Final Inernational Report

Word Count: 3451

Introduction:

This report will focus on three International music markets, UK, USA and Germany; looking at their significant features and differences. Factors that will be considered will include political, socio-cultural, economic, social and legal aspects. Following that, the markets will be analysed in regards to their retail and distribution and offline/online promotions and the live markets to establish if and what impediments there are to the promotion of UK music in those sectors.

When looking at the global music market, it is evident that the United States, United Kingdom and Germany are key players within the music market. Considering market share of the global recorded music, according to(IFPI and RIAJ Yearbook 2011)USA was ranked number one with a market size of 24.5% which is worth 4,562.0 million dollars. Germany was ranked third with a market share of 10.5% and a value of 1,945.8 million dollars followed by the UK which was ranked fourth with a share of 9.3% and a value of 1,730.5 million dollars in the year 2009.(Data available in appendix 1)

Part 1, Political, Socio-Cultural, Economic, Social and Legal Factors:

Political Factors:

UK:

First of all, considering UK and Europe, it is clear that David Cameron has vetoed on an EU-wide treaty change to tackle the euro zone crisis, (BBC 2012) David Cameron has done this as he believes this is not in the UK’s best interests. This may be a good thing as he is trying to protect our economy from the threats of Europe however there could be risk to trade in the future and loose influence in Europe as mentioned by Lord Haseltine. (Telegraph 2012)

There is also an opportunity for live as Feargl Sharkey mentioned that the government has confirmed to exempt small venues from the Licensing Act which will allow a greater amount of live performances being taken on in small venues according to the Live Music Bill (Total Politics 2012)

Opportunities to get business grants for new start ups and small businesses, this could lead to new music companies being set up in the UK.

UK Music brings forward issues concerning the industry to governing bodies. (UK Music 2012)

USA:

Obama’s administration announced in 2010 that they would work on cracking down on piracy; this move by the government could lead to prosecution of infringers and possible increase of revenues in the future. (Daily Tech 2012)

The US also supports IP and copyrights through a list of policy priorities in 2011 which are aimed to tackle illegal infringement and strengthen and enforce the protection of IP rights. (Us Chamber of Commerce 2012) The priorities can be seen in appendix 2. There is also monitoring on explicit content in music through the use of parental advisory label programme. (RIAA 2011)

Like UK Music, RIAA also brings concerns to the government and works to protect IP rights and reviewing policies and state and federal laws. (RIAA 2012)

Germany:

Germany could be willing to offer UK the protection they wanted in Europe, which was earlier, refused and led to Mr Cameron’s veto. (Daily Mail 2012)

Socio-Cultural:

Each country will be analysed by a graph depicting their score according to Hofstede. (Geert Hofstede 2012)

UK:

- It is visible that UK has a low PDI meaning people like to be involved in decision making rather than everything being centralised and run by a minority. The high IDV shows that people are more individual in the, whilst the MAS shows that male dominance is not as high and there is a level of equality and both male and feminine values are present. The UK culture is also more likely to take risks and be accepting to changes whilst having a focus on short-term targets under LTO.

USA:

USA have a higher PDI but they still share a similar view as the UK regarding how organisations are run and who is involved in decision-making. Their IDV is also higher so they are more reliant on themselves when it comes to getting things done. Considering MAS their score is lower than that of UK, this shows us that there is a sense of equality in both masculine and feminine values in everyday life/operations. USA are less likely to take risk than UK, but they will still be accustomed to change concerning their UAI, and they are are also focused on short-term targets.

Germany:

Germany is similar to UK in regards to PDI and decisions are more decentralised. On an individual scope they seem pretty individual but also rely on others. MAS wise, it is seen that masculine values are more dominant but the feminine aspects are still present. Their UAI is higher than that of UK, this shows that they are less welcome to change and that there is significance attached to rules and risks are avoided and like UK and USA they are focused on short-term targets.

Economic:

UK:

It was mentioned in The Guardian that retailers would take advantage of the VAT rise to 20% and increase their prices in 2011. (Guardian 2012)

Interest rate is currently at 0.5%. (Bank Of England 2012) This could mean less people saving and a possible chance of increased revenues. However as the inflation rate is 4.8%, which is 2.8% above the 2.0% target (Bank Of England 2011), this might mean a reduction in revenues as prices would be going up and as wages seem to be staying the same (Guardian 2011) and there is less disposable income.

