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Sony proceeds with plan to sell music publishing unit: WSJ

It is valid to have differences in opinion. That's expected on a message board. Not everyone's opinion is equally fact-based, however, and for that reason not all opinions are equally valid. Moving right along.

It's unlikely that zoning in that area will be changed, and without it, NL is not likely to be an income generator re: Graceland. Added to that is Michael's STATED disinclination to live there again. He seemed to be actively pursuing buying real-estate in Las Vegas. Right? It's likely the heirs and some family members who are NOT heirs have a sentimental attachment to the place (as do fans, obviously). The Estate is charged with making sound BUSINESS decisions, and it's expected that that is what they will do.
 
Tygger said:
Full repeat.^^

ROFO/ROFR is not a standard to members here. It is a concept that has since been learned and tis a good thing.
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That's rather condescending. This is a pretty intelligent and knowledgeable group of fans here, many of whom are already familiar with concepts not remotely unique in business.
 
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AutumnII, see Ivy's post above about such posts. I agree your points are off topic for this thread.

Krizkil, no, it is not condescending. Most in the public do not have a need for the type of contracts Michael had. As proven in several threads, the contracts terms and concepts are discussed in the hopes of gaining better understanding. That is when discussions are at their most valuable.

If Michael Jackson fans were already aware of ROFO and ROFR then, they would not have been discussed in two separate threads in an attempt to gain understanding of these rights purposes and more importantly their benefits/advantages.
 
Tygger said:
AutumnII, see Ivy's post above about such posts. I agree your points are off topic for this thread.

Krizkil, no, it is not condescending. Most in the public do not have a need for the type of contracts Michael had. As proven in several threads, the contracts terms and concepts are discussed in the hopes of gaining better understanding. That is when discussions are at their most valuable.

If Michael Jackson fans were already aware of ROFO and ROFR then, they would not have been discussed in two separate threads in an attempt to gain understanding of these rights purposes and more importantly their benefits/advantages.
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Right you are. Sorry. Off-topic for this thread (in response to a NL convo, in a thread actually about Sony/music publishing.)

Agree with krikzil, though, about this being a pretty intelligent and knowledgeable group of fans, including some with prior knowledge about ROFO and ROFR.
[h=2][/h]
 
AutumnII, then you and Krizkil can probably explain how stating these concepts are not standards to members here - which is most likely correct unless members here are/were parties in similar contracts - is condescending and also why you both may not have reported such an insulting post in an effort to protect your fellow members.

Then again, you may decide to move right along as it will eventually become an off topic discussion about a member's post you both have an issue with and not the probable Sony/ATV sale.
 
Tygger said:
AutumnII, then you and Krizkil can probably explain how stating these concepts are not standards to members here - which is most likely correct unless members here are/were parties in similar contracts - is condescending and also why you both may not have reported such an insulting post in an effort to protect your fellow members.

Then again, you may decide to move right along as it will eventually become an off topic discussion about a member's post you both have an issue with and not the probable Sony/ATV sale.
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Too funny.
 
Tygger, how do you know that all these members here were not familiar with the terms prior to it being discussed and argued to death on these threads. I don't doubt that some might not have come across them before and therefore it is good that there is explanation, however, I don't understand why every conversation has to turn into an argument and go on page after page, and then to spill out onto another thread. It's arguing for arguing sake.
 
What an insult.. one thing I learned is that I have no patient with the bickering back and forth among a few in threads with the Estate involved. And why the need to find something negative in Ivy´s post every s i n g l e time.. and why the twisting of her posts? What´s so hard to understand what she writes? I don´t get it and it´s tiresome.. and it´s no meaning to hit the ignore button really.
 
It's what they do. They want a reaction.want to ruin every thread they go into. Best just ignore
 
InvincibleTal said:
Mod note: Once again, please go back on topic. (The Sony/ATV catalog.)
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Indeed.


The possible sale of Sony/ATV has enough interesting ramifications on its own to be discussed. I look forward to the return of that discussion.
 
Mod Note: Also please refrain from being condescending to each other while discussing this topic.

It is understandable that people want to get their point across. But learn to agree to disagree if it leads to going back and forth about it. This will make it more pleasant for your fellow members to read the threads aswell.
 
