#51
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__________________
>>>Don't click me.<<<
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#52
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Lucrative small-job remote personal appearances?
How would you like to receive a live telephone call from Alizée?
One type of personal appearance business has the celebrity attend a fair, convention or other meeting all day long. But in an age of the cheap communication and storage of information, much smaller opportunities with comparable hourly compensation rates exist as well. This post will examine one firm specializing in such. The site HollywoodIsCalling.com was created in 2003. Its goal: "...to make it possible for people all across the globe to be inspired and entertained by live phone calls from actual celebrities..." And since then, it has embraced other media as well. Prices start at US$20 for a standard live call or US$30 for a custom-scripted call, neither longer than 30 seconds. Curiously, you cannot yet ask that you be sent a high-quality audio file instead (or additionally). A less than fawning four-minute interview of the site's founder was undertaken by National Public Radio (NPR) in the United States, the recording of which can be accessed here. A truly snarky short satirical take on the site is here. And finally, a friendly syndicated article from a journalist who personally tested the service is here, among other places. The site itself offers an FAQ here. If you want to go whole hog, you can even purchase a scripted video press release, described here. You are informed "Your Message Must Be Professional, Polite, Courteous And Non-Offensive." Be prepared to pay US$300 for 3 minutes, US$500 for 5 minutes, or US$1000 for 10 minutes of video. There is no mention of the ability to solicit singing, LOL! But I imagine one might well script segway material for favorite music video playlists! The aforementioned page includes a short sample video featuring Marina Sirtis, better known to many as Counselor Deanna Troi of the Starship Enterprise. All the celebrities who participate were once familiar to American audiences. So don't look for any French songbirds at this site any time soon. But what can be done for Americans might well be done for the French or other nationalities. For all I know, perhaps it is being done already. One interesting thing about HollywoodIsCalling.com is that all the celebrities are financial peers - no one's time is charged at a higher or lower rate than is anyone else's. Web site name notwithstanding, that regimen surely has nothing to do with Hollywood! How much would you pay Alizée to record bumper monologs for your personal playlist? |
#53
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Profiting from the Melle Alizée Bis experiment
The now-closed Facebook account called Melle Alizée Bis, at which place Alizée at one time acknowledged reading messages which fans posted to her there, suggests a revenue opportunity.
It did not take long for fans to start making numerous posts there, and often of the most trivial and silly nature. The problem of "spam" reared its head as soon as the very first types of no-cost electronic messaging emerged. A solution I offered then is now practical to implement and can be a useful way to monetize celebrity. Here's how it works. If you want to send Alizée a message to read, you go to the AlizéeStore and select a new messaging service. You pay three Euros via PayPal and then you are given a text-entry field of "tweet"-size in which to enter your message. When you are done, you click a "Send" button and your message is dispatched. All messages are previewed by a staff member, who discards those which are rude and forwards to Alizée those which are civil. Within a week (or is it a month?) Alizée reads the message and responds in one of two ways, to verify she has seen what you have written. Most of the time, the message is of no deep interest to her, and she responds to your "Two Cents" message with a PayPal payment of two centi Euros. But sometimes, she is delighted to receive your message, in which case she uses PayPal to send you two Euros. One can argue about the exact money amounts, but I think this could prove to be a system which can appeal to everybody. |
#54
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More on multi-venue live hidef electronic shows
I would like to follow up the lengthy post titled Chaperoned multi-venue live hidef electronic shows, which detailed a potential new business model for Alizée and others like her, by pointing you at a detailed new article in The New York Times titled Orchestras on Big Screens: Chase Scene Needed?.
The article writes in part: <blockquote><i>Opera houses, ballet companies, even the National Theater in London, are competing to lure audiences to live high-definition broadcasts in movie theaters... Now orchestras are jumping on the HD bandwagon... The best-known purveyor of cultural movie-casts is the {New York City] Metropolitan Opera, which pioneered the practice five seasons ago... The Met said 2.4 million tickets were sold last season alone... About one-third of the nation’s 39,000 movie screens have acquired digital capacity in just the last five years. High-culture performances were common on television in past decades... [Now] the market is flooded with DVDs of recorded performances... the latest media strategies, [also] include online streaming, satellite radio broadcasts and on-demand playback... What is new here is that the showings are live, on a big screen and part of a collective experience.</i></blockquote>. Last edited by FanDeAliFee; 11-10-2010 at 04:57 PM.. Reason: add title |
#55
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US Recorded Music Revenue - (by medium, 1973-2009)
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In a typical recording contract, an artist gets a percentage of sales. However, the record company pockets the artist's share until all expenses are paid off. Once that point is reached, the artist will start receiving money. The artist must waive his or her rights to any audit of the record company's books, so there is no way to know if a proper accounting was done on those expenses.
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Judge a CD in light of its times
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An important point about the chart I just reproduced above is that when the Corsican fairy entered showbiz, the industry had no trouble selling LOTS of CDs, and they grossed four or five times as much as they could by 2009. So an album which now sells "only" 20,000 units should hardly be judged as harshly as one which had such sales at the turn of the century. So to speak, it is what we only recently called a 100,000-seller - at least under the assumption of constant title-creation velocity. I think the loss of musical recording sales is due not only to the trivial ease of piracy, but also to the vast and ever-increasing supply of cultural and entertainment material which is legitimately available for free, or all-but-free. This is because technology has "manumitted" out-of-copyright matter (cf. Google Books), and artists of all kinds must now give away so much of their copyright-protected produce in order to be visible amidst the ever-growing cacophony. Live performance revenues to musical performing artists are actually growing, but much of this may be going to top-tier stars doing mega-concerts. And of course, it is hardly a secret that live performance is by far the most expensive method to deliver entertainment. Again, I see the upgraded neighborhood film theater as the vehicle to enable a distributed live performance venue which second-tier artists will be able to exploit. It offers the tempting possibility of high-production-value shows, without the expense of repeated travel and setup by artists and excessive travel by attendees, while retaining the physical intimacy of attendees, the possibility of interactivity with the performers, and the security against media piracy due to sequestration. |
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Institubes R.I.P.
Institubes R.I.P.
Jean-René Etienne and Emile Shahidi now offer a requiem for Institubes, of late the artistic home of Alizée, which I excerpt immediately below. Their words echo the economic anxieties we have voiced in this thread, and sought to ameliorate. I could write ten pages about the realities and difficulties of the music business... We never lived those halcyon days some industry elders tend to rave about. We always moved through a post-apocalyptic, terminally pauperized landscape... It’s always been a bit of an uphill battle. But it got worse and worse... We’re closing shop because the operation is losing too much money... ours is a struggling industry, where 90% of your time is spent “staying afloat”... our post-Napster economy itself is defective... The only honest way for a record label to make money is by selling records. We’ve always been uneasy about selling anything else. |
#59
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Making money from music after Napster
The New York Times published Investors Are Drawn Anew to Digital Music on February 28, 2011, writing in part:
Since it emerged in the 1990s, digital music has been hugely popular with fans, but for online music companies and their investors it has almost never been profitable. And yet the [investment] money has again started pouring in... Even Apple, the largest music retailer, has long maintained that it makes little profit from its iTunes store, which has sold more than 10 billion songs since 2003... [But] since the end of last year, at least $57 million in venture capital has gone to digital music start-ups...And I explore another way for musicians to make money in the post-Napster age, encouraging them to migrate closer to the advertising business, at Not Queen of the desert - Queen of the Nile! |
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lottery, lunch, skype, videoconference |
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