Also considering unemployment which is displayed in the graph below, the amount of people unemployed by October 2011 was 2.64m. (BBC 2012) This will affect sales as people do not have money due to not having work.

UK’s GDP was valued 2.25 Trillion dollars in 2010 by (World Bank 2012). This data can be seen in Appendix 3.

There is also a possibility of 1.2million jobs being lost in Europe due to piracy by 2015. (IFPI Digital Music Report 2011)

The graphs below show the market share Major labels have in the UK music Market with Universal leading both the digital and physical market. (Phil Hardy, 2011, Dire Straits)

(Take note EMI is now owned by Sony and Universal)

USA:

The US also has problems with unemployment. The graph below shows that unemployment is around the 8.5m mark however there are signs that it is falling which is both visible in the graph and chart. (Bureau Of Labour Statistics 2012)

The current interest rate in the US is currently at 0.25% which has been like that since December 2008. (Trading Economics 2012) This could be a positive as mentioned before as people are more likely to spend rather than save.

Another factor which could affect the sales of music in The US is the inflation rate, looking at the chart below, the rates is at 3.4% thus there will be increases in price of necessities such as food etc. (Trading Economics 2012)This means that there could be an opportunity cost of not getting wants

such as music.

Considering the GDP aspect in the United States, according to (World Bank 2012) the USA GDP was worth 14.5824 Trillion dollars by the end of 2010. The table for that can be seen in appendix 4.

Considering the graph below it is clear that Universal is the market leader in the US for both digitall and physical sales. (Phil Hardy, 2011 Dire Straits)

(Take note EMI is now owned By Sony and Universal)

Different Revenue streams for music in the USA can be seen in the chart below. (IFPI Lets Play)

Germany:

The unemployment rate in Germany is currently at 6.6 percent following falls and then an increase. Data shown below (Trading Economics 2012) That percentage indicates that approximately 2.88million are unemployed in Germany. (BBC 2012)

Concerning the interest rate, that is currently at 1% which is higher than both UK and USA. (Trading Economics 2012)

Concerning inflations, the rate is currently at 2.1 percent.(Trading Economics 2012) It is lower than UK and USA this could be a positive for the music market as people might have more disposable income to purchase music. (The chart for inflation can be seen in appendix 5.)

In regards to GDP (World Bank 2012) indicated that Germanys GDP was 3.31 trillion dollars by the end of 2010, with signs of a decline. (Chart available in appendix 6.)

According to (GrabStats 2012) The US Digital Music Revenues are valued $5.3Billion. With the trend showing a rise each year.

Looking at the graph below it can be seen that Universal is the market leader with 35.7%share at the end of 2009. (Phil Hardy, 2011, Dire Straits)

(Take note EMI is now owned by Universal and Sony)

Social:

UK:

Social factors could be issues in the local communities and the banning of events by police especially if the area is know for violence or the act has got a history of violent fans e.g. artists like Giggs. (Guardian 2012) Also according to the (Guardian 2012) police are accused of discriminating against the urban music scene, and carrying out risk assessments based on ethnicity and can cancel shows at short notice.

UK population is currently ageing with the prediction of 1 in four being over 65 by 2050. (Parliament UK) This could lead to music that is being marketed at young people see a fall in revenues in the future.

USA:

The US also has an ageing population, with 65+ being 19% of the US population by 2030. (Administration on Aging 2012)

Nearly 40% of 45 year olds were buying albums in America.(Music Industry Blog 2012) There could be potential in exploiting that market.

40% of top 20 acts have a singer of 60 years and older. (Marketing Charts 2012)

Germany:

Germany was the largest online audiences in 2009. (ComScore 2012) This means that there is potential to grow revenues in the digital music market.

Germany also has an ageing population, which is predicted to cause a of 5 million workers in the next decade and a half.(Guardian 2012)

German music sales are also on the rise, which could be problematic to promoting UK music in that region.