It's crazy how easy seemingly every thread can turn into a argument.. I guess it's a slippery slope when debating and exchanging information can turn from constructive to destructive.. I think if we can all remember that we (most) don't mean harm by our opinions we can maybe.. just maybe be a little more open to others view points.

There are people here from all different walks of life, different qualities, different brain patterns, and different styles.. We are not going to see eye to eye! especially when putting written word (text) involved and how much is lost when we don't have the other 90% of what is considered human communication.
 
So this article from the NYT came out today-about a new deal Sony/ATV worked out with Pandora to increase the royalties paid to both the publisher and the songwriters.
Do you think this will have any effect (bad or good) on the sale?



Pandora and Sony/ATV in Deal on Songwriter Payments
By BEN SISARIONOV. 5, 2015




Pandora Media and the publisher Sony/ATV have often been bitter opponents in the music industry’s streaming wars. But on Thursday they announced a direct licensing deal that gives both sides benefits while the music world braces for possible changes in government regulation of songwriting rights.


In a joint announcement, Pandora and Sony/ATV, the world’s biggest music publisher with control of the songwriting rights for the Beatles, Taylor Swift and thousands of others, called it a multiyear agreement. Martin N. Bandier, the chief executive of Sony/ATV, said that his company’s songwriters “will begin to enjoy the benefit of better rates.”




Songwriters and music publishers have long complained about low payouts from Internet radio and fought fiercely with companies like Pandora for better rates. Two years ago, Sony/ATV made a temporary deal with Pandora that gave the publisher rates 25 percent higher than those it received through standard agreements with Ascap and BMI, the industry’s biggest licensing clearinghouses. In a court case against Ascap, however, Pandora accused Sony/ATV of getting that raise by holding a metaphorical gun to its head.


The deal between Pandora and Sony/ATV bypasses the longstanding system of licensing through Ascap and BMI, which offer so-called blanket licenses to radio stations, online streaming services and other companies that use music. But Ascap and BMI — supported by many publishers and prominent songwriters — have complained that outdated regulation by the federal government has prevented them from obtaining fair rates from digital outlets like Pandora.


The Justice Department has been reviewing these regulatory agreements for over a year. But big publishers like Sony/ATV have said they may withdraw their catalogs from Ascap and BMI if regulatory changes are not made to their satisfaction.


In the announcement on Thursday, Pandora noted that its agreement with Sony/ATV would allow it to “benefit from greater rate certainty” in coming years. Pandora also noted that the deal would let it “add new flexibility to the company’s product offering over time.”


A number of other music publishers, big and small, have been approached by Pandora with offers for similar licensing deals, according to publishing executives who spoke on the condition of anonymity. Pandora declined to comment on whether it was holding talks with other publishers.


Pandora has announced a flurry of deals recently, including its $450 million acquisition of the ticketing company Ticketfly, a $90 million settlement with the major record companies over the licensing of old recordings and a deal to stream the hit podcast “Serial.”


Shares in Pandora, which last month dropped by 35 percent the day after it released its latest quarterly financial reports, were up 5.7 percent, to $12.45, on Thursday in response to the announcement with Sony/ATV.

http://www.nytimes.com/2015/11/06/b...-atv-in-deal-on-songwriter-payments.html?_r=2
 
The Pandora-Sony/ATV Deal: What It Means, Who Wins


ARTICLESBUSINESSLEGA L AND MANAGEMENT


By Glenn Peoples and Ed Christman | November 13, 2015 4:01 PM EST

The Nov. 4 agreement between the Internet radio service and the publishing giant begins the thawing process in a long cold war.


The licensing agreement between Sony/ATV Music Publishing and Pandora, announced Nov. 4, looks like a rare win-win for the music industry. Not only did the two sides bury the hatchet, both came away with things they wanted.


In a letter to Sony/ATV songwriters, chairman/CEO Martin Bandier said the deal will result in "a significant increase" in royalties and will pay songwriters directly -- even if a publisher advance has not been recouped. Pandora was able to lock in rates ahead of possible increases in the near future, while improving its fraught relations with the world's largest music publisher.


