bigchampagne
bigchampagne games, inc... bigchampagne, llc - california business directory .
bigchampagne co - founders eric garland and joe fleischer fabricated the numbers, live nation says .
count bigchampagne among the companies trying to cut into nielsen' s media - measuring empire .
a screen capture of bigchampagne' s new bc dash, which enables users to monitor music consumption across the web .
bigchampagne tracks online music and video consumption. headquartered in beverly hills, calif. , bigchampagne is perhaps best known for being the first of the business - intelligence companies to measure activity at file - sharing networks, such as the original napster .
tweetstream is a bigchampagne - curated slice of the larger twitter conversation. tweetstream aggregates and filters the best dispatches from breaking news sources .
the ultimate chart is one of the new features of bigchampagne’s ground - breaking business intelligence dashboard, bc dash ultimate, and will be widely syndicated across bigchampagne’s media and press partners. the ultimate chart is a ranked list of the week’s most popular artists and songs .
“bigchampagne collects and analyzes more information about entertainment and online audiences than anyone in our sector' s history. ” said adam toll, president of bigchampagne. the addition of monstro’s data makes our charts even more timely, comprehensive and reflective of realtime fan buzz. ”
live nation - owned media metrics and analytics company bigchampagne has partnered with monstro, a services and analytics firm measuring social reaction and the social life cycle of music, television, film and sporting events in real time. the two are partnering to bring monstro’s social data for music to bigchampagne’s ultimate charts. monstro measures social sharing activity of songs in real time and will now feed that data directly to bigchampagne .
bigchampagne takes its data from large crossections, which improves the accuracy of the data. but can it compete with a stallwart like nielsen ?
instead of turning to nielsen' s soundscan exclusively to track music consumption online, the top recording company signs long - term deal with bigchampagne .
some in the music industry say a similar void exists in that sector. bigchampagne, which reached profitability not long after launching in 2000, hopes to fill it .
the current release versions of the new bc dash, breaking news and tweetstream are focused on the music category. bc dash services for the feature film and television industries are currently in development. joe fleischer, bigchampagne' s chief marketing officer, said ,
to many, bigchampagne is synonymous with the charts and we are incredibly proud of the work we continue to do in that area. but there is far more to the bc dash than weekly reports or lists of what is popular .
video tour of the new bc dash: urltoken bigchampagne' s breaking news magazine: urltoken / breakingnews bigchampagne' s curated tweetstream (a live twitter conversation): urltoken / tweetstream
bigchampagne' s biggest job with bcdash is to convince long time nielsen media research customers that its service is the superior one now that more and more users turn to the internet for their entertainment .
bigchampagne ceo eric garland told cnet that
the company has benefited from the massive shift in listener' s habits the past several years. ten years ago, his company was surrounded by doubters, people who didn' t think there would ever be anyone willing to spend to acquire intelligence about internet - music listeners. nine years ago when bigchampagne was founded, the market was insignificant .
considering that the industry now pays firms (such as bigchampagne) fees upwards of $ 40, 000 per month for data not nearly as rich or informative, this model also makes financial sense for the industry .
bigchampagne ceo eric garland is the first to admit that the company has benefited from the massive shift in listener' s habits the past several years. ten years ago, garland said, his company was surrounded by doubters, people who didn' t think there would ever be anyone willing to spend to acquire intelligence about internet - music listeners. nine years ago when bigchampagne was founded, the market was insignificant. not anymore .
universal music group has entered into a multi - year deal with bigchampagne to track the the label' s music popularity online. in the past, universal has had a deal with nielsen' s soundscan for that service .
clicking on “details” for each entry on the main page brings you to a breakdown of ranking by sales, broadcast, watching & listening and fans, friends & followers, as bigchampagne has dubbed the categories. (7 / 21a )
bigchampagne media measurement has released bc dash - a software platform for integrating, analyzing, and reporting information about the sale, broadcast and consumption of popular entertainment media .
we' re always working to truly reinvent the charts, putting everything in one place and creating a single source for the most relevant metrics .