Legal:

UK:

Legal factors such as licensing laws for venues could affect an event. The licensing Act of 2003 makes it easier to get all licences from one place. (Culture.gov 2012)

1988 Copyright, Design And Patents Act 1988 has been used in the high court to get BT to block Newzbin 2 for copyright infringement. (Independent 2012) This could open up doors to force internet providers to be forced to block infringing content in the future.(Music Law Updates 2012)

Law may be relaxed on copying your own CD’s to your mp3 player which is illegal in the UK. These recommendations were mentioned in the Hargreaves Review, and there was also mention of relaxation on laws regarding comical parodies which are also illegal. These new laws could lead to more new technologies thriving and a possible £8bn benefit to the economy. (BBC Newsbeat 2012)

DEA 3 strikes warning letters are likely to start going out in 2013. (Music Law Updates 2012) So infringers may not be affected until then.

USA:

Right now there is a case between Universal and several artists which focuses on royalties dealing with digital, currently labels like to calculate digital royalties at the same level as physical sales. However as there is no financial input into digital, artists deem it fair to have a higher royalty rate, this case could lead to different calculations being used for digital royalties in the future and making it fairer for the artists. (Music Law Updates 2012)

Supreme Court confirms that download is not a public performance under federal copyright law. (Music Law Updates 2012)

Stop Online Piracy Act could be dropped after Obama said he would not support it due to it threatening the openness of the internet. (Guardian 2012)

Germany:

GEMA has been calculating the royalties it collects based on the size of the space where the music is played. Some event organisers were unhappy with this as they mentioned some parts of outdoor events will not be accessible to people due to stands etc. being there and that the music may not be heard from further points. However the court and court of appeal decided that GEMA is entitled to calculate through those means, as there will be new listeners walking in and out of the areas where music is heard. (Music Law Updates 2012)

The German Association of Concert Promoters has applied to set up a new collection society which will focus on neighbouring rights and collecting royalties for exploitations of recorded live events in Germany even if they were recorded anywhere else in the world. (Music Law Updates 2012)

-Considering both Germany and UK, the committee in Brussels have agreed to extend copyright across Europe by 20 years. This will allow the copyright holders an extra 20 years of financial gain through royalties from those works. (Financial Times 2012)

Part 2, Retail & Distribution System, Online & Offline Promotion/TV/Radio and Live Music Market:

Considering that the first half of this report has covered political, socio-cultural, economical, social and legal factors the second part will look at the retail & distribution system, online and offline promotion/radio/tv and the live music market and what the impediments there could be to promoting UK music in those countries.

Retail and Distribution System:

UK:

HMV is UK’s biggest media retailer; their sales during the Christmas period were 8.2% lower than the previous year. (Bloomberg Business Week 2012) This could be a potential forecast for the following year sales considering growth will be flat. (Guardian 2012) HMV were also closing 60 stores in 2011,

this will affect music retailing as they are the only major music retailer in the UK, (BBC 2012) and the amount of independent stores has shrunk. (Music Week 2012)

Supermarkets in the UK such as Tesco & Asda dominate their market’s (Guardian 2012), this gives them bargaining power and the amount of customers they can reach. Through that they can undercut competitors by selling below RRP’s thus having the power of suppliers under Porters Five Forces.

Cd albums are still the most profitable product in the UK music market as they had 76% of sales, (Music Industry Blog 2012) whilst Apple has become UK’s 2nd largest online retailer with iTunes having approximately 70% share of the download market. (Music Week 2012)

USA:

iTunes dominates the US digital market with 66.2% share of the market. (The Next Web 2012) CD’s rose to 82% of album sales, considering 3 quarter of album sales in the States are made offline. (Music Industry Blog 2012) Which is done through major retailers such as Best Buy and Walmart who can afford to sell music below rrp’s due to their purchasing power and size.

Germany:

Germany has a stronger music retail sector than UK, as it has two electronics retailers; Media Markt and Saturn who are similar to HMV. With Saturn having 144 retail stores, including Music Dome which won the Echo Award for best music retailer and media Markt having 237 stores. They accounted for a third of the German physical music market, (Music Week 2012) which is still quiet strong as it only saw a fall in sales by only 2.2%. (musikindustrie.de 2012)

German music consumption has also had an increase in the amount of German music bought, this shows that German music is starting to dominate the German market and charts. (Billboard 2012) This could be a key impediment to promoting UK music as the majority of music bough in Germany is now becoming German.

