#worldwide business
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7 Types Of Civil Engineering And Their Worldwide Business Growth
Civil engineering is a crucial field that plays a pivotal role in shaping the world’s infrastructure. From designing bridges and highways to constructing buildings and dams, civil engineers are responsible for creating the physical framework that enables modern society to function efficiently. In recent years, the global demand for civil engineering services has been on the rise due to urbanization, population growth, and the need for sustainable infrastructure. In this blog post, we will explore seven types of civil engineering and their worldwide business growth.
Structural Engineering
Structural engineering is perhaps the most well-known branch of civil engineering. It deals with the design and analysis of structures, such as buildings, bridges, and dams. The demand for skilled structural engineers has grown globally due to urbanization and the need for safe and sustainable structures. Emerging technologies, like 3D printing and advanced materials, have also expanded business opportunities in this field.
Transportation Engineering
Transportation engineering deals with planning, designing, and managing systems of transportation. With the increasing need for efficient and eco-friendly transportation, this field has seen significant growth. Projects related to highways, railways, airports, and public transit systems are essential for urban development and have created numerous business prospects for engineers and consultants.
Environmental Engineering
Environmental engineering is dedicated to addressing environmental challenges through innovative solutions. As environmental concerns gain prominence worldwide, businesses related to water and wastewater treatment, air quality management, and sustainable resource management have grown substantially. Sustainability and green practices are at the forefront of this field’s business growth.
Geotechnical Engineering
Geotechnical engineering deals with the behaviour of soil and rock in the context of construction and infrastructure development. As urbanization continues to expand into geologically complex areas, the demand for geotechnical experts has risen. Businesses specializing in site investigation, foundation design, and risk assessment have thrived globally.
Water Resources Engineering
Water resources engineering involves the management of water-related projects, such as dams, reservoirs, and water distribution systems. The world’s increasing population and climate change have heightened the importance of water resource management. Businesses in this sector are essential for ensuring a sustainable and reliable water supply.
Coastal Engineering
Coastal engineering focuses on protecting coastal areas from erosion, flooding, and sea-level rise. With the ongoing threat of climate change and its impact on coastlines, businesses specializing in coastal protection and adaptation strategies have seen substantial growth. Coastal cities and regions worldwide are investing in these services to safeguard their communities and economies.
Construction Management
Construction management plays a crucial role in overseeing construction projects, ensuring they are completed on time and within budget. This field has experienced growth due to the increasing complexity of construction projects and the need for efficient project management. As megaprojects become more common, businesses offering construction management services continue to expand.
Civil Engineering And Its Escalating Sector Growth
Civil engineering is a dynamic field that continually evolves to address the challenges and opportunities of our changing engineering world. The seven types of civil engineering discussed here not only contribute to worldwide business growth but also play a pivotal role in shaping the future of our infrastructure and the sustainability of our planet. As global populations grow and urbanize, the demand for innovative civil engineering solutions is expected to remain strong, creating countless opportunities for businesses in this sector.
Who is MEC? What distinguishes us from the other
Leveraging more than Two Decades of rich experiences working with major leading sectors globally, MEC not only partners with clients at an early stage to engage in concept development but also works with them to transform it into reality by providing engineering design services, procurement support, project management consultancy and construction management expertise.
Experts at Muscat Engineering consultancy share An Insider Guide to Efficient Project Management for insights on professional yet result driven project management.
Our in-house team of professional civil engineers poses proficient skills and expertise to provide accurate and timely support and services towards a civil engineering project. MEC has been catering to the needs of clients for over 20+ years and understands the unique needs and provides customized engineering solutions that suit their business requirements.
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MoneyGram Now With Crypto
Simple transfer for worldwide business. MoneyGram now supports crypto. User friendly application.
#money transfer#moneygram#referral codes#referral links#crypto transfer#worldwide business#driskolestate#fyp#for your page#financial freedom#first time free transfer
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How to Generate 1k daily with no website,simple copy and paste! Massive Leverage!
[You must watch this] It's all done for you
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HAPPY BIRTHDAYBTAILS!!!!
#I LOVENU TAILS!!!!!!#babybouyy#sth#miles tails prower#tails#miles prower#tails the fox#my art#sonis 2 release date in japan yay!!! first release worldwide!!!#ask to tag#not any bigger art bc im so busy with class . sobs
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here is Amnesia's Mum, Ardent is a Unicorn that never got her cutie mark. is it super rare to be an adult and not have a cutie mark
this is just a rough sketch of what she looks like but I still think it fits her well.
#dragon #pony #mlp #mylittlepony #fy #fyp #fypage #cute #alicorn #unicorn #furry #furryart #furrycommunity #furryfandom #furryartist #furryartwork #animals #deviantart #furry #furryart #furrycommunity #furryartist #sfw #commissionprices #australia #usa #worldwide
#art#artist#cute#animal#commissions#animation#painting#mlp oc#mlp art#mlp g4#mlp#worldwide#oc#oc art#small artist#small business#commission#commissionsopen#furry custom#furryfandom#furry#fypge#fypシ#fy#fypage#fypart#fyp
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“Louis has done everything and he knows how the business works; he’s incredibly intelligent and street smart.”
-Matt Vines on Louis. (2 November 2022)
via Music Business Worldwide
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OCTOBER 25, 2022 BY TIM INGHAM
Did you happen to find yourself in a provincial German discotheque in the early 2000s, somewhere betwixt Berlin and Dresden, watching Rednex – and we say this with a modicum of charity – ‘perform’ Cotton Eye Joe to a wide-eyed dancefloor?