said eric garland, bigchampagne' s co - founder and ce. but the subscriber based bc dash is just part of a broader new offering that also includes two free services :
seeing opportunity, bigchampagne announced the beta of the updated bc dash, a service that will give access to the live data sets measured from a legion of delivery platforms for audio and video including; youtube, myspace, the p2p networks, itunes, online and terrestrial radio etc. customers will have direct access into the bc dash platform that will allow them to track the consumption of any song or video file they choose .
we' re rebooting the charts ,
bigchampagne ceo eric garland told digital music news .
the new bc dash is a platform for managing information in the real - time age and turning data into actionable insight
. bigchampagne is also creating a news and data portal that will feed its own charts and newsworthy observations to the press .
universal music group, the largest of the four major recording companies, has agreed to a multi - year deal that calls for bigchampagne to help track the popularity of the label' s music online. traditionally, universal has relied on nielsen' s soundscan for such chores .
in other words, the ultimate chart is an evolution in progress. according to bigchampagne ceo eric garland, the knobs will be subtly twiddled over time to accommodate a quickly changing terrain. garland will be officially splashing the ultimate chart this morning at new music seminar in new york .
soundscan will likely be forced to lower prices as the importance of tracking cd sales decreases - - the bread and butter of its business - - and internet sales go up. the company' s prices will also be under pressure from smaller but less expensive competitors, such as bigchampagne .
last week, bigchampagne launched bc dash, a browser - based tracking system that allows a user to monitor in real - time song sales or streams at a host of web sites, offline locations and peer - to - peer networks. some of the sources include itunes, youtube, myspace, retail and limewire .
the news was broken yesterday (7 / 20) at the new music seminar, currently underway in new york, during the opening remarks conversation between nms founder tom silverman and bigchampagne ceo eric garland. bigchampagne’s partners and sources for the ultimate chart include retailers, online and traditional broadcasters (radio and television), major content companies, subscription services, social networks and other venues where fans demonstrate their passion for music: yahoo! music, amazon, itunes, youtube, vevo, myspace, facebook, twitter, mtv, clear channel, mediabase, aol, napster, microsoft zune, we are hunted, lastfm and many more .
after 10 months of talks, one would think garland, who launched bigchampagne in 2001, has become accustomed to the idea. but judging by his twitter feed in the hours after the announcement was made on new york times ’ media decoder blog, he’s clearly still in the bleary - eyed throes of a honeymoon phase .
prior to 2012, live nation also operated an ecommerce segment that included acquired online ticketing platforms and the online media research company bigchampagne, which it bought in 2011. however, the ecommerce segment was dissolved in 2012, and its operations were divided among the ticketing and sponsorship and advertising segments (live nation 2012: 5) .
with the addition of bigchampagne, we provide a comprehensive view of the marketplace ,
ungd pres. / ceo jim urie said in a statement. urie told cnet news that the ability to measure radio, the web, and brick - and - mortar retail stores
results in more opportunities for our artists and labels .
bigchampagne will also develop the ultimate chart for independent and diy artists and has partnered with a who’s - who of top marketing and distribution partners, including tunecore, cdbaby, disc makers, myspace music, reverb nation, topspin, nimbit and many more to ensure eligibility for all artists and to produce unprecedented insight into the independent music world .
with the addition of bigchampagne, we provide a comprehensive view of the marketplace ,
jim urie, president and ceo of universal music group distribution, said in a statement. urie said that the ability to measure radio, the web, and brick - and - mortar retail stores
results in more opportunities for our artists and labels .
think of media ratings services and the name that comes to mind first for most people is nielsen. whether it is the nielsen ratings for television or nielsen soundscan for record sales the brand is the one that the major media has relied on for years when pricing ad revenue and tracking what products move best. bigchampagne hopes to change that in the near future .
that directly contradicts with information touted to digital music news immediately after the deal by bigchampagne co - founder joe fleischer (now transitioned into the executive team at live nation entertainment). “it was between $ 25 and $ 30 million, you happy now? ” fleischer rattled off on the phone after being harangued for more details (dmn printed the figure moments later) .
