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Showing posts with label future. Show all posts
Showing posts with label future. Show all posts

Thursday, September 4, 2014

Arcade Fire's Win Butler sings with Future Islands in Montreal – watch

By NME News Desk , September 3, 2014 10:07

Butler joined band to perform 'Seasons (Waiting On You)'

Arcade Fire frontman Win Butler joined Future Islands onstage in Montreal yesterday evening (September 2) – scroll down and click to watch.

The Canadian band wrapped up their 'Reflektor' world tour earlier this month but, as Pitchfork reports, Butler appeared as a special guest at Future Islands' gig at Montreal's Metropolis to perform their track 'Seasons (Waiting On You)'.

Earlier this summer, frontman Win Butler hinted that the band in the near future.

Speaking before their Hyde Park headline show in July, Butler stated: "We're in a position now where we can have an idea and the people around us to make it happen. It starts when you get off the road. If I ever feel bored now, it's the best feeling in the world, because I know that's when the next idea is going to come into my brain and it will start again."

Meanwhile, Win and brother Will Butler have been lined up alongside members of The Strokes to play in an annual charity basketball match. The Pop vs Jock III game, which will take place during this month's Pop Montreal festival, is organised by the Butler brothers and will see them play for a team of musicians also comprising Justin Vernon of Bon Iver and The Strokes' bassist Nikolai Fraiture.

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Saturday, December 28, 2013

Patrick Stewart and Ian McKellen discuss working on 'X-Men: Days Of Future Past'

December 19, 2013 13:24

Film opens in May 2014

Patrick Stewart and Ian McKellen discuss working on 'X-Men: Days Of Future Past' Patrick Stewart and Ian McKellen have opened up about their experiences working on X-Men: Days Of Future Past.

Stewart and McKellen star as older versions of Professor Charles Xavier and Magneto, respectively, with younger incarnations of the roles to be portrayed by James McAvoy and Michael Fassbender.

Speaking to the Wall Street Journal about sharing characters with the younger actors, McKellen said: "I think [Fassbender] made it clear he wanted to be his own Magneto and that suits the nature of the story and his part in it. And [director] Bryan Singer doesn't mind that we don't look much like each other.

"Although, they have put out a poster where our faces are blended and you do a double take and think, 'Ooh, my goodness, I didn't know I was that good looking,' and then realize the bit that's good looking is not me, but Fassbender."

Meanwhile, referring to the scene he shares with McAvoy in the film's trailer, which you can see below, Stewart said: "There was a certain happy charm about it, in that, when we shot that scene, it was James' first day of work and it was my last day.

"He is illustrating a time in Charles Xavier's life which was very different from the time that I've been inhabiting in the previous three movies, and we just let that play out. I think we've both been looking forward to doing that scene immensely."

X-Men: Days Of Future Past boasts a massive cast featuring nearly every familiar face from the previous five X-Men movies. Fassbender, McAvoy, McKellen and Stewart will all appear, and will also be joined by Jennifer Lawrence, Hugh Jackman, Halle Berry, Nicholas Hoult, Peter Dinklage, Ellen Page and Anna Paquin.

An official synopsis for the film was previously released, stating: "The ultimate X-Men ensemble fights a war for the survival of the species across two time periods in X-Men: Days Of Future Past. The beloved characters from the original X-Men film trilogy join forces with their younger selves from X-Men: First Class in an epic battle that must change the past - to save our future."

X-Men: Days Of Future Past opens in UK cinemas on May 22, 2014 and a day later on May 23, 2014 in the US.

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Saturday, April 6, 2013

If Streaming Is the Future, Songwriters Are In Deep Trouble...

Two of the top three countries, when it comes to revenue from recorded music, have just reported the figures for last year. US revenue is down by 0.9% and Germany's is down by 3.2%, as none of the countries has seen digital revenue growth offset the loss in physical sales.     