While you were there, did you notice a 19-year-old woman, stood to the side of the throng, with a handbag suspiciously stuffed with tens of thousands of Euros?
If so, we do hope you were polite to her. Because she went on to become one of the most influential international executives in the global music industry.
Today, Dominique Casimir is Chief Content Officer at BMG, and sits on the board of the Bertelsmann-owned music company. Most importantly, she oversees BMG’s ‘repertoire’ (that’s publishing and records) operation in 17 separate territories, including Central Europe, Latam, and the UK. Or to put it in a more succinct way: Casimir runs BMG’s entire music operation everywhere outside North America.
Twenty years ago, such professional heights must have seemed a long way off for Casimir, who had moved to Berlin as a teenager with the initial intention of becoming a doctor. Within a few months, she’d pressed pause on these medical ambitions, and found herself studying an aimless mix of subjects at university, while waitressing in her spare time to pay the rent. One day, a realization hit her: “This leads to nothing.”
Following her innate passion for music, she signed up as an intern for a German talent agency that specialized in booking shows for Swedish pop acts. It was an eye-opening introduction to the music business.
She spent most of her time in a van, “picking up acts like Rednex and [nu-disco trio] Alcazar, and taking them to shady discotheques for playback performances – multiple venues in one night. When we got to each show, I’d been told to [accost] the venue owner: ‘No one goes on stage until the money is in my handbag!’”
This precarious lifestyle was a thrill for Casimir until one December night, still in her teens, she found herself arranging an emergency helicopter to the local hospital. The lead singer of Rednex had succumbed to a life-threatening fever… in a minibus driven by Casimir… which was stuck on the Autobahn… because of an avalanche. Casimir was out of money, out of phone battery – and very nearly out of a lead singer of Rednex.
Somehow, Casimir made it back to her parents’ house in Hamburg that Christmas. And far from being scared off the music industry, she decided to double down.
Returning to Berlin that New Year, Casimir launched her own successful independent booking and management company – keeping her contacts from Swedish pop-land, while also branching out into management of young German rock bands. She made enough waves over the next half-decade to impress Fremantle, a Bertlesmann-owned TV content company, who hired her to handle sync licensing and music publishing agreements in 2007.
A year later, her work caught the eye of Hartwig Masuch, who had just become CEO of the ‘new’ BMG, a startup music company backed by Bertelsmann capital. (The ‘old’ BMG was no more, after Universal Music Group acquired its publishing assets in a USD $2.19 billion deal in 2007.)
Today, outside of the major music companies, BMG is arguably the largest music publishing and recorded music entity globally.
In the first half of 2022, BMG turned over EUR €371 million, up 25% year-on-year, with 40% of that revenue figure coming from recorded music and the remaining 60% from publishing. Its repertoire across publishing and records includes all-time classics from Pink Floyd, the Rolling Stones and Tina Turner, through to modern releases by the likes of George Ezra, Kylie Minogue, Jason Aldean, Slowthai, Lewis Capaldi, Mabel and Louis Tomlinson.
Remarkably, Hartwig Masuch says that BMG had achieved its 25% YoY revenue uplift in H1 2022 “with virtually no hits” – his point being that BMG’s primary focus is not on achieving global chart-toppers, but instead on amplifying the prospects of all its repertoire, regardless of audience size.
As head of BMG’s repertoire outside the US, Dominique Casimir oversees music that is responsible for around 50% of her employer’s worldwide turnover.
Many of her most notable moves to date have come in her home nation of Germany. In August, for example, BMG swooped for Telamo, Germany’s largest independent record label and a specialist in Schlager music (often described as Germany’s equivalent of country music in the US). As a result of that deal, BMG now stands as one of the largest label groups in the German market.
Casimir has also personally been at the forefront of BMG’s investment in three significant areas of live music. During the pandemic, she led the majority-acquisition of German live music promoter Undercover. She also led BMG’s backing of the stage musical Ku’Damm 56, which has sold over 200,000 tickets to date, and was recently extended to the end of February 2023.
Most recently, Casimir took the wraps off BMG’s latest foray into live entertainment: The firm has booked out Berlin’s most renowned theater, the 1,600-seat Theater des Westens (TdW), every night until the end of 2024.
BMG, in conjunction with Bertelsmann, will pack that theatre with live content each week, with a view to emulating the Vegas/Broadway-style ‘residency’ successes of artists in the US such as Bruce Springsteen, Adele, and Celine Dion.
Here, Casimir explains what her early experiences in music taught her about treating artists and why she believes BMG has cracked the right way to do deal-making with artists – as she reveals an interesting theory for why the music industry continues to obsess over weekly charts…
YOU STARTED LIFE IN THE MUSIC INDUSTRY AS A TEENAGER, SITTING IN SPLITTER VANS WITH SWEDISH POP ACTS AND GERMAN ROCK BANDS. IS THERE ANYTHING YOU LEARNED DURING THAT TIME THAT STILL RESONATES WITH YOUR PROFESSIONAL LIFE TODAY?
Definitely. As a manager [in the early noughties] I saw a totally unbalanced, unfair and super-weird situation: The artist would be putting their entire life into this, and you had the industry – whether that was live or record companies – making all the money and calling all the shots.
That triggered something in me from minute one. There was this tone from the music industry during that era: We have the power; you, artist, are small. Now shut up while we overrule you, because we know better.
I met lots of anxious artists who were so busy trying to make their A&R at the record company happy. They were delighted when one of these ‘super repertoire’ people from the label visited the show. To the artists, it felt like these label people really could open the gate of magic at a major music company. But that was actually when the trouble would really start!
