Netflix and Amazon have launched a push into Europe that will likely result in some bad nights of sleep for operators, pay-TV channels and broadcasters looking themselves to do more business over the top.
Both OTT players have long-term toe holds in Europe, pretty much since the dawn of streaming. Both were early into the United Kingdom – in one form or another – and used that base to help catapult them onto the continent, Netflix through the Netherlands and Amazon into Germany via its purchase of LoveFilms.
David Israelite In the midst of record labels reporting revenue growth, and with music streaming companies like Spotify and Apple Music touting more paid subscribers, songwriters and music publishers are continuing their lengthy fight to be paid a fair share of royalties. We thought this would be a good time to speak again with David Israelite, President & CEO of the National Music Publishers Association (NMPA), about the latest developments in music streaming royalties, and the laws that control how songwriters and music publishers are paid. Israelite recently attended the Copyright Royalty Board (CRB) hearings in Washington DC, where three judges heard arguments from music publishers & songwriters on one side, versus the music streaming companies (Spotify, Apple, Google, Amazon and Pandora) on the other side. The three judges will be determining the mechanical royalty rates for a new, five-year period that begins January 1, 2018. Israelite was also a witness at the trial, testifying for eight hours. In this new interview, Israelite discusses the CRB hearings, and when the judges are expected to announce their decision. He also discusses the latest status of the Department of Justice’s decision last summer to uphold the old consent decrees (from 1941), […]
You can probably rattle off the names of a few dozen countries around the world. But can you name each of those countries’ biggest brands? Probably not. And yet, many of those brands have more money and power than most countries. So perhaps schools should teach less geography, more global brands. This map is a start. The world has a new top brand. As recently reported by Fortune , Google has taken over the top spot from Apple . The search-engine-based tech giant saw its value increase by 24% last year, to $109.5 billion. But Google won out mainly because Apple’s fall was even more dramatic. The iPhone company saw its value drop by 26%, to $107.1 billion. Amazon, the world’s third-most valuable brand, is not far behind, at $106.4 billion. This map, based on data provided by Brand Finance . It reflects the global dominance of the U.S. economy – the next-biggest national brand is Samsung, the South Korean conglomerate, at $66.2 billion, less than two thirds of the size of Google (or Apple, or Amazon). Third on the list by country is ICBC, a Chinese bank, valued at $47.8 billion. Banks are the most prominent businesses on […]
Le titre du bilan 2016 réalisé par Médiamétrie est « l’audience augmentée », en référence à l’évolution des outils de mesure des audiences, en particulier du fait de l’intégration du replay dans l’audience des chaînes. Mais en fait, 2016 c’est plutôt l’année de l’audience fragmentée : des chaînes historiques en perte de vitesse, des chaînes de la TNT qui grignotent des parts de marché, et la consommation délinéarisée qui continue de se développer, sans oublier la SVOD qui pourrait venir chambouler un PAF qui ronronne. Chahutée, concurrencée, menacée voire ringardisée : oui, la télévision de 2016 c’est un peu tout ça ! Mais Médiamétrie le rappelle en introduction de sa présentation : « En 2016, près de 8 Français sur 10 ont regardé chaque jour des programmes de télévision en live, en différé ou en replay sur téléviseur, ordinateur, smartphone ou encore tablette. Si le live et l’écran de TV sont toujours au cœur des usages, les comportements évoluent et les téléspectateurs regardent de plus en plus les programmes TV sur les écrans internet. Des pratiques tirées par le développement des équipements numériques au sein des foyers. » Netflix et Amazon sont là, mais la télévision de papa résiste […]
Perhaps the tech industry is at last finding its voice — or not. President Donald Trump’s Executive Order on Friday halting travelers and immigrants from certain predominantly Muslim countries from entering the United States prompted strong reactions from the ACLU and many groups across America. Yesterday a federal judge issued a stay , blocking the Executive Order. The judge concluded, “There is imminent danger that, absent the stay of removal, there will be substantial and irreparable injury to refugees, visa-holders, and other individuals from nations subject to the January 27, 2017 Executive Order.” The tech industry’s role in this? Not so much. As the controversy unfolded, Amazon, Apple, Facebook, Google, Microsoft, Netflix and others issued a raft of mostly internal statements (shared to social media) expressing concern for their employees, affirmations of American values, and travel advice — yes, travel advice. None of these companies came out with a swift and powerful condemnation of the Executive Order itself. President Trump’s economic advisory group is scheduled to meet this Friday. Members include Tesla CEO Elon Musk and IBM CEO Ginni Rometty, who would have the opportunity to more vigorously press the case against Trump’s Executive Order. If they can find […]