Online & Offline Promotion/TV/Radio:

UK:

Currently a lot of artist and labels take advantage of social networks to do online promotion of their music and shows. Some promotion is done in magazines, TV and radio play-lists depending on the stature of the artist and whom they are signed to.

Music awards on TV such as Brits lead to major US acts winning awards, acts such as Justin Bieber. (stv 2012) This promotes artist on a national and a global scale.

Music magazines also provide information, on artists and help promote shows, magazines such Music Week, Kerrang, poster and Billboard signs advertising as well as on the bus and in the tube.

USA:

Spotify will have limitations on the amount of music they can listen to as free subscribers after the first 6 months. (Hyperbot 2012) This could limit the possibility of UK acts being heard in the US. Pandora is also unavailable in the UK due to licensing constraints. (Pandora 2012) This can work as a threat of substitutes under Porters analysis as consumers will look for a different service.

There are also issues of radio play lists just like in the UK, this makes it harder for new UK acts to be heard in the USA and the past controversies of payola still have an effect on radios in the states.

Online promotion also has some difficulties as MTV region restrictions make some US content unavailable in other countries. Online has also made it harder for UK acts to break America, according to Californian booking agent Frank Riley. (NME 2012) However shows such as WWE promote music by having songs be theme tunes for special PPV’s. For example Tinie’s Written In The Stars was the theme song for Wrestlemania 2011. (923 Radio 2012) These events are a great promotion tool for UK acts as it can showcase talent to the whole world. Another possible way of promoting UK talent would be to secure synchronization rights for use of music in American shows and commercials.

Magazines and billboards can also provide promotion for shows and artists, with numerous magazines for each specific genre.

Germany:

Deezer enters the German market beating Spotify, by reaching an agreement with Bitkom to transfer 6euro cents to 9 cents per song to Gema. (Bloomberg 2012) This could be a benefit to UK musicians, as they will be reimbursed for their music being streamed in Germany. MTV Europe also ensures that music is promoted through its channels in places like the UK and Germany. Social networks would also play a vital part in promoting music, however the language barriers will have to be overcome. They will also promote music in terms of magazines and posters, radio adverts etc.

Live Music Market:

UK:

HMV are considering the sale of their live MAMA group due to challenging financial results. (Music Week 2012) This could lead to more market share for AEG and LiveNation (Music Week 2012) who are already the 2 key players in the live industry, they organise key live events like Glastonbury as well as shows by famous bands and artists. Big shows fail to sell out arenas as live industry stuttered in 2010 according to analysts, and live revenues for 2010 fell by 6.7%. (Guardian 2012) This fall could be due to a lack of investment and new bands making it into the charts. However live music has a big impact on the UK economy as it is claimed that it contributes £1bn to the economy each year. (BBC 2012)

A major event, Glastonbury has been cancelled this year(Telegraph 2012) this will undoubtedly reduce the revenue expected for live music this year.

USA:

Live Nation and AEG are also key players in America Older music acts drive the US touring revenue numbers. (Marketing Charts 2012) The pie chart (Appendix 7) shows the age percentage of top 20 acts. An impediment of this to breaking a UK act in America is that, these older acts have an established fan base and it could prove difficult to try and break their market with younger UK acts.

The Top 100 North American shows have grossed 3.7% more in revenues compared to last year, however attendances fell, possibly due to an average price of $67.36 among the top 100 North American tours. (Forbes 2012) This could prove problematic to promoting a UK artist as consumers may not want to spend that kind of money on a new act from the UK.

Germany:

AEG owns Germanys most prestigious arena, O2 World (Phil Hardy, 2011,Dire Straits). According to Phil; Live Nation entered the German market in 2008 to compete with AEG. Phil also mentions that the German Live Industry was worth $3.78bn in 2008 after a fall of 9% and a similar amount in 2009. Considering live music in Germany, the sell out tours came from acts such as Rihanna, Coldplay and Metallica. (Phil Hardy,2011, Dire Straits)

GEMA has also increased it’s live performance rate for concerts with an attendance of 15,000 and up to 7.65% of gross takings, up from the previous 3.58%.(Phil Hardy,2011, Dire Straits)