WHAT DO YOU MEAN, TROUBLE?
I believe that the most important thing you can have when you’re starting a [commercial] discussion with an artist is clarity. Clarity on what it is we can achieve together, but also clarity on agreeing on a realistic picture – sometimes, a reality check! – on what the best case scenario looks like at the end of a project.
That means not promising the sky and everything in it just to get an artist to sign to you. Because what happens in that scenario is you enter into an ‘us and them’ relationship. Record companies might think [when the artist signs with them] that they have ‘won’ a deal, but if you haven’t invited clarity and honest discussion into the room, you will be left with a huge amount of pressure. And, soon, you will be left with the blame game.
The moment you create a relationship with an artist where there is ‘you’ and not ‘us’, it just won’t work.
Artists are not always super-predictable – that’s part of the reason we all love them so much. But when they know who they are, you can all agree together what the goals are and what the goals aren’t. When they’re willing to get into the ‘boat’ with their [record company partner], when you’re in it together, there is no blame game. You have a recipe for success.
ISN’T THE ‘PROMISING THE MOON’ ELEMENT OF RECORD COMPANY DEALS WITH ARTISTS VERY OFTEN BECAUSE THE ARTIST INVOLVED HAS A LIKELIHOOD OF RELEASING A CHART HIT – OR ALREADY HAS ONE ON THE WAY?
Yes. I know you noticed Hartwig’s comment about BMG not requiring a hit to grow 25% in the first half of this year. That is the new music industry.
Of course it’s nice for every artist to have a hit, and we’ve had our fair share. But hits come and go, and for some of them [the record labels] massively overpays. Some artists have just one hit in their career, and it’s not even a super-hit.
You can’t live off that forever, but it might cost you everything because of the way your deal is structured; if that deal, for example, is completely predicated on you having a second hit, with massive expenditure [baked in] at radio. If you don’t get that second hit, you’re toast.
Think of it from the artist’s perspective: The industry often doesn’t talk nice about artists who don’t get that follow-up hit, especially if a lot of money has been spent trying to get it, and artists know that. A huge part of this industry still spends all its time and attention – and a lot of its money – playing that hits game, and it leads to bad incentives.
Traditional record label A&R is like cooking spaghetti: throw 10 pieces at the wall and hope one sticks. Those pieces of spaghetti are artists! It needs to change. There are so many ways of making a living for an artist today. Even though it remains really hard to do so, focusing on just the hits and the recorded music charts – in an age when 600,000 new songs a week are going on to streaming services – isn’t a sensible strategy.
WHAT IS A SENSIBLE STRATEGY?
Our perspective is to look at artists and ask: Is there an interesting brand here, an interesting story we can use our expertise to grow around the world?
As an artist, you need as diversified an income as possible – Covid proved to all of us that just relying on live income can quickly be disrupted. It’s not about just living off your vinyl sales or D2C, or Spotify, or ticketing; you need to understand which income streams work best for you, and turn up the volume on all of them.
We don’t just promote records anymore – we promote artist brands.
WHY DO YOU THINK SO MUCH OF THE MUSIC INDUSTRY CONTINUES TO FOCUS ON CHARTS AND HITS? SURELY THAT DOESN’T MAKE SENSE UNDER YOUR ARGUMENT; THERE MUST BE A SOUND ECONOMIC REASON FOR IT?
One of the reasons I’m so thankful I started out in live is that I got to witness that ‘live moment’ – when eveything you’ve worked on together as a team is realised. You hear the audience; it’s such a direct and satisfying reaction.
That’s something you don’t get when you work in a record company. That’s one reason I think the charts remain so important to friends and colleagues in the record industry – charts are a mirror that tell a team: ‘You’ve done something successful.’
But the truth is the charts only reflect a small proportion of the music industry, and even if you do have chart success, it should only be one part of a much bigger story.
That was made clear to me from the first minute of being interviewed to join BMG. Hartwig was very strong and opinionated: we need to apply expertise and systems to what music IP is, and what an artist identity is. That’s the goal. And we need to do it while being honorable, transparent and offering the best level of service – not overruling or overpowering because ‘we know best’.
WHAT WERE YOUR FIRST IMPRESSIONS WHEN YOU MET HARTWIG?
He was busy choosing the new BMG logo at the time! I remember him turning around and saying, ‘Why do you want to join this new music company.’ And I said: ‘Actually, I’m not really sure why the world needs another major music company.’ That got him going!
He looked and me and said: ‘I will tell you why…’ And that was followed by Hartwig in full inspiration mode: What he wanted, why he thought artists and songwriters deserve it, and the type of people he wanted around him to make it happen.
SINCE MAY, YOU’VE BEEN CHIEF CONTENT OFFICER OF BMG, OVERSEEING ALL REPERTOIRE OPERATIONS OUTSIDE NORTH AMERICA. WHICH MARKETS AROUND THE WORLD ARE YOU MOST EXCITED BY FROM A BUSINESS PERSPECTIVE?
Mexico, and Latam more generally, stand out. We announced we would launch BMG Mexico earlier this year, we’re in the process of getting it up-and-running and it is already so much fun. There’s tremendous growth, of course, in LatAm [territories] with many of them growing by more than 30% per year for three years in a row at this point.
Streaming and digitalization of the LatAm markets is generally very advanced. But on the other hand, other parts of the industry – the live business, brands, merch, the sync business – all have room to become much more relevant, and I think we as BMG will really make a difference to that.