Netflix corporate headquarters v3 800px (Netflix) Netflix and Amazon are planning to spend a lot on content in 2017 and it could mean the two SVOD rivals will use their deep pockets to lure away shows and films from other platforms. Netflix said it plans to spend $6 billion this year on content, and Amazon plans to double its content budget and triple it in the second half of 2017. That means the two have the kind of buying muscle they can flex on programmers and fellow subscription video on demand providers. Last week, Netflix snatched away Jerry Seinfeld’s “Comedians in Cars Getting Coffee” from Crackle as part of a $100 million deal for the series plus two standup specials. In addition to new episodes of the series, which features Seinfeld conducting interviews in classic automobiles, Netflix is getting all the previous episodes. The loss of a fairly high-profile series likely will put a dent in Crackle’s momentum. But Crackle general manager Eric Berger last week told Adweek that he’s still very optimistic about Crackle’s upcoming programming. “We have a development slate that we feel can rival any ad-supported network,” Berger told Adweek. Berger went on to tell Adweek […]
Amazon is whipping out its checkbook with a no-haggle offer to filmmakers whose movies are official selections of the 2017 Sundance Film Festival — if they agree to make their movies available on Prime Video for two years. Under Amazon’s Film Festival Stars program, all films screening as official selections at this year’s Sundance are eligible to opt-in to a special Prime Video distribution package, which includes a one-time cash bonus and enhanced royalty rates. It’s an extension of Amazon Video Direct , the open video-distribution service the ecommerce giant launched last spring . Amazon will pay $100,000 for U.S. dramatic films and premieres, and $75,000 for U.S. documentaries and documentary premieres. In addition, it’s offering a $25,000 bonus for World Dramatic, World Documentaries, Next, Spotlight, Kids, Midnight and New Frontier selections. Sundance Film Festival Unveils 2017 Premieres, Midnight, Spotlight Sections To participate, filmmakers must grant Amazon worldwide streaming video-on-demand rights to their movies for 24 months, with the first 12 months exclusive. Currently, no films are part of Amazon’s Film Festival Stars, which is launching at the 2017 Sundance Film Festival. Of course, top-tier Sundance films potentially could earn far more money if they sell to Netflix or […]
The last time we did this was back in 2014 , so we thought it was time for an update. Not a lot of surprises but as we predicted when streaming numbers grow, the per stream rate will drop. This data set is isolated to the calendar year 2016 and represents an indie label with an approximately 150 album catalog generating over 115m streams. That’s a pretty good sample size. All rates are gross before distribution fees. Spotify was paying .00521 back in 2014, two years later the aggregate net average per play has dropped to .00437 a reduction of 16%. YouTube now has their licensed, subscription service (formerly YouTube Red?) represented in these numbers as opposed to the Artist Channel and Content ID numbers we used last time. Just looking at the new YouTube subscription service numbers isolated here, they generate over 21% of all licensed audio streams, but less than 4% of revenue! By comparison Apple Music generates 7% of all streams and 13% of revenue. Speaking of Apple, they sit in the sweet spot generating the second largest amount of streaming revenue with a per stream rate .00735, nearly double what Spotify is paying. But, Spotify […]
FutureSource rappelle que c’est à l’occasion du CES 2016 que Reed Hastings avait annoncé l’expansion mondiale de Netflix dans 190 pays au total. Il aura fallu un peu moins d’un an pour voir Amazon emboiter le pas à la firme de Los Gatos en annonçant son ouverture dans 200 pays. Le mouvement initié par Netflix puis par Amazon traduit clairement la volonté de mondialisation de ces deux acteurs afin de bénéficier d’économies d’échelle sur la technologie et les droits mais aussi sur leur capacité d’accroître le rendement de leurs investissements dans les productions originales sur une base d’utilisateurs plus large. L’OTT comme mode de conquête L’un des axes majeurs de développement de ces deux géants de la SVOD passe par la distribution OTT, laissant aux consommateurs la liberté de construire leur offre de TV payante basé sur des services directs de SVOD. FutureSource souligne que ce sont surtout des abonnés à la télévision payante qui s’abonnent à Netflix, en particulier aux Etats-Unis. Au Royaume-Uni, près d’un tiers des abonnés à une offre de télévision payante sont abonnés à Netflix, soit deux fois plus que les abonnés sans offre de télévision payante. Amazon reste challenger L’arrivée tardive d’Amazon ainsi que […]
“Music consumption is at an all-time high,” according to Nielsen Music’s 2016 U.S. Year-End Report. The analysis reveals that 2016 was another year with strong streaming growth and some compelling trends for albums. The entire music industry posted a 3.1% increase in overall volume, with total album consumption reaching 560.7 million units. That data point includes track equivalent albums (where 10 tracks count as one album) and streaming equivalent albums (where 1,500 streams count as one album). All digital music consumption rose 8.9% to 442.4 million units. On-demand streams were the star of the past year for the industry. Audio streams rose 76.4% to total 251.9 billion while video streams increased 7.5% to 179.9 billion. Nielsen calculates those on-demand stream figures from Spotify, YouTube, Apple, Google Play, Amazon, Rhapsody (now Napster), Tidal, SoundCloud, Xbox Music, Slacker, Medianet, AOL Radio, and Disciple. Online streaming services increased in usage over the year. According to Nielsen, 80% of music listeners used one of those services in the last 12 months; in 2015, the rate was 75%. Those services hold a 6% share in average music spend. Satellite radio subscriptions account for a 10% share of music spending, while digital music count for […]