Conclusion:

When looking at these three markets, the have some major similarities and differences. After analysing each market, it can be seen that there are impediments for promoting UK music regarding the sheer size of America and its different time zone’s to the language barriers in Germany. Also considering the average age of performers in America, it is evident that the established bands are the more successful, and the amount of 45 year olds buying music is also increasing. This means that the American consumer is more likely to buy music from an act they know rather than an unknown artist from the UK. Considering that radio promotion may be difficult the acts from major labels get airplay. There are obviously opportunities to get music synced in commercials or TV shows, or promoted on key TV events, which has been done with Tinie Tempa’s Written In The Stars and Wrestlemania.’

Regarding impediments to promoting UK music in Germany, data suggests that German acts are becoming pore popular as German music sales are now starting to dominate the German music market. This shows that they are more likely to listen something homegrown rather than an act from abroad. Also the Live performance rate will have an adverse effect on the amount of money UK artists make in Germany as the rate has almost doubled.

Also according to the statistics regarding market share by each country, it would be a lot easier to promote a UK act if they were signed to Universal as they can use their influence to promote and artist in a given market with each country’s subsidiary.

In regards to Hofstedes analysis, the differences between these three markets have been identified. USA and UK are pretty much similar on the Socio-Cultural aspect, but Germany is somewhat different. They are less likely to take risks and are more unwelcome to change unlike their counterparts UK and USA. This unwelcome attitude to change and risks will be a major impediment to trying to bring a new artist from the UK in to their market as there may be a risk they wont adopt to the new act.

References:

Websites:

923 Radio (2012), Available At:http://923now.radio.com/2011/12/22/tinie-tempahs-name-was-written-in-the-stars-in-2011-but-whats-the-meaning-behind-his-name/ [Accessed 12th January 2012]

AOA.gov (2012), Available At: http://www.aoa.gov/aoaroot/aging_statistics/index.aspx [Accessed 16th January 2012]

Bank Of England (2012), Available At:http://www.bankofengland.co.uk/ [Accessed 5th January 2012]

BBC (2012) Cameron Blocks EU, Available At: http://www.bbc.co.uk/news/uk-16104275 [Accessed 4th January 2012]

BBC (2012), Available At:http://www.bbc.co.uk/news/10604117 [Accessed 5th January 2012]

BBC (2012), Available At:http://www.bbc.co.uk/news/business-13405724 1[Accessed 12th January 2012]

BBC (2012), Available At:http://www.bbc.co.uk/news/business-16390429 [Accessed 6th January 2012]

BBC (2012), Newsbeat, Available At:http://www.bbc.co.uk/newsbeat/14384815 [Accessed 9th January 2012]

BBC (2012), Available At:http://www.bbc.co.uk/news/business-12117510 [Accessed 12th January 2012]

Billboard (2012), Available At:http://www.billboard.biz/bbbiz/others/germany-increasingly-buying-music-by-german-1005622552.story [Accessed 18th January 2012]

BLS.gov (2012), Available At:http://data.bls.gov/timeseries/lns14000000 [Accessed 5th January 2012]

Bloomberg (2012), Available At:http://www.bloomberg.com/news/2011-12-15/deezer-enters-germany-beating-spotify-handelsblatt-reports.html [Accessed 10th January 2012]

Business Week (2012), Available At:http://www.businessweek.com/news/2012-01-09/hmv-group-s-christmas-period-sales-8-2-lower-on-weak-demand.html [Accessed 9th January 2012]

Business Week (2012), Available At:http://www.businessweek.com/news/2012-01-09/hmv-group-s-christmas-period-sales-8-2-lower-on-weak-demand.html [Accessed 9th January 2012]

Culture.gov (2012) Regulated Entertainment, Available At: http://www.culture.gov.uk/what_we_do/regulated_entertainment/4060.aspx [Accessed 5th January 2012]

Comscore (2012), Available At:http://www.comscore.com/Press_Events/Press_Releases/2009/5/Turkey_has_Seventh_Largest_Online_Audience_in_Europe [Accessed 11th January 2012]

Daily Mail (2012) Available At:http://www.dailymail.co.uk/news/article-2075924/Eurozone-crisis-David-Camerons-defiance-rewarded-Merkels-man-snubs-Sarkozy.html [Accessed 4th January 2012]

