The City) are interested in using music from my record. I am holding the licenses in my hand!! This is all possible because of We Are Listening and your investment in my career. I’m so grateful. I feel like things are really starting to line-up…” — Jesse

More Success Stories by We Are Listening.

YouLicense Private Label

Saturday, March 21st, 2009

YouLicense

YouLicense, the first online music licensing marketplace, released a product update last week detailing the launch of Private Label, a new service catering to YouLicense’s target customer base comprising of independent labels and enterprising artists.  Private Label is essentially a branded storefront, specifically developed for the streamlined procurement of synchronization and master use music licenses. This is a major turning point for YouLicense which, until now, has very much operated as a destination site and, arguably, the only standalone open marketplace for music licensing.  The company has already converted noteworthy distributors and labels including INgrooves, Big Fish Media, AWAL, MBop Digital, Dashgo, and Cyberset Records.  Private Label is currently in closed beta but interested parties can request an invitation here.

Related Post: Christmas Playlists from YouLicense.com

Music Placement

Sunday, February 8th, 2009

In September 2008, Billboard Magazine published a  list titled, “The 100 Best Ways For Your Music To Get Attention” which caught my attention this month when I received the top 20 from Peter Spellman‘s Music Biz Insight newsletter.  Note the volume of high profile opportunities in the licensing branch of the music industry as opposed to the more traditional sales and ticketing divisions which would have dominated this list through the 90′s:

1. Placement in a television ad for Apple

2. Performance on Oprah (6.6 million viewership)

3. Placement in a television commercial that runs during a special event with significant viewership (97.5 million viewers for the 2008 Super Bowl, for instance)

4. Song Featured as iTunes “Free Single of the Week”

5. Song covered on American Idol (approx.  27 million viewers)

6. Placement in Activision’s “Guitar Hero” videogame (approx. 10 million unit sales)

7. Song placed during a hit movie’s opening credits

8. Placement in a heavy-rotation television commercial for Nike

9. Performance on Lollapalooza Main Stage

10. Placement in MTV’s “Rock Band” videogame (US sales total 3.4 million units to date)

11. Video on YouTube’s Most-Viewed Videos page for music (approx. 75 million unique visitors)

12. Cover editorial in Rolling Stone

13. Placement in Rockstar Games’ “Grand Theft Auto” (4.7 million unit sales and growing)

14. Placement on HBO’s “Entourage”

15. Video on the YouTube’s home page

16. Placement in ABC’s “Grey’s Anatomy”

17. Any single or video listed in the “Free on iTunes” section

18. Single played on Radio Disney (approx. 36.5 million listeners per week)

19. Performance on Bonnaroo’s What/Main Stage

20. Placement in CW’s “Gossip Girl”