Photos: Everett Collection, Shutter Stock, Getty Images ; Illustration: Dillen Phelps All signs point to the biggest TV story of 2016 — streaming video — being an even bigger in 2017. Netflix and Amazon will grow their U.S. and global brands and original series slates, Hulu and Google will launch cable-killer streaming services, more specialty SVOD services will launch, and the traditional broadcast, cable and premium cable networks will continue building out exclusive streaming content. Bundled TV providers, which lost more than a million subscribers in 2016, will likely loss a million more in 2017. As that general trend works its way into individual programming and viewer decisions, here are eight stories to watch in the new year: Photo: Illustration: Dillen phelps TBS Everett Collection Photo: Getty Images Photo: FX
ABC If 2017 is the year streaming TV comes of age, Amazon looks poised to be its chaperone. At the opening media event of the annual Consumer Electronics Show on Tuesday, TheWrap came across two booths displaying similar-looking ultra-HD 4K smart TVs. One was from 130-year-old American brand Westinghouse, and the other from a relative startup called Element Electronics. But under the hood, they were both powered by the same Amazon engine: its Fire TV interface and Alexa smart voice assistant, which also works with pretty much every other smart home product, making it almost too convenient for the many smart TV owners who also have internet-enabled lights and appliances. Other competitors are hardly deferring to Amazon — Dish Network’s Sling TV is unveiling its AirTV Player peripheral this week, which blends a streaming box with an over-the-air receiver. But when streaming TV comes to conquer Hollywood — and content empires from Disney to AT&T are preparing for it — it might be dressed in Amazon’s anthropomorphic smile. CES 2017: Streaming TV Is Ready For a Huge Year, And Tech Can Make or Break It Easy controls can make or break streaming TV for convenience-minded cord-cutters. Netflix is a […]
Photographer: Getty Images After years of trading physical dollars for digital dimes, the music industry is finally seeing a payoff . Subscriptions to streaming music services jumped about 50 percent in 2016, topping 92 million. For the first time since the heyday of CDs, revenue for the largest record labels is consistently rising. But things don’t look as bright for the streaming companies driving this revival. Spotify, the biggest platform, has swallowed huge losses while paying about 70 percent of its revenue to record labels and publishers. It’s attempting to renegotiate those deals before a planned initial public offering this year. Pandora, which has consistently lost money throughout its 15 years, is trying its hand at a pricier subscription model based on technology from Rdio, another struggling service it bought in 2015. Streaming services Rhapsody and Deezer face similar problems, and internet radio company IHeartRadio is trying to stave off bankruptcy . Services from Apple, Amazon.com, and Google are used largely to lure people to the companies’ other businesses. “It is virtually impossible to run a streaming-music service as a profitable business,” says Mark Mulligan, a former dance club DJ who’s the founder of industry analyst Midia Research . […]
Amazon announced the anticipated launch of Amazon Music Unlimited in the UK today. For my full take on Amazon Music Unlimited see my previous post here. Make no mistake, Amazon are taking this launch seriously, with a coordinated PR campaign and press release quotes not only from Amazon’s head of streaming music Steve Boom but also from Jeff Bezos himself. So why the big deal? Music is a low revenue, low margin business for Amazon, just as it is for Google and Apple. But that’s not the point. Music always plays a special role for tech companies, sometimes because the CEO is passionate about music, but normally because it is the service off which other things can be hung. Amazon, like Apple, is starting the transition towards becoming a services company. While Amazon has made much more progress on video than Apple has, it has made much less progress than Netflix has. Music is the wide appeal proposition that can be used to get people onto the first rung of the services ladder. Just like the CD got people onto the first rung of Amazon’s ladder back in the 90’s. Amazon’s approach to streaming music has thee notable assets that stand it apart from the pack: Targets mainstream music fans: 9.99 AYCE streaming services have drawn most of their users from music aficionados, super fans who like to spend money every month on music and who have the inclination and expertise to lean forward and routinely discover new music. Innovations like Discover Weekly and $1 for 3 months promotions from Spotify have helped broaden appeal but these are tweaks to the model, not revisions. Amazon set its sights on the more mainstream user with Amazon Prime Music, with a smaller, curated catalogue that is free to Prime Users. Pricing […]