in late 2011, examines information about airplay, sales, streams, downloads, listens, views, mindshare, fan interactions and social connections and provides comprehensive insights into the 360 - degree relationship between artists and their fans. bigchampagne' s core products, ultimate chart and uiltimte chart pro, are widely recognized as providing some of the most comprehensive analytics products in music .
media metrics company, bigchampagne launched their own version of the billboard 100, termed the' ultimate chart', it measures artists on sales data, airplay and social networking fgures. partnerships for the chart include itunes, youtube and twitter to name but a few. ceo of bigchampagne, eric garland commented
the ultimate chart examines music sales and radio airplay and the access to music, and socializing around music, that are growing much faster
. further down the line, the company aims to launch an ultimate chart for independent and unsigned artists and will partner with the likes of cd baby in order to calculate the numbers. with record sales at an all time low, will the' ultimate chart' be the answer some artists have been looking for ?
news that entertainment conglomerate live nation, which owns ticketmaster, operates more than 100 venues across the u. s. and is partnered with some of music’s biggest artists, is buying fledgling data analytics company bigchampagne came as somewhat of a surprise on wednesday. naturally, the david and goliath trope applies, but dig a little deeper, and this marriage of trade information and consumer audience makes sense .
charts like the billboard 200 made perfect sense in the 90s, but ten years later, measuring success is a very tricky affair. that was the motivation for the ultimate chart, an attempt by bigchampagne to rank artists and songs according to a broader number of metrics. it also represents an attempt to seriously challenge soundscan, a yardstick that has plenty of critics in the direct - to - fan and independent communities .
not - so - slight exaggerations are commonplace after acquisitions: after all, bigger price tags stroke founder egos and make investors look great. but in the new corporate fold, it may have been the start of a rocky relationship. just hours after the disclosure, fleischer, alongside bigchampagne co - founder eric garland, left multiple messages demanding that dmn remove the sale price from print, ostensibly based on a clash with higher - ups .
we’ll drink to that: the initial weekly edition of bigchampagne ’s 100 - entry ultimate chart, which we told you about yesterday, is now up, and it looks a lot like the itunes singles chart, despite the fact that the rankings integrate data from online audio and video streaming, social networking fans / friends / followers and airplay as well as sales (i. e. , downloads). here’s the initial top 10 :
it was a brilliant move made even more potent by its timing. only a week before, a federal jury in minnesota had awarded the record industry a $ 220, 000 judgment against jammie thomas for the crime of downloading 24 copyrighted songs and making them available for file sharing. thomas was hardly alone. at the very moment her verdict was being read, more than 9 million consumers were sharing music files around america, according to media management company bigchampagne .
“this chart is long overdue and represents for the first time an accurate view of where popular music is today, ” said tamara conniff, founder / editor of the comet and former billboard editor - in - chief and associate publisher. “music is not just about sales, it’s about interaction—listening, watching, playlisting, evangelizing and socializing. the comet (thecomet. com) will be publishing the ultimate chart and using bigchampagne’s data for analysis, prediction, and consumer trends. ”
bigchampagne media measurement has announced the release of the ultimate chart (urltoken), a ranked list of the week’s most popular artists and songs. integrating data from categories including song and album sales, radio airplay, online audio and video plays, and fans / friends / followers, the ultimate chart is the first and only chart that looks at all of the ways in which music is popular, online and off. the first published ultimate chart is the ultimate 100, available now .
so what are these metrics? actual sales are of course a critical ingredient, but bigchampagne is also blending components like radio airplay, video and audio streaming, and friends on social networks. the first chart to be hatched will be the ultimate 100, which offers a direct jab at the long - running hot 100. but as part of an early morning pre - briefing, the company also told digital music news that an independent - oriented chart is also in the works (among others) .
according to the new york times, digital media measurement company bigchampagne (pronounced biiiiiiiig - sham - paaaag - nah... not really) has announced the chart to end all charts — or at least incorporate all charts — aptly named the ultimate chart. not to be confused with the their last attempt at meta - list making, the penultimate chart, the ultimate chart pulls data from various digital sources like yahoo, itunes and last. fm, and squishes them all into one music - ranking monster .