Pandora and Sony/ATV Reach Multi-Year Agreement


Better relations could ease the way for Pandora’s international expansion: The service is currently available only in the United States (the sole territory covered by the Sony/ATV deal, a source tells Billboard), Australia and New Zealand. To operate outside the U.S., Pandora would need licenses from the very rights holders it has clashed with. As a kicker, the agreement gives Pandora the vague ability "to add new flexibility to the company’s product offering over time," although reps for both companies declined to elaborate. This flexibility could be anything from interactive capabilities -- though unlikely given their high cost -- to caching songs for offline listening.


While both sides decline to reveal what rate Pandora will pay songwriters, a look at some publicly revealed deals with other major publishers suggest that the service will pay Sony/ATV and its EMI-administered portfolios its pro rata share of 8.5 to 10 percent of revenue.


Sony/ATV CEO Martin Bandier Says Pandora Deal Will Bring 'Significant' Bump in Royalties


Whatever the number, the current deal is seen as a grudging step in the right direction for publishers that have long believed streaming services pay too little in royalties. David Israelite, president/CEO of the National Music Publishers Association, considers it an improvement, although, he adds, "it is far short of the ultimate goal of songwriters and music publishers being paid a free market rate along with the right to make decisions about the use of their intellectual property."


It's easy to assign too much value to the Sony/ATV-Pandora deal. But last week's agreement could be the best sign yet that the music industry's longest Cold War might be coming to an end.


A version of this article first appeared in the Nov. 21 issue of Billboard.


The online extension of Billboard magazine, www.billboard.com/biz is the essential online destination for the music business.

http://www.billboard.com/articles/business/6762423/the-pandora-sonyatv-deal-what-it-means-who-wins
 
Not about the sale, but some news about Sony/ATV:

Sony/ATV signs The Weeknd, Slash and the late Amy Winehouse for neighbouring rights


by Murray Stassen
about 4 hours ago




Sony/ATV Music Publishing has added a wealth of new names to its neighbouring rights division, including The Weeknd, guitar legend Slash, Oscar, Golden Globe and Grammy-winning film composer Hans Zimmer and the late Amy Winehouse.

Songwriter and producer Jake Gosling, who has worked with acts including Ed Sheeran and One Direction, Queen producer Roy Thomas Baker and DJs, producers and hit artists Philip George; Adam Beyer and Andy C have also been newly signed by the UK-based operation, which is run by the world’s leading music publishing company.

They join a roster already including Pharrell Williams, Mark Ronson, Snoop Dogg, Nile Rodgers, Clean Bandit and the estate of Lou Reed.

Sony/ATV UK managing Director and president of European creative Guy Moot, said: “These are fantastic additions to an incredible roster of clients that we have built up in a very short space of time. Rather than playing a numbers game, we are taking a very different approach to neighbouring rights, which to us is about providing a bespoke, highly personal service in which we work with a handpicked group of the very best artists and plug into our creative, business and administrative skills as the world’s leading music publishing company.”

The division is run by neighbouring rights expert George Powell, who previously oversaw neighbouring rights at UK-based music licensing and rights organisation PPL. He joined Sony/ATV in 2013 as head of the division.

Powell said: “It’s been an exceptionally positive year for Sony/ATV’s neighbouring rights department and we are, of course, honoured that more of the most influential and talented artists in the industry have placed their faith in us. Alongside worldwide NR collections, we also continue to focus on any other areas we can assist our artists. I feel it’s this synergy and personable touch that is assuring our clients that they’re in very capable and caring hands.”
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http://www.musicweek.com/news/read/...-amy-winehouse-for-neighbouring-rights/063648
 
... oh... hey... and who was and would have been... the only real music mogul?
Diddy? Jay-Z? Dr. Dre?... and co?
NO... there was/is the only one music mogul - Michael Jackson, its so impressive to read this. All the biggest stars and the boss is Michael Jackson (Estate)
 