Daily Tech (2012) Available At:http://www.dailytech.com/Obama+Administration+Announces+Massive+Piracy+Crackdown/article18815.htm [Accessed 4th January 2012]

Financial Times, Europe to extend performer copyright:http://www.ft.com/cms/s/0/80576fda-da35-11e0-90b2-00144feabdc0.html#axzz1iyC1OOSI [Accessed 9th January 2012]

Forbes (2012), Available At:http://www.forbes.com/sites/zackomalleygreenburg/2012/01/06/live-music-in-2011-revenues-up-attendance-down/ [Accessed 16th January 2012]

Geert Hofstede (2012) United States, Available At:http://geert-hofstede.com/united-states.html [Accessed 4th January 2012]

Geert Hofstede (2012) United Kingdom, Available At: http://geert-hofstede.com/united-kingdom.html [Accessed 4th January 2012]

Geert Hofstede (2012) Germany, Available At:http://geert-hofstede.com/germany.html [Accessed 4th January 2012]

Google World Bank (2012),UK, Available At:http://www.google.co.uk/publicdata/explore?ds=d5bncppjof8f9_&met_y=ny_gdp_mktp_cd&idim=country:GBR&dl=en&hl=en&q=uk+gdp [Accessed 5th January 2012]

Google World Bank (2012) USA, Available At: http://www.google.co.uk/publicdata/explore?ds=d5bncppjof8f9_&met_y=ny_gdp_mktp_cd&idim=country:USA&dl=en&hl=en&q=us+gdp [Accessed 5th January 2012]

Google (2012), World Bank GDP Germany, Available At: http://www.google.co.uk/publicdata/explore?

ds=d5bncppjof8f9_&met_y=ny_gdp_mktp_cd&idim=country:DEU&dl=en&hl=en&q=german+gdp [Accessed 6th January 2012]

Grab Stats (2012), Available At: http://grabstats.com/statcategorymain.asp?StatSubCatID=72&submit=Submit&StatCatID=9 [Accessed 19th January 2012[

Guardian (2012), Available At:http://www.guardian.co.uk/music/2010/feb/23/rapper-giggs-tour-cancelled [Accessed 5th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/business/2010/dec/14/retail-inflation-vat-price-rises [Accessed 5th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/music/2012/jan/08/police-accused-discriminating-urban-music?fb=native&CMP=FBCNETTXT9038 [Accessed 9th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/business/2012/jan/10/recession-not-foregone-conclusion-british-chambers-commerce [Accessed 10th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/business/2011/sep/09/hmv-chief-supermarket-domination-sales [Accessed 12th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/music/2011/may/15/live-concerts-audiences-stay-home [Accessed 12th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/technology/2012/jan/16/sopa-shelved-obama-piracy-legislation [Accessed 17th January 2012]

Guardian (2012), Available At:http://www.guardian.co.uk/world/2011/mar/17/new-europe-germany-retirement-pensions-exports [Accessed 18th January 2012]

Hyperbot (2012), Available At:http://www.hypebot.com/hypebot/2012/01/spotify-us-users-say-goodbye-to-free-music.html [Accessed 9th January 2012]

Independent (2012) Available At:http://www.independent.co.uk/news/uk/crime/bt-ordered-to-block-piracy-site-2327431.html [Accessed 5th January 2012]

Marketing Charts (2012)http://www.marketingcharts.com/direct/older-music-acts-drive-us-touring-revenue-15886/ [Accessed 12th January 2012]

Musik Industrie (2012), Available At:http://www.musikindustrie.de/aktuell_einzel/back/84/news/trendreport-2011-deutscher-musikmarkt-stabilisiert-sich/ [Accessed 18th January 2012]

Music Industry Blog (2012), Available At:http://musicindustryblog.wordpress.com/2012/01/11/is-the-music-industry-going-the-way-of-the-newspaper-industry/ [Accessed 12th January 2012]

Music Law Updates (2012), Available At:http://www.musiclawupdates.com/?p=862 [Accessed 5th January 2012]

Music Law Updates (2012), Available At:http://www.musiclawupdates.com/?p=4353 [Accessed 9th January 2012]