bigchampagne founder and ceo eric garland, who along with 26 employees will work under the live nation umbrella (garland will become general manager of urltoken, and co - founder joe fleischer will hold the title of svp of content and product strategy), explains: “for live nation, it means they’re becoming a technology - driven company; for us, we’re going from playing a little club to the biggest stage in the world - - it’s an eco - system to come into and an opportunity to take. i haven’t even begun to wrap my head around how big these properties are together. ”
but it quickly turned into one, as live nation ceo michael rapino and executive chairman irving azoff saw in the bigchampagne team a window into their digital future, where mining data can, in theory, translate to a better customer experience. says garland: “the mandate is to take all the underlying capacity behind our b - to - b product and extend it to the consumer – so we’re trying to improve fan experiences using data analytics. we’re getting to know [ the consumers ] better and we’re connecting people with things they love which are nearby, either in physical space or time space. ”
in the early 1900s, jazz musicians refused to record phonograph records because they feared rivals would cop their best licks. we can laugh at their shortsightedness, but it' s reminiscent of today' s music industry, which is so afraid of piracy it still hasn' t figured out how to incorporate digital downloads into a sustainable business model. each year record companies ship about 800 million compact discs —nearly 10 billion songs. that sounds like a lot until you compare it to the 13 billion songs that were available (according to download tracker bigchampagne) for free on peer - to - peer networks in 2004 .
and deservedly so, when bigchampagne launched its ultimate chart, garland says it was “aspirational. ” this merger with live nation makes measuring an artist’s buzz across multiple platforms a feasible reality. “my goal was to really make it 360 degrees, ” garland tells the hollywood reporter. “merch, touring, endorsement money, sponsorships, licensing, recorded music... i went begging to all the usual suspects in all those areas that traditionally get ignored as chart eligible and started licensing data. that’s where this all started - - with ticketmaster, who gave me the ticketing data. it didn’t start as a m & a discussion at all. ”
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urltoken
programming and management consulting services for radio stations in the u. s. and canada with veteran consultant / programmer dave lange. from music to morning shows you get experienced help customized to your needs. dave lange can be reached at 574 273 0559 or email - dlange210 @ urltoken
as the role of music radio changes from a dominate taste maker for music (old and new) to a world where there are many other players in the game we are faced with new challenges to stay in the game. at the core of radio' s music model is the need to hit as many people under the signal as possible. our first mission is to build as big of a cumulative audience as possible and then try to find some way to hold them as long as we can. it used to be much easier when the only options where the other stations in the market or maybe someones cassette collection in the car or walkman .
obviously now the options are nearly infinite and growing every day. with the customizable media the audience can really build their own stations. they catch new music on myspace, you tube, and through blogs or websites .
yet we still pretty much hang on to the old rules, strategies, and tactics when it comes to programming our music as we did in the old days of broadcast domination. tight is right. you' re never hurt by what you don' t play. sort the test to 90% familiar, 80% acceptance, and play those powers as much as possible. so what if you only play 200 songs? if they are the right 200 songs .
we' ve also gotten pretty tight when it comes to breaking or adding new music. it' s one of the biggest complaints we get from the audience on the street and on - line, but we still play a game of wait and see with the charts .
our tightness and reluctance to take any chances or risks over the years is adding up. if you go back to the days when radio built it' s huge influence in music (the 60s and 70s) you see a lot more boldness in adding songs and playlist size. can you find a chr station today that actually plays 40 current songs? probably not - seems like most are around 25 or 30. in rock we spent the 70s often adding 2 - 3 songs from an lp when it hit - not just 1 song. rock used to have 800 - 1000 songs in the old card rotation system and the freedom to really take requests as well the jocks throwing in a personal pick here and there - now you probably average 500 songs or less .
it' s lead the audience to start discovering music in many different places. just take a look at the big champagne download charts and you' ll see music that radio has only touched lightly pretty high on the charts. in fact led zeppelin' s tour a while back built 2 song lists for the shows. one came from rock radio plays and the other from big champagne downloads. reports are that they were quite a bit different with plant and page using the big champagne list with good results .
