Bill Akman's optimism with broadcasts clash with the reality of the music market

Investment director Bill Akman, who climbed to the Universal Music Group in 2021, came as if he was directly from a promotional cut of a movie of a musician’s autobiography entitled: “You need food and water to live, but music follows it of interest.” There is some environment in its position, even in our time ruined by conflicts and economic unrest, the revenue of the current round of artist Taylor Swift of the company “Universal Music Group” exceeded the barrier Spotify Technology Disorders. But there is another personality in the biography of the musicians, who is the official of the Music Recordings Company biting the cigars (which is usually a man) and tells the hero with confidence that his most famous song is doomed to failure, which means that Akkam is not entirely in his position. The growth of the broadcasting activity slows down with the disappearance of the effects of the pandemic and the high prices, and the grip of the most important recording companies is declining in the sound scene, which is increasingly competitive. Music can be valid for every time, but the revival of this industry was very late. The effect of “Spotify” on the music market is good for “Spotify” is not always good for plates. The application of former digital music played from the Algorithm game, which increased the interaction and encouragement of listeners to discover different types of whales and white noise to sound books and podcasts. The division and classification of the taste by operating lists such as “rap caviar” and the uninhabited incentives of “Spotify” to escape from the unbalanced trading conditions to pay 70% of each dollar subscription in the form of royal rights means that the market share of large registration has dropped to less than 75% over the years. “The market has become more fragile, and finding the next star has become much more difficult,” says Lior Tebon, head of the duetti music platform. Large businesses still enjoy a large amount of power and influence – imagine the value that “Spotify” provides without their catalogs – as their ability to survive from existential crises such as the disappearance of the CD. What is concerned, however, is that it dropped the ball out of his hands. Perhaps it was wrong that it could relax and live on the balance of its large business with the growth of the music broadcast market, as production companies have to fight stronger in areas such as artificial intelligence, uneven property rights and discovery of artists online. The networks of the new taste makers are the social media algorithms that are the new taste. The printing tactic followed by ‘Universal Music Group’ was not a win for the company ‘Taylor Swift’, especially when Taylor Swift decided to repeat his music first. The dispute led to the loss of a month due to the revenue of the company. All this had an impact on the musicians who fell into the fire of the broadcasting wars. The cost of music production and its download collapsed, as well as the cost of gaining access to it and listening to it. This is ideal for consumers, but for ambitious stars, it means increasing competition for attention on social media and the income of property rights that do not exceed parts of one cent. In a report issued by the “Media Research” business, based on a recording of more than 300 songwriters, found that the vast majority earned less than 10 thousand dollars annually. Things can get worse as a decrease in the revenue of “Spotify” from the collected audio book subscriptions may deprive the authors of $ 150 million payments next year, according to the assemblies of the “Billboard” magazine. These problems are theoretically repaired. It is clear that the music is expensive, and that the broadcasting income and subscriptions are still much lower than the culmination of the age of CDs after neutralizing the effect of inflation, but the content is offered for each dollar much more than possible at the time. The zero conflict impedes market growth. It is also clear that the zero conflict between broadcasting platforms and content owners was a hindrance to market growth in general and before the artist reward was reasonable as the platforms stimulate their profits from other sources. Makari Group analysts wrote in a report released in June in June that you will find from a typical point of view registration companies and platforms shared to get rid of the broadcast fraud, to pay better wages for artists, and find ways to reduce the process of broadcasting to the point to interact. If the TV can pay in advance for the content, and the National Basketball Union can promote its athletes properly, the music sector can do so too. But it depends on the ability of businesses to change their methods as well. Listening to a listening ears was the skill of managers responsible for artists and artistic ammunition, and perhaps a focus on using the best technologies to discover and take care of artists who do not find costs in terms of costs. It is noteworthy that Warner Pas Elliot Greeng, the son of the CEO of the Universal Music Group, Lucian Greeng, who is 30 years old, promoted to become the head of the Atlantic Music Group. Greeng, the father, nicknamed the ‘last pole’, is a living legend, because he is known for his rise and blusant lights during meetings to indicate a world without success with his financial influence. Although we have not yet reached a ‘Nabisk moment’, indicating the turning point in the relationship with technology, no one should feel comfortable with the chances of stabilizing the growth of broadcasting in an industry in which preparation and patterns are rarely established forever. The deterioration and sale of the company “Hipgnosis Songs Fund”, whose president of Carisimi Mercuriaradis claimed that music is gold or new oil, reveals the price of exaggeration in expectations. There is a lot of content, and the more music becomes a form of a sound background – such as the playlist that relies on algorithms you can listen to while reading this article – it was difficult to persuade people to pay more money for it. Music may be a necessity, but maybe misrepresentation of the risk of turning it into a commodity.