YOU MENTION LIVE: BMG HAS MADE SIGNIFICANT STRIDES INTO LIVE IN ITS HOME MARKET IN THESE PAST FEW YEARS, ESPECIALLY WITH YOUR MAJORITY ACQUISITION OF UNDERCOVER, AND MORE RECENTLY WITH YOUR TWO-YEAR RESIDENCY OF THE BERLIN THEATRE WHERE YOU’VE SEEN SUCCESS WITH THE KU’DAMM 56 MUSICAL.
Germany is a good country for us to test things. It’s the fourth biggest music market in the world, and in some years it’s the third [overtaking the UK].
What we’re trying here with Bertelsmann, is to ask: Can we extend what we do in rights management in music to the live business? Because from a marketing and promotion and storytelling perspective that idea makes a lot of sense. We’re very good at that in [music rights]. And then another thing we’re very good at is financial transparency, and I think there’s a need for that in the live world. And we found a company [in Undercover] just like us. The first meeting I had with [Undercover founder Michael Schacke], he said: ‘We are about fairness and 100% transparency. Our artists can come and audit us anytime.’
One big annoying needle in every artist’s foot in live is the consumer data. There’s a huge amount of valuable fan data created in the process of selling tickets, but it’s often difficult for artists and managers to access that information. We are trying to crack that open with some artists, and get the fullest picture possible of their fanbase, so we can really optimise their income streams.
Our involvement in live concert promotion is the opposite of a ‘360’ deal structure: We offer live promotion and agency services on an opt-in basis to our [recorded music and publishing] artists. We hope those artists do opt-in, because we think we’re offering a lot of added value. But it’s their choice and if it doesn’t suit them that’s fine.
ONE OF THE BIGGEST STORIES IN THE MUSIC INDUSTRY THIS YEAR HAS BEEN THE REVIVAL OF KATE BUSH’S RUNNING UP THAT HILL VIA A STRANGER THINGS SYNC OVER THE SUMMER. WHAT WAS YOUR TAKE ON THAT, AND HOW EVEN THOUGH IT’S A ‘CATALOG’ RECORD, IT EXPLODED LIKE A NEW STREAMING HIT AMONGST MILLIONS OF TEENAGERS WHO WERE HEARING IT FOR THE FIRST TIME?
It’s a beautiful dynamic, and it’s not about ‘catalog’ or ‘frontline’. Kate Bush is an icon and an iconic brand. The question for this new generation of consumers, and those in the music business working to maximize this moment’s potential is: What’s the core of the brand? Why why did she have such a cultural impact? What’s the essence of this artist’s appeal?
I translate that to what we’re doing with Tina Turner [whose music interests BMG acquired last year]. What is the essence of why people feel so strongly and so connected to Tina Turner (pictured)? We’re talking about a premium brand here, and a brand that comes with very strong emotional attributes attached to it. Obviously, it’s about the music, but it’s about more than the music.
So, again, that’s the question: Why was an artist so culturally impactful in the first place? Once you can answer that, you go from there.
#for you clem#lt mention#business worldwide#10.25.22#business stuff#dominique casimir#bmg#chief content officer#hartwig masuch#music business worldwide#my repost
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HOW DOES IT FEEL TO BE IN THE MIDDLE OF THE HARRY’S HOUSE PHENOMENON?
It feels pretty amazing because, at this point, me, Harry and Tyler are best friends as well as a team. So it’s like celebrating with your mates. If we ever win anything and go up [on stage] together, it’s not going to be like, ‘We wrote this song in a room three years ago with two strangers’, it’s going to be real.
We get to enjoy it in the same way, text each other saying, ‘This happened! Can you believe this?’ I’ve been doing my thing for a bit and it feels like this is what I’ve been working towards. Through working with Harry and the other projects I’ve done, I’ve now got the skills to do the things I always wanted to do.
YOUR WAY OF WORKING IS QUITE UNUSUAL COMPARED TO MOST OF THE POP SIDE OF THE BUSINESS…
Yeah, it’s not as common. But it helps you create an environment where you can dare to fail. If you’re only in for a couple of days, your ideas have to be incredible, otherwise you’re never going to get on the project. When people jump around and think someone else has got the idea that’s going to fix it all, then it takes it out of your hands and the artist’s hands. Our way is about saying, ‘OK, if this is a problem, it’s our problem to fix.’ How do we make the best Maggie Rogers album or the best Harry Styles album? And what do they want their best album to be?
Harry was playing me some crazy jazz piano piece the other week and he said, ‘I love this.’ OK, how do we now turn this into Harry Styles music? Or Maggie Rogers will come in and play me some thrash metal, heavy punk song and I’ll be like, ‘OK, how do we figure this out for Maggie?’ You put all the influences into a melting pot and figure it out. It’s like a fun musical game.
WAS THERE ANY PRESSURE ON HARRY’S HOUSE AFTER THE HUGE GLOBAL SUCCESS OF FINE LINE?
Not really. We’ve got such chemistry between the three of us now that I’m as excited about what we do next as much as anyone. We’ve been through a process and we’ve definitely written some of the worst songs you’ve ever heard! Going through the process of writing those and then saying, ‘These aren’t good enough’, has enabled us to get to the point where we’re even quicker with that. We’ll start an idea and know within an hour if it’s not happening, and we’ll just move on. There is pressure, but our process is separate of whatever happens commercially.
#harry styles#tom hull#kid harpoon#music business worldwide#excerpts only#read the full article for more
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tried posting some writing to Lofter for the first time. For those who don't know Lofter, it's essentially "Chinese tumblr", with a lot of the same site functionality, but it has a somewhat aggressive content filter in place.
