by : Dec. 2010, Editorials

Editorial December 2010

Editorial December 2010

As the year 2010 winds to a close, the final Music Business Journal release of the semester is here just in time to accompany your holiday travels. With some of the most significant content we’ve had all year, the MBJ team is marching towards 2011 with its best foot forward. This new issue is sure to capture your interest on numerous levels.

This month, Amy Mantis kicks things off with an informative analysis of Big Champagne and its attempts to supersede the Billboard Charts with its new artist ranking service, The Ultimate Chart. Aggregating data from online sources like Facebook, Twitter, and YouTube, The Ultimate Chart aims to provide a more accurate picture of an artist’s progress based on more than just physical album sales.

Over the past month, the music industry has produced a considerable amount of important current events which we’ve covered in full detail: The shutdown of the major P2P network, Limewire (Nick Susi), the release of the new Girl Talk record which includes the illegal use of more than 350 samples (Luiz Silva), and the long-awaited release of the Beatles catalogue on iTunes (Ben Scudder). Also last month, the Billboard Touring Conference was held in New York on Nov. 3rd & 4th. In this issue, I’ve provided a first-hand review of the event.

As artists continue to search for new ways to generate revenue from their music, the Video Gaming Industry is becoming an increasingly attractive option. Exploring this new medium, Jamie Anderson was able to sit down with Machinima.com’s social media manager, Elissa Ayadi, for an exclusive interview on the business of music and video games. In addition, Ben Hong provides an informative article on copyright law as it pertains to interactive gaming.

As copyright law struggles to catch up with new advancements in technology, VEVO appears to be the answer to Google’s prayers for legal music video streaming. Itay Rahat provides us with a full analysis of the new company. In addition, globalization in the music marketplace is calling for an increased understanding of foreign territories. Witt Godden offers an insightful piece comparing the differences between European and U.S. copyright law while Fred Bouchard shares a personal interview with Berlin Jazz Festival production manager, Ihno von Hasselt. There is a striking contrast in the modus operandi, and we can learn a lot from the comparison.

It my pleasure to introduce the Music Business Journal’s concluding release of 2010. Be sure to stay connected with us over the break on thembj.org and our Facebook page, and keep an eye out for our new website scheduled to launch in early 2011!

Happy Holidays from the MBJ team,

Evan Kramer

Editor In Chief

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