Sony/ATV Said to Submit Takeover Offer for Warner Music


Sony/ATV Music Publishing LLC, owned by Sony Corp. and Michael Jackson’s estate, submitted a bid for Warner Music Group Corp. ahead of yesterday’s deadline, two people with knowledge of the auction said. Sony/ATV made a joint bid with billionaire Ronald Perelman and Guggenheim Partners LLC, said the people, who weren’t authorized to speak publicly. Warner Music yesterday called a board meeting with the aim of picking a buyer in 48 hours, people said then. The entry of Sony/ATV increases the number of known bidders to three after billionaire investor Ron Burkle decided to walk away last week. Len Blavatnik, an ex- Warner Music director, and brothers Tom and Alec Gores also submitted bids ahead of the deadline, people familiar with the offers said yesterday. Sony/ATV’s bid is in the $3 billion range offered by Blavatnik and the Gores brothers, one person said. The company headed by Martin Bandier, is interested Warner Music’s publishing business, while its partners are focused on recorded music, one of the people said. Will Tanous, a spokesman for New York-based Warner Music and Liz Young, a spokeswoman for Sony Music in New York, had no comment. Christine Taylor, a spokeswoman for Perelman’s MacAndrews & Forbes in New York, didn’t respond to requests for comment.

http://recorderjournal.com/2015/12/13/sony-atv-said-to-submit-takeover-offer-for-warner-music/
 
Old article

sony/atv said to submit takeover offer for warner music
cristina alesci and andy fixmer
may 3, 2011

sony/atv music publishing llc, owned by sony corp. And michael jackson’s estate, submitted a bid for warner music group corp. Ahead of yesterday’s deadline, two people with knowledge of the auction said.

Sony/atv made a joint bid with billionaire ronald perelman and guggenheim partners llc, said the people, who weren’t authorized to speak publicly. Warner music yesterday called a board meeting with the aim of picking a buyer in 48 hours, people said then.

The entry of sony/atv increases the number of known bidders to three after billionaire investor ron burkle decided to walk away last week. Len blavatnik, a former warner music director, and brothers tom and alec gores also submitted bids ahead of the deadline, people familiar with the offers said yesterday.

Sony/atv’s bid is in the $3 billion range offered by blavatnik and the gores brothers, one person said. The company, headed by martin bandier, is interested warner music’s publishing business, while its partners are focused on recorded music, one of the people said.

Will tanous, a spokesman for new york-based warner music, and liz young, a spokeswoman for sony music in new york, had no comment. Christine taylor, a spokeswoman for perelman’s macandrews & forbes in new york, didn’t respond to requests for comment. Jeffrey kelley, a spokesman for guggenheim in chicago, declined to comment.

Warner music, which began seeking offers in january, fell 3 cents to $7.37 at 4:15 p.m. In new york stock exchange composite trading. The stock has climbed 31 percent this year.

Ownership breakdown
the record company, home to artists including cee lo green and the black keys, has long-term debt of $1.94 billion, according to company filings.
Eight of warner music’s 13 directors are executives of thomas h. Lee partners lp and bain capital llc, two boston-based private-equity firms that together hold 51 percent of the company’s shares, according to data compiled by bloomberg. Providence equity partners owns 8.3 percent and chairman and chief executive officer edgar bronfman jr. Owns about 7 percent.
http://www.bloomberg.com/news/artic...bmitted-takeover-offer-for-warner-music-group
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barbee0715 said:
Yes, the article from Bloomberg is dated 2011. The other article from Recorder Journal is dated December 13, 2015. Yet, they are exactly the same and 4 years apart
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I think they deleted it soon after publishing it.
 
http://www.musicbusinessworldwide.com/martin-bandier-new-deal-sony-atv/






Martin Bandier has just signed a contract extension to remain as Chairman and CEO of Sony/ATV Music Publishing.


74-year-old Bandier joined Sony/ATV as Chairman and CEO in 2007, following a 17-year spell running EMI Music Publishing, which he took over in 1989 after his company SBK was acquired by EMI.


The new deal – which Page Six rumoured last year was worth up to $7m per annum – arrives as speculation swirls around what the future will hold for Sony/ATV’s ownership.


The company – the biggest music publisher in the world, in control of over 3m copyrights – is a joint venture between Sony Corporation of America and the Estate of Michael Jackson.


Sony Music Entertainment last year triggered a buy/sell clause for Sony/ATV with its fellow co-owner.


One or the other of the parties could emerge as the sole owner of the company, which is believed to be worth $2bn, in 2016.


Bandier said: “I am thrilled to continue my role at Sony/ATV Music Publishing and continuing to work with a talented group of colleagues.


“Since my arrival, we have become the No. 1 music publisher and I am proud to say we represent many of the world’s best-loved songs alongside some of its greatest songwriters.