Music Law Updates (2012), Available At:http://www.musiclawupdates.com/?p=4351 [Accessed 9th January 2012]

Music Law Updates (2012), Available At:http://www.musiclawupdates.com/?p=4327 [Accessed 9th January 2012]

Music Law Updates (2012), DEA 3 Strikes Delayed Till 2013 Available At: http://www.musiclawupdates.com/?p=452 [Accessed 9th January 2012]

Music Law Updates (2012), Available At:http://www.musiclawupdates.com/?p=20 [Accessed 9th January 2012]

Music Week (2012), Available At:http://www.musicweek.com/story.asp?sectioncode=1&storycode=1047914 [Accessed 9th January 2012]

Music Week (2012), Available At:http://www.musicweek.com/story.asp?storycode=1044794 [Accessed 12th January 2012]

Music Week (2012), Available At:http://www.musicweek.com/story.asp?sectioncode=1&storycode=1047581 [Accessed 12th January 2012]

NME (2012), Available At:http://www.nme.com/blog/index.php?blog=10&title=why_british_indie_bands_still_can_t_brea&more=1&c=1&tb=1&pb=1 [Accessed 12th January 2012]

Pandora (2012), Available At:http://www.pandora.com/restricted [Accessed 12th January 2012]

Parliament UK (2012), Available At:http://www.parliament.uk/business/publications/research/key-issues-for-the-new-parliament/value-for-money-in-public-services/the-ageing-population/ [Accessed 11th January 2012]

RIAA (2012), Available At:http://www.riaa.com/toolsforparents.php?content_selector=parental_advisory [Accessed 5th January 2012]

RIAA (2012) About Us, Available At:http://www.riaa.com/aboutus.php?content_selector=about-who-we-are-riaa [Accessed 5th January 2012]

STV (2012), Available At:http://entertainment.stv.tv/music/228552-brit-awards-2011-justin-bieber-wins-international-breakthrough-act/ [Accessed 11th January 2012]

Telegraph (2012) Available At:http://www.telegraph.co.uk/finance/financialcrisis/8948032/EU-treaty-David-Cameron-cant-safeguard-the-City-by-floating-off-into-the-Atlantic-warns-Lord-Heseltine.html [Accessed 4th January 2012]

Telegraph (2012), Available At:http://www.telegraph.co.uk/finance/economics/8385489/Wages-fail-to-keep-track-with-inflation.html 5th January

Telegraph (2012), Available At:http://www.telegraph.co.uk/culture/glastonbury/8069257/Glastonbury-2012-cancelled-due-to-lack-of-portaloos-and-police.html [Accessed 19th January 2012]

The Next Web (2012), Available At:http://thenextweb.com/media/2010/12/17/apple-dominates-us-digital-music-market-with-66-2-share/ [Accessed 12th January 2012]

Total Politics (2012) Available At:http://www.totalpolitics.com/articles/277707/a-sound-investment.thtml [Accessed 4th January 2012]

Trading Economics (2012) United States Interest Rates, Available At:http://www.tradingeconomics.com/united-states/interest-rate [Accessed 5th January 2012]

Trading Economics (2012), United States Inflation, Available At: http://www.tradingeconomics.com/united-states/inflation-cpi [Accessed 5th January 2012]

Trading Economics (2012) German Unemployment Rate, Available At:http://www.tradingeconomics.com/germany/unemployment-rate [Accessed 6th January 2012]

Trading Economics (2012), German Interest Rate, Available At:http://www.tradingeconomics.com/germany/interest-rate [Accessed 6th January 2012]

Trading Economics (2012), German InflationRate, Available At:http://www.tradingeconomics.com/germany/inflation-cpi [Accessed 6th January 2012]

UK Business Grants (2012), Available At:http://www.ukbusinessgrants.org/?domain=wwi.ukbusinessgrants.org&gclid=CLKnw6_7t6gCFQEY4Qode22zAw [Accessed 5th January 2012]

UK Music (2012), About Us, Available At:http://www.ukmusic.org/about-us [Accessed 5th January 2012]

US Chamber (2012) Available At:http://www.uschamber.com/issues/priorities/intellectual-property-ip [Accessed 4th January 2012]

Reports:

IFPI RIAJ Yearbook 2011, Available At: http://www.riaj.or.jp/e/issue/pdf/RIAJ2011E.pdf [Accessed 4th January 2012]

IFPI Lets Play, Available At: http://www.ifpi.org/content/library/RIAA_Brochure_Final.pdf [Accessed 19th January 2012]

IFPI Digital Music Report 2011 AvailableAt: http://www.ifpi.org/content/library/DMR2011.pdf [Accessed 4th January 2012]

Books:

Hardy, P (2011). Dire Straits: A territorial survey of the Music Business. theviewfromtheboundary.com: theviewfromtheboundary.