Of course the US relies more heavily on digital revenue, as it accounts for 59% of the music market's dollar value.  In Germany digital only represents 20.5%, and though its revenues from streaming increased by 40%, it still only represents 5% of the total revenue.  In the US streaming revenue grew 9%, yet it's only 15% of total revenues.

If Deezer CEO Axel Dauchez is right and "we see the end of music downloads as coming this year," then musicians are truly in trouble – and songwriters perhaps even more so, as they pretty much solely rely on revenue from recorded music to make a living. 

This past week the latest songwriter royalty statements arrived and, after looking at them, streaming certainly doesn't look like a saviour to us.  It's of course difficult to make a snap conclusion by looking at individual statements – my own statements tend to fluctuate somewhat according to how many songs I had out the previous year and how well they did – but the shares different usages represent tend to remain the same.  And when I compare them with fellow songwriters I can tell they're pretty much representative for all.  So let me give you a peak at what I see.

I receive four statements a year from my collection society/PRO, Sweden's STIM, and two a year from the publisher that owns most of my catalogue, Universal.  In the past year the revenue I've earned via STIM is 7-8 times as much as what I get from Universal, so let’s focus on the STIM ones.

Sweden has been in the forefront of the streaming revolution. During the first half of 2012 streaming represented 89% of all digital music sales in the country.

When the head of Universal Music Sweden (the record label arm), Per Sundin, announced "our artists get significant revenues from Spotify, which is our biggest income source for Sweden", many of my fellow Swedish songwriters wondered why they couldn't see such "significant" revenues from the streaming service themselves.

STIM's royalty statement summaries now separate Spotify income from all other revenue, and on my latest statement it still only represented 4.3% of all my royalties.  Matter of fact, in the previous quarter one of my songs earned £1,500 from Italian "disco" (which I can only assume is club play) alone, while it earned £9 from Spotify streams worldwide.  Thank God for those Italian clubbers and DJs, I say.

Admittedly, my royalty statements cover both local and international income, and the Italian figure was a bit of an anomaly. My music may also just be more popular outside of Sweden, but other songwriters report similar percentages.

I'm of an optimistic nature, as well as a Spotify subscriber, and I would really love to believe that streaming income could somehow offset the loss of income from physical sales and downloads. According to the latest figures only 3.4m Americans pay for on-demand music services – only 1% of the population – so there’s room for growth.

After all, there are signs that streaming is, indeed, cannibalising downloads. As streaming subscriptions increased in Sweden, download revenue fell by 14%.  Meanwhile digital downloads declined for the first time ever in the US, year-on-year, in the first quarter of 2013.

And let’s not even talk about the elephant in the room – YouTube. Despite recently reporting a billion monthly users, songwriters earn virtually nothing from it.  Let's just hope Dauchez is wrong.

Image: Mad Hatters Tea Party in Sydney, Australia. Pic by Eva Rinaldi (licensed under Creative Commons 2.0 Generic).



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Wednesday, January 23, 2013

HMV's future seen as handful of stores and website

Headphones are seen on sale in a branch of British retail music chain HMV on Oxford Street in London January 14, 2013. Music and DVD retailer HMV may announce as soon as Monday that it will call in the administrators, according to a source close to the company and media reports, bringing the curtain down on one of Britain's best-known high street stores. REUTERS/Chris Helgren

Headphones are seen on sale in a branch of British retail music chain HMV on Oxford Street in London January 14, 2013. Music and DVD retailer HMV may announce as soon as Monday that it will call in the administrators, according to a source close to the company and media reports, bringing the curtain down on one of Britain's best-known high street stores.

Credit: Reuters/Chris Helgren

By Neil Maidment and James Davey

LONDON | Tue Jan 15, 2013 1:53pm EST

LONDON (Reuters) - HMV, the 92-year-old British music retailer seeking protection from creditors, is unlikely to have much of a future beyond a rump of stores and the internet, if other recent retail failures are any guide.