Lofter doesn't support italics, and I use a decent amount of them in my writing. To preserve the formatting for use by anyone who saw it there and was able to read English/wanted to see it as intended, my intent was to upload both a screenshot of the original work and a transcript in English for readers who wanted to paste it into a translation tool. However, any and all posts including screenshots of the English text of the story were automatically rejected. I hadn't expected this since I had actually heard people sometimes use screenshots of text in English to subvert the filter ^^;
Well, at any rate, I did eventually post the text-only version by itself with no trouble (except the trouble of the site's formatting making apostrophes look nasty, and having to replace my italics with bolding); I think it's possible Lofter's censor thing only goes for image posts. There are at least two fans of my stories who are more active on Lofter than anywhere else thanks to the great firewall so I hope this will at least make stuff a bit easier for them!
#one is dear Oriole and i think it is possible the two of us are the only people actively making Belavue at the moment >_>#(even iensabyss and kaiyasen have been either busy or making other things though they still love the ship i gather)#so i will do whatever i can to help them read My Stuff....#i would do a lot for the other shooters belavues got out there. all like eleven of us worldwide
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Get ready to shop ‘til you drop, no matter where you are in the world! Our store is now shipping worldwide, and we can’t wait to see where our products end up! @ vividmistdesign.etsy.com
#worldwide shipping#shopnow#shop small#etsy shop#sticker shop#small art business#small artist#stickers#cute#small business#stationery#sticker#artists on etsy#etsystore#etsyfinds#etsyseller#college#student#teen stuff
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Anybody knows a cheap and good shipping service that ships worlwide?? Asking cause I really wanna make merch and dont wanna force my customers to pay 20USD in shipping to a 5USD pin T_T
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BMG, Beggars Group and Hipgnosis each have strong opinions on streaming. Here are those opinions.
January 21, 2021 / By Tim Ingham
(...) BMG is, obviously, a big deal in the world of music rights. The company generated over $670 million across publishing and records globally last year.
Its DCMS submission sets out a number of changes it wants to see in how the wider music industry pays out from streaming. It’s fair to say that most of them are directed at the three major music companies.
Writes BMG: “A rule of thumb is that streaming services pay around two-thirds of their revenues to the music industry for the music rights they license.
“The problem for artists is that while the recording attracts the largest share (around 80%) of the music rights pot, a traditional record deal may offer them 20% or less of that share, and 20% of 80% of 66% is 10.5%. The problem for songwriters is that while they typically have much higher [royalty rates], around 75%, that percentage is applied to the smaller share (around 20%) of the music rights pot, and 75% of 20% of 66% is 10%.”
BMG continues: “The only realistic way for artists to increase their income from streaming is for them to receive a higher share of the revenue generated by their recordings. The only realistic way for songwriters to increase their income from streaming is for them to receive a greater share of the total pot of money paid by streaming services for the music they use. Both proposals are likely to encounter significant push-back from the traditional music industry. This is understandable since achieving them would entail wholesale changes to working practices, improvements in efficiency and a more robust approach to overhead. None of this is comfortable, but we believe it is necessary.”
BMG is largely very positive about Spotify, Apple Music et al and the impact each has had on the music industry so far. It does, however, raise a couple of key concerns on recent developments regarding SPOT and its fellow platforms.
“[Some streaming services’] attempts to overturn a court-mandated increase in songwriter royalties in the US is an outrage to many songwriters,” notes BMG, which also believes the industry’s “slow progress made towards adopting user-centric licensing is disappointing”.
BMG takes particular issue with “the recent announcement by Spotify that artists may have to trade lower revenues for access to certain playlists” which BMG says “potentially sets a dangerous precedent”.
It adds: “Spotify’s November 2 announcement that it is to offer labels paid-for personalised recommendations which influence algorithmic playlists has been widely criticised by artists as a form of digital age ‘payola’. While it is too early to say whether such language is justified, any mechanism which is seen to rig the market in favour of the biggest and best-funded players will inevitably raise concerns about market manipulation.”
Summing up its position, the company writes: “BMG views artists and songwriters as our clients. Our job is to be a service provider to them. Viewing artists and songwriters as clients changes many of the historic assumptions of the music industry. Since they are clients, it is not their job to keep BMG in business; it is BMG’s job to add value to their businesses.
“Since [artists and songwriters] are the principals, they should receive the lion’s share of revenue, hence while traditional record companies pay royalties of 20% or less, our new recording deals credit recording artists with 70% of revenue or more. We don’t do this because we are do-gooders. We do it because we believe that’s the logic of the streaming revolution and the modern way to do things.”
BMG adds, with a wink and a nudge: “It is a strange business in which ‘We don’t rip off our clients’ is an attractive sales pitch, but it is an indication of how far we believe the music industry lost its way that we identified it as an area of competitive advantage from the outset.”
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it’s not where i imagine that she would end up permanently but the idea of svetlana working jn an office setting is so appealing to me and i think that it would do her a lot of good
#her worldwide cup era…except she wouldn’t self-sabotage by sleeping with her boss’ brother#but like imagine her working in billing she would be so good at it#i feel like she’d be that one coworker who everyone gets along with bc she minds her own business and doesn’t get involved in anyones drama#shameless#svetlana yevgenivna#shameless text
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My mom's on the phone with the incredibly hate-filled second cousin of my youngest two siblings. I come in the room to ask her to be quiet because I'm trying to find watch Drawfee - which is important, ok? She's been up there discussing how it's bad that there are so many POC (editing this because she used slurs) on airplanes and how she's scared they'll bomb her, and when I go up they've moved to pronouns of all things. I go to pet the cat, waiting for a time to interject, and she says, "Oh, hold on, I'll ask [Leon]. Hey, what do you think about certain airlines just winning the right to pronouns for anyone, regardless of what they are?"