we are going to have to find a new way to balance our need for that huge cume that fuels the core of our business model with the endless variety of new opportunities the audience has to explore music and hear more than we offer on our playlists .
the key may be taking a few risks and working to make them pay off as big as possible. letting down our guard here and there to open the door more to lead the audience instead of just following them .
it' s not all science - there has to be an equal balance of risk and art .
if you would like to learn more about big champagne catch this article in wired .
you can also see condensed versions of the big champagne charts in all access under charts .
dave lange heads up d lange consulting providing programing services to stations across the u. s. and canada. talent coaching, music systems, research, promotion, imaging, social media, digital integration and revenue development are all included. we work with nearly all formats. dave' s background includes svp programming with clear channel, consultant with mcvay media and jacobs media. programming background at wdve (pittsburgh), wshe (miami), wckg (chicago), and wlav (grand rapids). it all adds up to over 380 stations in all sized markets and all formats. an experienced hand that can build your brand and keep it on top. you can reach dave at 574 273 0559 or at dlange210 @ urltoken
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the' in rainbows' experiment: did it work? : monitor mix in rainbows was first released on oct. 10, 2007, as a digital download from the band' s web site. fans were encouraged to
pay what you wish
— even nothing — and a
digital tip jar
was set up to collect voluntary payments. on dec. 4 of that sam ...
in 2007, radiohead no longer had a contract with its record company, emi, and was about to release its seventh full - length album, in rainbows. for its first new release in four years, one of the world' s biggest bands would have no major - label representation .
in rainbows was first released on oct. 10, 2007, as a digital download from the band' s web site. fans were encouraged to
pay what you wish
— even nothing — and a
digital tip jar
was set up to collect voluntary payments. on dec. 4 of that same year, an $ 80 deluxe box set was made available to order online; finally, on jan. 1, the physical cd and digital album hit retailers .
those are the facts. but what did
the radiohead experiment ,
as it would come to be known, mean ?
from the start, journalists couldn' t make up their minds. there were plenty of articles anointing this
new model
as the best path forward for the whole industry. the new york times wrote ,
for the beleaguered recording business, radiohead has put in motion the most audacious experiment in years .
but the skeptics were equally vocal. nicky wire of the band manic street preachers said flatly that the offer
demeans music .
fortune magazine listed the in rainbows experiment in its article ,
101 dumbest moments in business .
( a sample :
can' t wait for the follow - up album,' in debt.'
)
the los angeles times ran an editorial titled
enough radiohead already !
( and, yes, the exclamation point was theirs). by that time, i couldn' t have agreed more. but when radiohead' s management and a british music - industry economist named will page invited me to collaborate on a study analyzing the in rainbows online release in some detail, i was intrigued .
i might have held out for better terms .
nobody' s paying for this ,
i was told .
we' re going to give your paper away free, online .
no pay - what - you - wish option ?
page quickly shored me up :
if we get this right, maybe you' ll get paid on the next one .
the next one ?
maybe we' ll get backstage or something ,
he offered. we worked like fanatics. while will poured over sales data from the band, i scoured the internet for comparative data on the biggest bands of that moment: gnarls barkley, panic! at the disco, nine inch nails .
despite the fact that the band offered a legal free and low - cost option to obtain the album from its web site, piracy was up. way, way up. in fact, in rainbows was downloaded from unauthorized sources at 10 times the rate of new releases from other top artists. on file - sharing networks, 400, 000 copies of in rainbows were swapped in a week. by the end of the month, the number was more than 2 million .
frequently, music industry professionals suggest that an increase in legitimate sales must necessarily coincide with a commensurate reduction in piracy, as if this were a fact ,
we wrote. yet we found that piracy rates follow awareness and interest .
the biggest - selling albums and songs are nearly always the most widely pirated, regardless of all the' anti - piracy' tactics employed by music companies. or, to sum up by paraphrasing an earlier argument,' popular music is popular everywhere it' s popular.'
popular is popular. who knew this simple truism would cause such a stir? like any hot property, our paper leaked ahead of publication. i found myself on the phone at odd hours of the night with news organizations all over the world. they all wanted an answer to the same question: why was piracy up, not down? why did the new model fail ?