“I WOULD LIKE TO THANK SONY AND [THE JACKSON ESTATE] FOR THEIR SUPPORT AND CONFIDENCE IN ME, AND I LOOK FORWARD TO SHARING MANY MORE SUCCESSES WITH THEM OVER THE NEXT FEW YEARS.”


MARTIN BANDIER, SONY/ATV
“I would like to thank Sony and John Branca and John McClain, the co-executors of the Estate of Michael Jackson, for their support and confidence in me, and I am looking forward to sharing many more successes with them over the next few years.”


Michael Lynton, CEO of Sony Entertainment Inc. said: “Marty Bandier is a legend in the music industry, and we are thrilled that he will continue his work at Sony/ATV.


“Since he first joined in 2007, the company has reached amazing heights, and we expect that it will continue to flourish under his guidance.”


John Branca and John McClain, co-executors of the Estate of Michael Jackson, said: “Renewing Marty’s relationship with Sony/ATV avails the Estate of his enormous creative and executive talents as we strategically and profitably meet the challenges of our evolving business.”


Sony/ATV’s catalogue includes songs by contemporary superstars such as Taylor Swift, Ed Sheeran, Sam Smith and Pharrell Williams as well as works by all-time legends including The Beatles, Bob Dylan, Carole King, Queen, Marvin Gaye and Stevie Wonder.


“RENEWING MARTY’S RELATIONSHIP WITH SONY/ATV AVAILS THE JACKSON ESTATE OF HIS ENORMOUS CREATIVE AND EXECUTIVE TALENTS.”


JOHN BRANCA & JOHN MCCLAIN




In 2011 and 2012, Bandier played a key role in the $2.2bn acquisition of EMI Music Publishing by Sony Corporation of America, the Estate of Michael Jackson and an investment group headed by Mubadala Development Company, for whom Sony/ATV administers the EMI catalog.


While at Sony/ATV Bandier has also negotiated the acquisitions of both the Famous Music catalog – which includes scores for film such as The Godfather, Braveheart and Mission Impossible – and the Leiber & Stoller catalog whose hits include “Stand By Me”, “Hound Dog” and “Jailhouse Rock”.


Throughout his tenure the company and its songwriters have won numerous awards, including this last year when Sony/ATV was named Pop Publisher of the Year by both ASCAP and BMI in the U.S.


In February 2015 Bandier became the first ever music publisher to receive the Grammy Awards’ President’s Merit Award for his work in the music industry during a Grammy weekend when many of the company’s songwriters, including Sam Smith and Pharrell Williams, were also honored.


He has been inducted into the Songwriters Hall of Fame, while among his many industry roles he serves on the boards of the City of Hope, ASCAP, the Songwriters Hall of Fame and the National Music Publishers Association (NMPA).Music Business Worldwide
 
Sony/ATV Publishing Exec Brian Monaco on the Super Bowl, Sundance and How to Get a Yes From Dylan

There's no need to ask Brian Monaco which team he's pulling for at Super Bowl 50 -- the publishing executive is rooting for the commercials.

For Sony/ATV Music Publishing's worldwide head of advertising, film and television, the action comes off the field. Getting a song in a Super Bowl commercial is a publisher's holy grail, according to Monaco, and this year, Sony/ATV will have at least a dozen synch usages. (The synch fee for an iconic song, not including the master, can run up to $2 million.) At the Sundance Film Festival in Park City, Utah, this month, Sony/ATV will have at least 25 songs in nine movies premiering.

"Brian's the best at this," says Monaco's boss, Sony/ATV chairman/CEO Martin Bandier, "and it comes at a time that the synch area is more important than ever." Fiat Chrysler Automobiles chief marketing officer Olivier Francois, who has worked on multiple campaigns with Monaco, adds: "His ability to know what will 'pop,' and be ahead of it, is uncanny."

Monaco, 43 and single, came to Sony/ATV as part of the 2012 EMI Music Publishing acquisition. Prior to joining EMI in 2007, he headed his own management company for authors, politicians and media personalities. Now leading a global staff of 150 who represent the publisher's 3-million-song catalog, including copyrights from The Beatles, Bob Dylan, Queen and Taylor Swift, the avid horologist (The Wall Street Journal recently profiled his 30-watch collection) relaxes by playing squash. "It's like chess on speed," he says. "I love running around, forgetting about work for an hour, then getting back into it."