After years of struggling as its business of selling CDs and DVDs was hammered by competition from supermarkets like Tesco, online retailers like Amazon and download sites like Apple's iTunes, Deloitte was appointed administrator on Tuesday to try to salvage some of its 223 British stores.

Hilco, the restructuring specialist that purchased HMV Canada in 2011, was watching the situation closely, given possible synergies, a source close to the matter said.

Media reports also named private equity firms Endless and Better Capital as possible suitors. Both firms could not be immediately reached for comment.

HMV's administration, which puts 4,123 jobs at risk, is the latest blow to an industry which has seen a string of household names like Woolworths, MFI, JJB Sports and Comet fall by the wayside in a prolonged consumer downturn.

Craig Amer, analyst at market researcher Kantar Worldpanel, said if HMV were to close completely Britain's entertainment market would lose 300 million pounds ($483 million).

"Some shoppers will simply move to other retailers but the value generated from browsing and buying on impulse will be lost," he said.

HMV, known for its Nipper the Dog trademark, will continue to trade while a purchaser is sought. Underlying sales had plunged about 10 percent year-on-year at Christmas.

Chief Executive Trevor Moore, who only joined the firm in September, said on Tuesday he was confident it would emerge from the administration process in some form.

"We know that HMV is a well loved brand which has a high level of support amongst the public and we want to ensure that it remains on the high street," he told reporters.

He had "a plan in mind" that would see the firm surviving with a stores presence along with a new digital and online offer, though he would not elaborate or say what the optimum size of the store estate should be.

SHAME

"It's a shame, it's been around so long. It's like a bookstore - it's nice to go and browse and feel them (CDs and DVDs), I'd miss it," said Paul Wood, shopping at an HMV store in Canary Wharf, London.

However other shoppers, typifying HMV's problems, said they were just looking before buying from cheaper outlets online.

Neil Saunders, managing director at retail consultancy Conlumino, said potential buyers could be interested in running the brand online or through some of its larger stores.

"I think it's a good brand with a good emotional connection and I think someone will want it. And someone will be interested in acquiring a rump of stores because there are some that trade profitably within the group," he told Reuters.

"A lot of the grocers have their own download services or mail order services so there could be interest from an existing player who just wants to use that name. Private equity may also see it as an opportunity."

One that will not is U.S. private equity firm Apollo Global Management LLC. It holds some of HMV's debt but ruled itself out of a takeover move on Monday.

The backing of suppliers - like music labels which look to HMV as one of the last major outposts for sales on shopping streets - has been crucial to the firm, and support remains.

"We are very supportive of them because they have been great trading partners," said Universal Music, the world's biggest music company.

But lenders and stakeholders were not prepared to strike another refinancing deal with HMV - whose 176 million pounds of debt as of October 27 dwarfs its market value of about 5 million.

"SEVERELY REDUCED"

"I think there is probably still some traction in having a presence on the high street but it would have to be severely reduced to be much more cost effective," said Maureen Hilton at retail researchers Verdict. "There might be some attraction from investors if they can just pick which stores they have. Otherwise I think it will just become an online offer."

Any residual presence online would see HMV following variety stores group Woolworths and rival entertainment group Zavvi.

Other collapsed retailers have managed to sell some stores, particularly to supermarket groups growing their convenience shopping businesses, though few have survived to trade under their own brands beyond a handful of outlets.

HMV, whose first store on London's Oxford Street was opened by English composer Edward Elgar in 1921, grew to become a musical powerhouse, selling vinyl records, tapes and CDs to generations and had a hand in the Beatles' big break, recommending the group's demo record to publishers.

But it struggled to reinvent itself when its core markets went into decline, with expansion into live entertainment and books failing to change its fortunes and a recent push towards tablets and headphones coming too late.

In 2006 HMV's board rejected an 842 million pounds bid from private equity firm Permira, saying it undervalued the group.

(Additional reporting by Kate Holton and Jonathan Cable; Editing by Mark Potter and Louise Heavens)


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