even industry heavyweights weighed in. referencing our own research (i' d like to think), u2 manager paul mcguiness said ,
radiohead' s honesty - box release of their album, to some extent, backfired. even though it was available on their own web site for no money at all, if that was what you preferred to pay — 60 to 70 percent of the people who downloaded the record stole it anyway .
did the band care? it was difficult to tell, since its members shrugged and claimed that no lessons should be sought here at all — that the experiment was not prescribed for anyone other than radiohead. oh, and it was just as a one - off, at that .
fair enough. but in the final accounting, there was plenty to celebrate .
in rainbows entered the billboard chart, the u. k. album chart and the united world chart at no. 1, and went on to sell millions worldwide. according to radiohead' s publisher, warner chappell, in rainbows made more money before the album was physically released than the total sales for the band' s previous album, hail to the thief .
meanwhile, music fans were thrilled — as we are always thrilled — with great music that comes free, or cheap, and directly from the band, instead of through corporate filters. in rainbows was an important milestone on the path to fans having more avenues to obtain music and feeling more connected with the artist .
there was a lot of discussion at the time about whether other bands would follow suit ,
pull a radiohead ,
and give away their albums. on what' s essentially the two - year anniversary of in rainbows' release, i' m struck by how safe it all seems now. releasing a pay - what - you - wish album now is almost yawn - worthy. major artists are experimenting with price points, novel distribution models and giveaways at a dizzying pace. but we aren' t any closer to knowing what works or what will become a consistent model for the future .
today, with the increasing popularity of free (legal) music streaming, the music industry' s core issues are more complex and much more urgent. will fractions of pennies per play ever replace booming 1990s cd revenue? will people even use digital tip jars if they can just press play to hear anything, any time, anywhere? in 2007, letting fans choose was
the most audacious experiment in years .
two years later, it' s almost quaint .
postscript: the in rainbows research project came to a fitting conclusion in june of last year, as i sang myself hoarse in the audience of radiohead' s victoria park performance, and then later hung out with the band and its team after the show. the paper got us backstage, but it would be nice if we could figure out how to get paid, too .
will page and eric garland' s in rainbows, on torrents is available free (sorry, no gratuities accepted) here .
this blog is no longer active. you can find a list of current npr blogs at urltoken. carrie brownstein, former guitarist for the band sleater - kinney, offers musings for music fans, curmudgeons and recovering hipsters .
enter an' 80s wonderland as the band performs
all for you .
a q & a; with the youngest & most promising rockstars of our generation .
july 9, 2018 “better” is warm, sunny, and delivers a feeling of reckless youth while maintaining that oh - so - smooth feel clairo is known for .
july 6, 2018 jade bird is pure perfection, on and off the stage .
july 5, 2018 “‘good as gold’ is about falling for someone that you have nothing in common with, but they’re totally oblivious. ”
july 5, 2018
i just saw the world around me and what seemed to be a common theme was some of my friends and people i cared about were going after the wrong people .
july 5, 2018 “we really wanted to capture the essence of that perfect day. ”
june 27, 2018 “it seemed appropriate to juxtapose the song with actual video of experiences that sometimes seemed to me a dream, so far - fetched and beautifully out of reach. ”
june 21, 2018 a handy guide to ensure that your music gets covered .
for letting us play getting closer stripped down on a rooftop in la. 🖤⭐️🌴 full video :
rt @ thenational: we' ve announced two new fall tour dates. tickets on sale friday, july 13 at 10am local. urltoken members…
rt @ charli _ xcx: i did an interview with @ guardianmusic where i got really emo and nearly cried. u can read it here 💔 urltoken
: enter now for your chance to win 2 tickets to @ clairo' s sold out show at the foundry on july 21st! 👏 ends 7 / 12 at 12pm. …
rt @ veryfawny: frida kahlo slept with the woman her husband cheated on her with. that’s the epitome of big dick energy
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eric garland, founder of the media measurement company, tells thr ,
i haven’t even begun to wrap my head around how big these properties are together .
if things go according to plan, soon the youtube hit will be quantifiable alongside a platinum - selling record, social media and traditional broadcast will factor in along with streaming services and sales, or, says garland, “what’s really most popular. ”
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music reporting and analytics service w / data from radio, social, streaming & concerts. home of the # ultimatechart. part of @ ontour with @ ticketmaster
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after abruptly shutting down its once - promising ‘labs’ division in december, corporate parent live nation is now setting the record straight on the details of its acquisition. and part of that means undoing some of the ‘truthiness’ that surrounded the acquisition price itself in late - 2011 .