Appendix:

Appendix 1:

(Riaj Yearbok 2011)

2: Policy Priorities for 2011

Strengthen the protection and enforcement of IP rights in the United States and abroad.

Shut down the top illegal websites globally that are willfully selling counterfeit goods and facilitating digital theft, beginning with the passage of legislation similar to S. 3804–Combating Online Infringement and Counterfeit Act.

Reduce the sale of counterfeit goods and the piracy of copyrighted works online through an appropriate combination of improved tools and enforcement efforts, both domestically and internationally, and through engagement with online strategic partners.

Ensure that the Intellectual Property Enforcement Coordinator has sufficient staff, budget, and authority to fulfill the obligations and achieve the goals outlined in the PRO-IP Act and the National IP Strategy.

Secure enactment of Customs and Border Protection (CBP) reauthorization legislation with strong IP enforcement provisions. 

Secure continued funding for dedicated resources to strengthen IP enforcement at Justice, the FBI, and the Intellectual Property Rights Center. 

Secure enactment of legislation to post IP attaché at key U.S. embassies abroad to monitor priority countries and assist U.S. businesses with protecting their IP rights in those countries. 

Improve Special 301 enforcement by enhancing the tools available to the administration to engage more effectively with countries that fail to respect and enforce the rights of American innovators and/or live up to their international IP obligations. 

Secure enactment of enhanced criminal penalties for illegally streaming copyrighted content.  

Promote and defend strong IP protection and enforcement regimes in the United States, key countries,

and multilateral fora.

Advance robust IP protection and enforcement provisions in trade agreements and their implementation, including in negotiations on the Trans-Pacific Partnership Agreement (TPP).

Counter the anti-IP rhetoric and policies of China, India, Brazil, and other countries in key capitals, multilateral fora, and the media by building alliances and recruiting new voices, including among developing countries, to promote pro-IP policies. 

 In China, work too reduce enterprise software piracy, o reduce piracy and counterfeiting on the Internet, and o enhance regulatory data protection, patent linkage, and patent term restoration. 

In India, work too refine and continue to implement an advocacy campaign that uses largely local voices to promote

innovation, o continue to expand our direct engagement with the government of India at the central and state levels

to encourage the adoption of innovation friendly policies, and o highlight the contrast between India’s rhetoric on IP issues in multilateral fora versus commercial reality

in Delhi. Defend trademark rights by opposing plain packaging proposals in key countries and by educating key

governments in advance of the negative consequences of such proposals. 

Promote the use of only authorized copyrighted works by government agencies, contractors, and employees and the adoption of best practices and benchmarks to prevent infringement and ensure and measure compliance.

Advocate for Congress to give the U.S. Patent and Trademark Office the ability to fully utilize the fees paid by patent applicants to reduce the backlog of pending applications and shorten pendency times. 

Raise awareness and increase support among key audiences for the value of strong IP rights as drivers

of innovation and creativity. 

Build alliances to create and deliver pro-IP messages to Congress, the administration, state-level officials and organizations, academics, and other stakeholders as part of a national echo chamber.

Produce rationale, fact-based, and actionable research reports and white papers that support our work plans and messages.

Maximize earned media exposure of achievements, research, issues, and messages through press conferences, statements, blogs, Facebook, Twitter, videos, and other forms of media to help drive policy and the Chamber’s role as a leader on IP.

Develop a first-class website that serves as the go-to site for the latest news, information, and research on IP, innovation, and creativity.

Build relationships with national and international media, including specialized trade and industry publications. 

Appendix 3:

Appendix 4:

Appendix 5:

Appendix 6:

Appendix 7