Do you increase rates for Super Bowls?

We do. A lot of it [depends on] the song. Is it a new artist that we're hoping to break? Or is it a truly iconic song that deserves to be paid a fair market value for that day?

Bob Dylan has opened up his catalog for synchs lately, narrating and appearing in a 2014 Chrysler Super Bowl ad. Why the shift?

He understands it's a nice way to get his catalog out to a broader audience. I was shocked that he said yes [to the Chrysler ad]. [Manager] Jeff [Rosen] has been so creative and interested in hearing every single [offer]. Instead of just saying no, he says, "Let's try to figure it out." It's still gonna be a premium, but if Bob sees something and feels creatively that it actually works great for his song well he's willing to do it.

Conversely, you rarely hear Taylor Swift's music in commercials. Why?

The reason is that she has a bunch of brands that she signs deals with in the beginning of an album release. That exclusivity covers a lot of different things, [so] if she has a deal with Diet Coke, she can't do anything in the beverage market.

Is she gonna be in a Super Bowl commercial?

I can't answer that (laughs)

Sony/ATV songwriter Leon Bridges has the end-title song in Sony Pictures' Concussion. How closely do you work with the film studio?

After the merger, our goal was to try to work as closely as possible with the other divisions of Sony. We've been talking about Ghostbusters deals with Lia Vollack, president of worldwide music at Sony Pictures, and some co-promotions because we have the Ghostbusters theme. We can be partners but make fair deals to protect our songwriters.

The options window for songs is shortening from one year to six or nine months. How does that affect you?

It's not even six to nine months. Sometimes it's three months, a week, one day. That's a big change. We have that with a few of our deals this year: a one-time broadcast at the Super Bowl. People are constantly refreshing the creative for the brands a lot quicker than they have in the past. It gives us way more opportunities to get our artists and our writers into big commercials.

What's the biggest lesson Marty Bandier has passed down?

How to price things in the marketplace. He is so well-versed in the catalog, because Marty was the first publisher to have a synch department. He put a lot of pressure on, but he's fair and fun to work with.

The Beatles' "All Together Now" was in a recent Kohl's commercial. How do you decide what to say yes to?

There is a weekly meeting [where] we make sure we do the right thing by The Beatles. We get tons of requests and we are often pitching The Beatles, especially for Super Bowl things, because you do need a big budget to work with a Beatles copyright. The Beatles don't usually approve [the use of] their masters. We have rights over the re-records that are being made for these commercials as well.

Following its use in a GEICO commercial, Europe's 1987 hit, "The Final Countdown," reached No. 1 on Billboard's Hot Rock Digital Songs chart in October. How did that placement come about?

The agency approached us. At first, [lead singer] Joey [Tempest] was very protective of the copyright. When we talked about him being in [the ad], he [said], "I don't want them to make fun of me." We worked through the process. [When] we finally got the piece, we went, "Oh, this is hilarious, this is going to be huge." Now they're gonna go on tour and they'll probably release a new album.

You had more than 45 songs in the first two nights of American Idol this season. How much will you miss that show?

It'll be sorely missed. It's the original and they're the one show that has [had] artists come out of there that have gone on to become great big artists. It will definitely be missed and the people that we've worked with over there have been unbelievably good to us over the years. It'll be hard to see it go.

If you can only have a song in one, which do you pick? A national TV commercial, placement in a highly-rated series finale, or in a blockbuster film.

A national or a global television spot. That just hits so many people in so many different ways. That usually gets more eye balls and we enjoy that because it also goes online and in cinemas and there's so many more platforms for it to be seen on.

What is the most-requested song in the catalog?

Probably "Over the Rainbow." It feels like we get a call about it every month.
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http://www.billboard.com/articles/b...erview-sonyatv-publishing-advertising-film-tv
 
^^I don't think I've ever heard the term "synch" or "synch department" before. Is that the same thing as licensing?
 
barbee0715 said:
^^I don't think I've ever heard the term "synch" or "synch department" before. Is that the same thing as licensing?
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From the few articles I read regarding synch department, I think it means that it is department that if movie/advertising companies wants to use music, but don't know what, this synch dep is there to assist - synchronise music with movie/product

http://www.warnerchappell.com/music-licensing

https://en.wikipedia.org/wiki/Synchronization_rights
 
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