And I'm just like, "I could not possibly care less, and I don't see how you care."
To which she replies, "Well, I'm sorry that I understand biology and know there's only man and woman!"
And I say: "Sure, if you're looking at biology from an elementary school perspective, there is only male and female. But anyone with an education in the subject knows that there's a massive variety in how people are, and there's more than enough evidence to show that someone's perceived birth sex and the way they think about their own self is not always the same. But again: Why does this matter to you? Who is it hurting if someone wants to go by Twig and use xe/xer pronouns? Because I'd love to hear who this hurts."
And this dumb bitch she has one the phone demands to be put on speaker because she could hear me, has me reiterate "for her clarification" (said in the condescending way Matt Walsh might), and says, "Here's the thing, sweetie. There's man and there's woman. That's how God made us. You can live in a fantasy, but you can't deny that."
I say: "You're ignorant on purpose. God doesn't exist. Your kids will hate you in fifteen years' time because you force them to wear political shirts to school, shirts they're too young to understand."
And she says to my mom, "Oh, god! I see what you mean about having lost that one! She's one of the faggots now!"
And my mom just agreed? And says she's disappointed that she's "losing me." Then asks if I think she's wrong for her opinions and I'm like.. yeah? I tell you this all the time? I'll mention a Mexican guy I work with and suddenly it's "I hate all the immigrants." She'll see a commercial with two women getting married and it's "I can't believe those people are allowed to exist." Like. Of course I think she's a dumb bitch.
And this dumber bitch on the phone goes, "Shell, let it go. She's too far gone. Might as well just disown that one!" And she's taken off speaker and they start talking shit about me with me right the hell there. I said, loud enough that this chick could hear, "You're a sad dumb cunt and I hope all your kids are faggy and you die mad about it."
My mom's trying to force me to apologize now. I had "conceded," only to get on the phone and tell her I hope she accidentally shoots herself to death with one of her like 300 rifles, then said I'd call DCS on her if I knew where she lived.
Anyway. I may be violent, but I'm not in the wrong here, and no one can convince me otherwise. It's been like 5 minutes, they're still talking shit about me. And, like, my mom wonders why I don't share shit about myself with her and why I think she's a bad person. Hmm... Maybe it's because her best friend (who shared her views, just more extreme) is someone who likes to larp as an advocate for freedom while simultaneously believing things such as "only whites should be in America," "liberals shouldn't have the right to vote," and "the fags need to be exterminated." I fucking wonder.
#mother#mom#abusive parent#transphobia#transphobes#my mom works in the airport and literally narcs on every poc she sees who is even minorly sketchy...#...bc this vile woman convinced her the minorities are out to do terrorism in random tennessee airports#she literally had a plane to la halted today because it was 'suspicious' that like 80% of the flight was Hispanic.....#as if it's her business who is on a plane. she said they weren't even doing anything. just a bunch of people getting on a plane..#i can tolerate a lot. i cannot tolerate misplaced hatred.#i have anger problems out the wazoo and i choose to funnel that into vigilante-style defense of people who don't deserve hate#i will 100% fight someone fisticuffs style if i see them being a dick#there's literally so much going on in the world and you're worried about Demin (34) wanting to go by fae/faer?? hello?#you're a clown. clown world. clown shoes. tell me you don't understand the world without telling me.#Tisha who just chose her name yesterday and hasn't figured out how to get a clean beard shave yet isn't your enemy...#fucking rich fucks and governments worldwide are. Garret in his binder can't hurt you. billionaires can.#the kind of people who choose to prioritize shit like pronouns prove to me they're dumb as bricks#people are dying in needless conflict and global shortages of food and housing and you're concerned about Laura using they/them?#you're dumb. second graders surpass you in intelligence and analysis skills and empathy.
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Music Business Worldwide November 2, 2022
By Mark Sutherland
Matt Vines and Louis Tomlinson were sat watching the news.
The star – who found worldwide fame as part of One Direction – had just kicked off his 2020 solo world tour in Spain, a moment he’d been waiting for ever since the band went on hiatus in 2016.
But, four years after that bulletin broke a million teenage hearts, the world was changing fast. Tomlinson and his manager watched helplessly as, one-by-one, all the countries the long-planned tour was due to visit started shutting down as the coronavirus swept the planet.
“We had the buses all waiting when we made the call that everybody was coming home and it was game over,” sighs Vines, two years on. “That was incredibly devastating. Louis had waited years to do that tour. Coming out of the band, that was all he wanted to do, because that was his favourite part of being in One Direction, touring.
“It was over in a heartbeat,” he adds. “But it took us months to unravel it all, work out what to do and keep rescheduling and moving things.”
Fast forward another two-and-a-bit years, however, and the picture looks different again. After being rescheduled numerous times, Tomlinson’s 2022 world tour – which began playing in smaller theatres – was upgraded to arenas in many territories, and visited several countries that even One Direction couldn’t reach.
It finally wrapped with a stadium date in Milan in front of 35,000 screaming fans. That show sold out in less than 36 hours – a sure sign that Tomlinson’s career is, once again, only going in, er, one direction: up.
MBW catches up with Vines, founder and CEO of Seven 7 Management, at 5.30am New York time, the only window in his hectic schedule as he and Tomlinson trek across the States on a whirlwind promotional trail pushing the singer-songwriter’s forthcoming second album, Faith In The Future, due in November.