“i saw your ln labs piece and unfort. never received a call on that one (the buy $ was off but [ sic ] a few mill ;), ” live nation communications executive melissa zukerman emailed dmn, before flatly confirming that the price tag was “12m, ” not $ 30 million as widely reported .
fast - forward to 2015, and live nation appears interested in minimizing the financial fallout from its acquisition — perceived or otherwise .
zukerman declined to discuss the source of the $ 30 million figure; fleischer and garland did not return multiple inquiries .
image by will temple, licensed under creative commons attribution 2. 0 generic (cc by 2. 0) .
boo fucking hoo, enough money to live well the rest of ones life .
the body corporate is just a piece of paper, marriage, while also a piece of paper is still a higher communion between two persons who only sign a piece of paper to archive and make it official, flesh persons with organs and blood and guts and beating hearts and brains, how is this a divorce? its just business as usual between pieces of paper administered by people, the existence of hearts and brains to be determined .
whoever started that whole mess anyways? marriage is business but business isn’t marriage .
i think this points to the need for more transparency in corporate dealings. it is part of the reason why record labels can claim losses based on shipments while ignoring other sources of revenue .
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to achieve the effect of being in a champagne glass, a new background was dropped in and patterns of cgi bubbles that simulated the inside of a champagne glass were generated. several of them had key artists composited into them for effect .
please look at the breakdown video of this shot for a more in - depth view of how these images were created .
for a spread on the music tracking company big champagne, wired wanted to create champagne bubbles that would contain images of artists composited with the blue screen footage of the subjects, as if in champagne .
computer dating services; providing an on - line electronic database on global computer networks in the field of interpersonal relationships; on - line social networking services and dating services; ...
color is not claimed as a feature of the mark. , charts, information services relating to investment and finance, namely, providing information in the fields of investment and finance over computer ...
spiegel & utrera, p. a. , which will do business in california as spiegel & utrera, pc
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the online extension of billboard magazine, urltoken is the essential online destination for the music business .
eric garland has been associated with four companies, according to public records. the companies were formed over a three year period with the most recent being incorporated six years ago in december of 2011. zero of the companies are still active while the remaining four are now listed as inactive .
a connection is made when two people are officers, directors, or otherwise associated with the same company. eric has two known connections .
these addresses are known to be associated with eric garland however they may be inactive or mailing addresses only. please verify address for mailing or other purposes .
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what happened to my callout? by mark adams | consultant tips for radio stations, ...
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the accuracy, or lack thereof, of traditional callout models has always been a hot topic of conversation among radio and record executives. many programmers have always had somewhat of a love / hate relationship with their callout research. why do some records call out and others don' t? how can something flip from the bottom to top of a ranker or vice versa week - to - week? why does my callout not line up with the results seen from similar radio stations in similar marketplaces? perhaps the most important question we should be asking ourselves is: why are we relying on this form of research as the definitive watermark on whether a song is a hit or not ?
while anyone running a radio station has dealt with these questions and inconsistencies, i' m more and more coming to believe we' re in the midst of a fundamental shift in the research landscape. i' m seeing a greater amount of contrary information that is at odds with the data we' re receiving from our traditional callout. consider :
1. we' ve had several artists debut absolutely huge this year in album sales that couldn' t get arrested according to callout. amerie
one thing
is a great example. sounded great, sold well, everyone (apparently) loved it, yet it never called out. so, it went away. does that mean it wasn' t a hit? or were we simply looking at the wrong information ?
