Arguably the best part of the Super Bowl each year is the slew of new commercials advertisers put together for the largest single television broadcast event in the US. Market Track, parent company to advertising tracking firm Competitrack, found that 62 brands advertised in 77 unique commercials throughout the four quarters and halftime. Combined, the ads made up for nearly 46 minutes of air time. Estimated ad spend was $460 million, with 21 brands spending at least $10 million each on TV spots. 92% of advertisers integrated their ads with social media either before or during the game.
So where does music come in? More than 30 commercials featured during Super Bowl LI used music, 26 of which licensed music for the uses (rather than having custom music composed). Not including TV show promos or movie trailers, the major publishers provided music for 17 ads. That means there was a huge uptick from previous years in independently published music. Billboard reported that 12 commercials acquired music licenses in one-off deals directly from self-published artists or boutique firms. Kevin Patrick, manager for Matt and Kim, whose song “It’s Alright” appeared in a Buick spot, said, “The extensive exposure we get from synch licensing through commercials has an intensively greater reach than we’ve gotten elsewhere. So synch has been a big focus for us.”
Check out Synchtank’s 10 favorite music placements from Super Bowl LI, and tell us which ads were your favorite!
Songtrust has partnered with DotBlockchain Music for the second phase of its creation of a “decentralized global database of music rights, combining the publishing and the performance information into a unit of music that the industry can use.” The problem that Dotblockchain aims to solve involves the separation of copyrights creative material from the creators and owners themselves, which results in those owners not getting paid for the use of their work. Because rights are often held across different companies and organizations that don’t often communicate with each other, the solution is a central location where a songwriter, publisher, record label, and a performer are all clearly identified.
Songtrust joins SOCAN, the Canadian-based performance rights organization, and SOCAN’s rights administration subsidiary MediaNet, indie music distributor CD Baby, and digital rights service FUGA, resulting in a collective starting point of 65 million songs with which to begin building out a practical model.
Read more about DotBlockchain Music and its partnership with Songtrust here.
US performing rights organization SESAC is now officially backed by Blackstone, one of the most powerful private equity companies in the world. SESAC says that Blackstone’s money will help the company to become a truly global rights management powerhouse across performance, mechanicals, sync, and ever master rights. SESAC, like other US PROs BMI and GMR, is also currently preparing to fight the US Radio Music License Committee to pay out higher composer royalties.
French rights management organization SACEM has pledged to build an online platform that aims to better track online music usage and return more revenue to rights owners. The platform, names URights, is being built via a 10-year partnership with global tech firm IBM, and will be available for use to other rights organizations and partners worldwide. SACEM wants to better track the use of audiovisual content hosted on services like YouTube, in particular.
Performance rights for Prince’s catalog will be represented by Irving Azoff’s Global Music Rights. Prince and his team had been administering his publishing catalog since the artist left ASCAP in 2014, and the estate, represented by Bremer Trust, concluded that GMR’s philosophy of providing an elite group of writers with heightened customer service and control was most consistent with Prince’s values. Azoff said, “Prince was an iconoclast, who never settled for second best, and now his Estate has ensured that the public performance rights are protected in a way befitting their significance.”
2017 will bring with it a number of court cases that will affect music publishers, songwriters, and copyright as a whole. First, the Radio Music Licensing Commission and performing rights organization Global Music Rights are suing each other over licensing fees to be paid to publishers and songwriters for radio play. Pharrell Williams and Robin Thicke are appealing the verdict that they infringed on Marvin Gaye’s “Got to Give it Up” in their song, “Blurred Lines,” a decision which many in the music industry have spoken out against as it discourages creativity. And ASCAP and BMI are battling the US Department of Justice over its ruling that the PROs are required to abide by 100% licensing.
The music industry pays tribute to artist George Michael who passed away on Christmas Day. The British singer/songwriter sold approximately 100 million albums in his career with Wham! and as a solo artist, including Faith (1987) and Listen Without Prejudice Volume 1 (1990), mostly via CBS/Sony labels. Jon Platt, CEO & Chairman of Michael’s long-term publisher, Warner/Chappell, called Michael “the epitome of the consummate pop star…who enthralled the world, always keeping us guessing where his music would take us next.”
BMI has filed an action in Federal Rate Court to set interim fees for radio stations during negotiations with the Radio Music License Committee. The RMLC has proposed an interim rate well below that of its previous deal with BMI based on what BMI calls “incomplete and incorrect information regarding BMI’s radio performances” and that “significantly undervalues the work of BMI’s songwriters.” BMI is asking the Court to maintain its most recent rate while new terms for a five-year deal beginning this year are discussed.
Nielsen Co. has purchased Tribune Media Co.’s Gracenote video, music, and sports for $560 million (in cash). Metadata giant Gracenote, acquired by Tribune Media in 2014, provides reference information for more than 200 million music tracks. John Batter, Gracenote’s CEO, said, “Nielsen is a natural home for Gracenote. Both companies have entertainment data at their core and have spent years delivering services to the world’s top media brands. Bringing together our data for driving discovery and tune-in with Nielsen’s deep insights about what people are watching, listening to and buying makes a formidable combination.”
Unsigned artists are begging Facebook to reach an agreement with music publishers on the use of copyrighted content on the social media platform. In October, covers of popular songs began being pulled down from Facebook following a spate of copyright infringement notifications from music rights-holders, and the takedowns have only gotten more vigorous since then. In the meantime, artists who have had great success posting covers on Facebook–like UK-based, unsigned artist Samantha Harvey, who has 1.97 million “likes” on her official Facebook page–have been encouraging their fans to migrate to YouTube.
Mechanical licensing and administration service Loudr has distributed over $1 million in royalties to music publishers worldwide over the last few years. Since the sale of their digital distribution business earlier this year, Loudr has focused on solving the problem of how to identify music publishers, songwriters, and other rightsholders and issue royalty payments and statements for the use of their compositions. Loudr CEO Chris Crawford said, “Loudr’s goal is to provide infrastructure to address rights and royalties in the real world. Since we’re well past the brick-and-mortar era of music distribution, it’s important to make sure that the systems for paying creators and rights holders keeps up with the pace of digital music.”