So far, Louis has starred on The Late Late Show with James Corden, Good Morning America and a host of radio and press stops, proving that Harry Styles isn’t the only One Directioner capable of stopping media traffic Stateside.
And alongside him every step of the way has been Vines, a manager who, on Instagram, bills himself as an ‘amplifier of musicians and occasional troublemaker’ and is adept at keeping his artists in the spotlight while he himself remains resolutely in the background.
That’s an art he learned throughout his early career, including a stint at the “Caroline Elleray finishing school” as a BMG Publishing A&R assistant while still at the Liverpool Institute for Performing Arts. After that, he worked with Estelle Wilkinson as part of Coldplay’s management team.
“One of the first things I did was Coldplay at Crystal Palace athletics stadium,” he remembers. “It was very much an eye-opener, like, this is what you can do. It made me think, ‘I want to get to this point, but not just walk into it, I want to do it from the ground up.’”
To that end, he then went to work with Mark Gillespie at Three Six Zero, where his alt-rock knowledge perfectly complemented Gillespie’s electronic music skillset. There, he rose to VP, co-running the UK company, and started working with synth-pop duo Hurts, still a management client today, before leaving to set up Seven 7 in 2016.
Seven 7 is more than just your typical music management company, with interests in everything from eSports and gaming to digital strategy, social media management and production/library music. It has a new studio partnership in Tileyard with Theo Hutchcraft from Hurts, which will allow all Seven 7 clients access to state-of-the-art recording facilities free of charge, meaning they can develop musically without having to rely on external financing.
But Vines’ work with Tomlinson remains a key calling card. Tomlinson was the last 1D-er to release a solo record but, after a couple of early electronic pop singles and an album, Walls, on Syco, he has now headed down a Britpoppy, alternative route that more accurately reflects his own music tastes.
A lockdown livestream saw him break records by selling 160,000 tickets across 110 countries and raise a huge amount of money for charity and his own road crew. And since life returned to something approaching normality, Tomlinson has appeared on the cover of Alternative Press magazine and curated his own international Away From Home festival, featuring the indie-rock likes of The Vaccines and Hinds.
Tomlinson’s festival is now set to be an annual event and, with a new album on BMG that’s likely to take both label and star to new global heights, it’s time to finally pin Vines down for a chat…
How did it feel to finally get Louis’ world tour done?
It’s been a great tour. It’s had its challenges; we were one of the first world tours to go out in January at the height of the Omicron part of the pandemic, which was incredibly hard. We put a lot of back-ups in place, which allowed us to continue without dropping a show, but it was probably the most stressful touring climate I’ve worked in. And when you’ve been at home for two years, it was tricky coming back out again and doing that. But it’s been a great success and all credit to the fans for turning up as well.
Obviously, Louis has a huge platform from his One Direction days. But how difficult is it dealing with the preconceptions that come with that?
We spend our life slowly re-educating people on who he is, to try and remove any preconceptions about what he might be, what he wants to do or even who he is as a person.
The tour has helped a lot because, as we go round the world, we meet media and label partners locally who engage with him and come to the show. The show always gets the same reaction: ‘That’s not what I expected’. So having the tour before we go into the campaign for the new record has been really helpful. It’s been a case of slowly opening the doorway to what he does.
How difficult has it been moving him into a world where he can be on the cover of AP magazine and curate his own festival?
They are things we’re massively proud of on this campaign. Getting the AP cover felt like a big moment for him, because a lot of the reaction was, ‘I didn’t expect that’. But actually, when you listen to the music, it does fit perfectly with that demographic.
I’ve worked with guitar-based acts for 20 years and one of the biggest challenges you have with a British guitar-led act is travelling internationally. To be able to do that with an artist like him, who has that footprint already and can give you those opportunities globally, gives you a really exciting platform to build a campaign around.
How do you take his original fanbase with you?
Well, the campaign always starts with the fans. They’re the most important part of this process. It’s community-led and that very much comes from Louis. Every night on stage, he says, ‘I need you and you need me’. And when you’re in the middle of this, you see that as well, it’s very much a two-way street. So everything we do is geared around what’s good for the fan experience. There are only so many places we can go on a tour, but we make sure they feel included on a global level.
The livestream actually gave us a lot of confidence on pushing the capacities in some territories. It really helped with some of our promoter conversations as well. One suggested we should come and play a 3,000-cap venue. We shared the livestream data and said, ‘Look, we think you’re really under-estimating this’. We ended up selling 20,000 tickets in that city.
Is it difficult facing comparisons to One Direction’s achievements?
We don’t really compare to what One Direction did. What Louis does and the music he makes is very different from any other members of the band, and indeed the band’s music. So it’s less of a comparison and more that it’s helpful to us. We use the data from what he did in One Direction, look at the activations they did and how they ran their campaigns and use elements of that which we feel will work within his campaigns. It gives us a healthy understanding of the audience.
How about the comparisons with the other members?
You do get it and he gets asked about it quite a lot. What Harry’s achieved is absolutely phenomenal this year, you can’t deny it’s absolutely incredible. But that’s exciting – and it shows the power of the fanbase. That’s one thing that Louis has and the band had – the audience is incomparable to anything that I’ve ever seen.
With every promoter we’ve ever worked with, we say, ‘You’re going to have to prepare for this, because the fans will be there a week before the show, we have to put on facilities and security – you’re not ready for what’s going to happen here’. And every time they say, ‘Yes we are’ and afterwards they go, ‘Holy shit, we didn’t expect that to happen’! There’s a duty of care that comes with that that we put a lot of time into.