2. i' m now tracking music downloads via the service provided by urltoken and am seeing even greater disparities. a recent example that comes to mind is missy elliot' s
lose control .
for many stations this record has been a big callout problem. yet, it' s the # 1 downloaded record in the country. something isn' t adding up, here .
i' m also taking a closer look at national trends of ringtone sales and downloads. that particular tracking showed the hit viability of the ying yang twins
whisper song
long before it ever came around in our callout. the tracking of these sales are starting to become better - hit predictors than our callout has ever been .
3. on - line callout often doesn' t match the data we' re seeing from traditional callout, either .
if these questions aren' t giving you night sweats, then take a closer look at how your listeners are using media. the under twenty five set, core audience for a mainstream or rhythmic contemporary hit radio station, are not on their landlines. many don' t even have a landline and have switched exclusively to cells. of those, how many are on do not call lists? or how many do not take calls from numbers their caller id doesn' t recognize? ask yourself, if you were called up and asked to give your time and energy to listening to music hooks over the telephone, would you bother? i don' t know about you, but i' d say no thank you and hang up. so, all of this begs the real question: when you receive your traditional callout report, who the hell was the research company talking to ?
i' m not advocating throwing your callout away completely, but i' m certainly recommending putting it into a more realistic perspective. if something sounds great on your station, is tracking as a hit record through alternative methods of research, and the only missing piece of the puzzle is your traditional callout… maybe you should just play the record .
vp programming for rose city radio in portland, or, and he also works as a consultant with michael newman of radio strategies. mark' s background includes work as air personality in markets including bakersfield, phoenix and san diego, and his multi format programming background includes work with kbos / fresno, ca (rhythmic top 40), kcbl / fresno, ca (sports - talk), wpnt / milwaukee, wi (modern ac), kzqz / san francisco, ca (mainstream top 40), kxjm / portland, or (rhythmic top 40), and kxl / portland, or (news - talk). to learn more about what radio strategies can do for you shoot mark an e - mail at mark. adams @ urltoken or michael newman at mfnewman @ prodigy. net .
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who says
you can' t go home again ?
not jon loba, who certainly has gone back home - to bbr music group - and earned greater success than what he accomplished when he and broken bow founder benny brown got the indie label off the ground. how has he done it during a time when the paradigms of radio (with the advent of ppm) and retail (with the single sales mentality fueled by itunes) have changed considerably? here, loba explains how he has done it .
you were at broken bow records for a great run, then left, and returned last year as svp... now rising to executive vp. why did you leave in the first place... and what made you decide to return ?
scott borchetta and i had talked for several years about working together. he was viewed for years as one of the best in the business and i wanted to prove to myself that i could run with him and grow professionally. as much as i loved and believed in bbr, i knew in the end, i couldn' t lay my head down on the pillow at night wondering if i could keep up with scott. i knew working a few years for scott would better equip me for wherever i ended up in the future.
bigchampagne is a technology-driven media measurement company . the bigchampagne dashboard is used primarily by music industry professionals such as concert promoters , radio programmers , managers , agents , and marketers to access information about the popularity of artists and songs across radio airplay , online streaming , social activity , sales , and live events . bigchampagne provides a number of services related to producing business intelligence ( bi ) and competitive intelligence ( ci ) for users of the dashboard via access to proprietary data and data management ( integration and analysis ) combined with web applications and other technologies . 
bigchampagne is a technology-driven media measurement company. the bigchampagne dashboard is used primarily by music industry professionals such as concert promoters, radio programmers, managers, agents, and marketers to access information about the popularity of artists and songs across radio airplay, online streaming, social activity, sales, and live events. bigchampagne provides a number of services related to producing business intelligence (bi) and competitive intelligence (ci) for users of the dashboard via access to proprietary data and data management (integration and analysis) combined with web applications and other technologies.
bigchampagne is a technology-driven media measurement company. the bigchampagne dashboard is used primarily by music industry professionals such as concert promoters, radio programmers, managers, agents, and marketers to access information about the popularity of artists and songs across radio airplay, online streaming, social activity, sales, and live events. bigchampagne provides a number of services related to producing business intelligence (bi) and competitive intelligence (ci) for users of the dashboard via access to proprietary data and data management (integration and analysis) combined with web applications and other technologies.