Yesterday, my friend and colleague, Tobin Watkinson, accepted my invitation to join We Are Listening’s Panel of Judges. His participation in our songwriting competition review schedule will kick-in immediately.
Tobin Watkinson was most recently a consultant to the A&R Department at Atlantic Records while simultaneously holding the title of co-founder/partner at boutique LA based management company, Roxwell Management. Prior to co-founding Roxwell, Tobin was the Director of Artist & Repertoire at MySpace Records, a joint venture with Interscope Records.
He has been awarded gold and platinum records for his early involvement in the discovery of recording artist OneRepublic. Their debut single “Apologize” has sold over 10 million singles worldwide and is one of the most legally downloaded songs in U.S. digital history. In 2008 “Apologize” broke the all-time record for the most “spins” in the history of U.S. Top 40 Radio and OneRepublic went on to sell nearly 2 million copies of their debut album “Dreaming Out Loud” which has been certified gold or platinum in 12 countries. In addition, Tobin has also helped launch the careers of successful touring acts Scary Kids Scaring Kids (RCA) and Madina Lake (Roadrunner/Atlantic).
Prior to being recruited to help launch MySpace Records, Tobin was partnered in a joint venture with Warner Music Group and was part of the team that led business development efforts at internet music startup Purevolume.com. In addition, Tobin has worked with Velvet Hammer Music and Management Group, as well as joint ventures through Columbia Records and Sony/ATV Music Publishing, LLC.
I am confident that the addition of Tobin’s expert knowledge of the marketplace, sound ear, and network of contacts will lead to greater accomplishments for our songwriting competition participants.
International advertising powerhouse, Ogilvy & Mather, produced a high-octane media campaign for the Crystal Lite powdered soft drink brand by Krafts Foods. Yet another example of consumer brands converging with music sensations to compete and differentiate in the marketplace, Kraft has aligned itself with Grammy Award winning artist, Estelle, for the pre-release and distribution of her song, “Star”. The US campaign was launched in tandem with the Grammy Awards Ceremony last month and drew traffic to the co-venture landing page by offering a free download of “Star” prior to its release in stores this month. Estelle fans divulged their email addresses in exchange for site access and a free and exclusive download of the song.
Associating brands with entertainment media and music celebrity is tried and tested territory for corporations such as VW, Pepsi, Coca-Cola, Apple, and other leading giants of cool. However, the phenomenon appears to be spreading to more conservative brands attempting to revitalize their message and acquire a new audience base, both to listen and to buy.
Music search engine, SeeqPod, that has already indexed (but not stored) 12 million songs, has been handed a formal complaint from EMI following a lawsuit from Warner last year. Unlike Pandora and Imeem, the company has not pursued licenses to provide “playable search results” maintaining that they are not responsible for content sources and, therefore, free from any obligation to the copyright holder. Legally questionable, Seeqpod has become very successful and the two major labels are probably going after it to settle on a mutual business model rather than to shut it down. The news prompted me to play with the system a little and I enjoyed learning about their artist-centric advertising progamme that’s highly targeted and cost competitive. Providing 5000 “exposures” (i.e. impressions) a month for $19.95, SeeqPod Echo is a nicely put together search-oriented advertising interface which may very well generate some relevant traffic for artists and music promoters who wish to tap into SeeqPod’s massive music listening community. I’m curious to learn how the conversion rates stack up.
Google’s VP of Content Partnership, David Eun, said that YouTube “is not screwing the labels, and, if anything, needs to partner more closely with them”, in response to Warner Music Group’s demand that YouTube remove every video from WMG’s catalogue.
Google acquired YouTube in 2006 for $1.65 billion in an all-stock transaction. It has since been working closely with record labels and independent rights owners on a number of mechanical royalty models for balanced and mutual content monetization, at which point, it struck a ‘blanket license’ deal with Warner. However, Warner has not been able to re-negoatiate terms with Google who, resultantly, had to remove videos under WMG’s authorship or which contain copyright associated with WMG’s publishing. As this amounts to a great many clips which are now ‘unplayable’, YouTube, the world’s largest video portal, can no longer claim to provide “infinite choice”, at least under the music category which will no longer include Madonna, REM and Eric Clapton, to name a few. Quite a blow.
The feud has snowballed and YouTube users are documenting their frustration on the video portal. Here’s one version I enjoyed watching:
Yesterday, my friend and colleague, Tobin Watkinson, accepted my invitation to join We Are Listening’s Panel of Judges. His participation in our songwriting competition review schedule will kick-in immediately.
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