Does Louis actually want that 1D-style mania now?
Absolutely, he loves it. But he’s definitely got an executive head on him. Within One Direction, his role was not only chief songwriter, he was also the decision-maker. That’s something he wants to employ going forward, whether it be managing artists or from a label perspective and those are all things we’re looking at doing.
With launching the festival last year and expanding it this year, we’ve seen an interesting opportunity where we could help new British acts and give them a platform they wouldn’t traditionally get.
BMG has had huge success with older artists. What made you sign with them?
BMG was an exciting choice, because Louis didn’t want to do the conventional major label deal set-up that he was used to before, coming out of Syco. What took us about BMG is that it’s very much a partnership. With the way the deal’s structured, we’d go into this campaign where we have complete creative control and essentially control over the entire campaign on a global level.
They work with us as partners and with an artist like him, who is so global, having complete oversight over the whole campaign has allowed us to be quite nimble.
We can adapt the campaign on a granular level within various territories – that’s tricky to do within major label deal constructs. It’s the biggest thing that BMG have done, it’s their global priority and it’s been great working with them on that level.
Is it difficult to keep such a low profile when you work with such a high-profile artist?
I’ve always had the mentality that I let the artist do the talking, that’s what people want to see. But there’s an interesting side to it that people don’t really know about, it’s a fascinating project to work on. People don’t see the intensity of the demand and the audience – the chaos, essentially, everywhere we go.
One Direction fans can be very vocal online about the people who work with their idols…
It’s water off a duck’s back for me, I don’t really pay attention to it. Obviously it’s there, and I do spend a lot of time talking to my team and the people who work on the project on what to expect, because it is different from what you might have seen before. It can be positive and it can be negative, so it’s just something to be prepared for.
What made you want to start Seven 7?
The reason that I did it, and what I’ve tried to instil as we’ve grown, is very much the feeling of a boutique operation, where we work as a team. When we do company calls, be it about Louis, Hurts (pictured) or anyone we represent, everyone has the opportunity to input on how those campaigns work. We have actually taken things we’ve done with Hurts and applied them with Louis, it’s interesting the effect you get – we essentially move as a unit around the different campaigns.
As well as very successful artists, you’re also involved in the less glamorous world of production music…
That was something borne out of the pandemic. We spotted there were huge opportunities in that area. ASMR music [Autonomous Sensory Meridian Response sounds that help listeners relax] is one of the fastest-growing areas of playlisting with Spotify. So, throughout the pandemic, we formed partnerships with a lot of music makers to release that music, whether it be white noise or nursery rhymes. What struck me is when you see a white noise tune on Spotify with 300m plays. That was a bit of an eye-opener so. At that point I was like, ‘We should be doing this’.
What’s your management philosophy?
It would be lovely to do a deal, take a big advance and spend three years developing an act, but the business doesn’t work that way anymore. It’s all-encompassing.
I have this conversation with all the artists I work with, the idea of a ‘manager-artist relationship’ is a bit outdated and, actually, we’re simply partners in running a business. It’s a very transparent partnership and, when you put that mindset on things, it gives you the opportunity to do things differently. Louis has done everything and he knows how the business works; he’s incredibly intelligent and street smart.
Same with the Hurts boys, we’ve done this for nearly 15 years now and they’re very well-educated on how the business works. So it’s very much a partnership and, at times, about keeping the train on the tracks. You’re 50% business manager, 50% social worker!
If you could change one thing about today’s music industry, right here and now, what would it be and why?
I’d allow visa-free entry to major touring markets for artists performing smaller shows. In particular, the US and now Europe as we are seeing the effects of Brexit, so we can aid the promotion of international touring businesses for UK-based artists who don’t all have the benefit of major label tour support.
And I’d remove default merchandise concessions at venues. The concept that venues take a gross percentage of an artist’s merch sales for no input, when the venue is already being hired for a fee, and keep all food and drinks sales, is outdated. When you take into consideration that a lot of acts are subsidising their touring losses via merch, and the manufacture and delivery costs for those items are going up, it’s just putting more financial pressure on the artist.
What’s the proudest moment in your career so far?
More than anything, I’m proud of working with artists where – and I’ve seen this with Hurts and Louis – you sit with them and have a simple conversation at the start of everything: ‘What do you want to do? Where do you see this going? What do you want out of this? What do you want to achieve?’
When I met Hurts (pictured), they had nothing. They used to get the Megabus to London overnight, put their second-hand suits on and we’d go and take label meetings. I remember them editing demos in my flat in London and I gave them money for a loaf of bread and a Pot Noodle.
And seeing them now, five albums in, they’ve got a multinational arena touring business and are well-respected musicians with a long-term career. Do they still eat Pot Noodles? I don’t know, maybe!
And what’s been the biggest challenge?
One of the biggest challenges currently is the well-being of artists and the demand on artists through social media. As a manager, you see the effect of that first-hand. It’s something we all need to be aware of, and have best practices and duty of care in place for, because it’s easy to see those demands consume artists.
As a manager, more than ever, you have to say no to things. Artists are being pulled every which way on tour, and it’s easy to feel the pressure, especially when you’re having success, to keep filling the time. But the power of ‘no’ as a manager is crucial in maintaining artist well-being and health which is the most important thing.
This article originally appeared in the latest (Q3/Q4 2022) issue of MBW’s premium quarterly publication, Music Business UK, which is out now.
#super interesting#and some great quotes#about louis#matt vines#interview#music business worldwide#02.11.22#louis#lt tour#faith in the future#lt management#seven 7#three six zero#article#link#m
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