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OH MY! and ESPN College Football
08-30-2012, 10:28 PM, (This post was last modified: 08-30-2012, 10:29 PM by Miguel.)
#11
RE: OH MY! and ESPN College Football
Quote:DH Haley ‏@haleyscoop

Sounds like "Oh My" and "HTGR" by @HaleyReinhart both were played tonight during @ESPN college football coverage!

Retweeted by Haley Reinhart
Reply
08-31-2012, 09:32 PM, (This post was last modified: 08-31-2012, 09:33 PM by Miguel.)
#12
RE: OH MY! and ESPN College Football
Quote:Tara Dawn Tinker ‏@TaraDTinker19

I keep hearing what sounds like Haley Reinhart in the commercials and in the background of the Tennessee game.


Quote:Anh ‏@AnhLDinh

Ooo I hear them playing Haley Reinhart's music.


Quote:McCreerian Messenger ‏@HeyScottyM

They just played @HaleyReinhart "hit the ground runnin'" at the nc state game!!!


Quote:Aly ‏@Alyoup005

I legit have heard @HaleyReinhart's songs a lot during college football so far! :') So Proud!
Reply
09-01-2012, 01:32 AM,
#13
RE: OH MY! and ESPN College Football
I'm thinking this is really pretty big news.

It's particularly cool that HTGR is now another song getting some exposure. I 'm waiting for the time when all 14 of them are readily recognizable ....

I'd also love to understand the basics of how money is exchanged on this sort of thing. Does the network pay a flat fee for unlimited use? Is the payment per time the song is played? is a combination with a flat fee and certain lesser stardard payements of some union agreeed rate to artists each time a song is played on the air ? ... it would be very interesting to know.

But.. I gotta figure someone is getting paid, and some of that is studio and people who paid for it .. making them a lot more likely to help with another album even if its with the idea they can sell the songs through other venues than retail album sales. Haley will get paid for sure too, but the super big pay day will come when one of these songs really hits big .... or one she makes down the road .. but she needs people making enough money to keep using their career contacts to get those songs to a place they get heard and have a chance to catch on.
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09-01-2012, 06:50 AM, (This post was last modified: 09-01-2012, 07:33 AM by Miguel.)
#14
RE: OH MY! and ESPN College Football
(09-01-2012, 01:32 AM)Tom22 Wrote: I'm thinking this is really pretty big news.

It's particularly cool that HTGR is now another song getting some exposure.

I think it is too. I haven't seen the spots yet, but it sounds like the songs can clearly be heard. I hope they're scheduled to run the entire season.



Quote:ESPN Music: Landing A Song Can Be A Career Power Play
Exposure is a Career Boost to Musicians

May 29, 2011|By ERIC R. DANTON, edanton@courant.com

The emphasis on sports tends to obscure this fact, but ESPN is also a huge consumer of music.

In fact, music has grown into a crucial underpinning of the Bristol-based company's televised sports empire. It's the soundtrack to game coverage, highlight reels, news shows and more, and the cable network uses music-themed contests, full-album streams, promotions and live chats with artists to attract viewers to its website.

"Music is in everything we do," says Claude Mitchell, the company's coordinating director of music.. "You can't watch a show on ESPN without hearing a piece of music."

With such a large and continual appetite for music, ESPN has increasingly become an alternate way for bands to reach fans in an era of declining record sales and narrowing radio playlists. Landing a song on ESPN can have a real impact, musicians say, a claim backed by sales figures.

There are plenty of opportunities for exposure. Although the cable giant commissions some original music for theme songs, ESPN pays to license about 70 percent of the music it uses, a process overseen by Mitchell, music director Kevin Wilson and a team of 10 subordinates at the company's Bristol campus.

ESPN has struck recent deals with the Beastie Boys and Foo Fighters to use music from each group's new album across its programming platforms, and songs by rap-metal band Hollywood Undead, emo band 30 Seconds to Mars, Grammy-winning country-pop act Lady Antebellum and English indie-folk group Mumford & Sons have been featured on ESPN shows in May.

"We've done those band deals with just about everybody, from rock to hip-hop to country, with male vocals and with female vocals," Wilson says during a recent interview in his office, where the walls are festooned with music memorabilia, including guitars and gold records.

The company also is soliciting versions of the "Baseball Tonight" theme song from a range of bands, and has received entries from Grace Potter & the Nocturnals, Staind and jazz guitarist John Pizzarelli (who gort a career boost singing the Foxwoods theme "The Wonder of it All"), which are posted online at http://www.espn.com/music.

ESPN began paying closer attention to the music it used not long after Wilson went to work there in 1994. The network launched the X Games the next summer, and he helped link the brand to music that would attract the attention of extreme-sports enthusiasts, namely, young people, who were also often fans of alternative rock and skate-punk.

"We were able to try some things over there that turned out be successful," Wilson says.

Since then, the music department has expanded and, particularly over the past 10 years, taken a more active role in working with the people producing ESPN's shows to find good musical fits. That period happens to coincide with the record industry's steady downhill slide, which has proven a boon for ESPN.

"As the industry has evolved and outlets have changed for getting music to fans, that's helped us," Mitchell says. "Ten years ago, we wouldn't have been able to do these kinds of deals."

ESPN's more deliberate use of music has benefited bands, too, including acts like 3 Doors Down. The Mississippi hard-rockers have worked with ESPN since releasing their first album in 2000.

"It's a great opportunity," says Matt Roberts, the band's guitarist. "It's another forum, to be on ESPN, to have the sports crowd. It's turned out really, really good for us, because early on, we got the whole NASCAR affiliation, and that still works today."

Bands get paid when ESPN licenses their music, though it is difficult to categorize how much. "We're able to do stuff for free, or for hundreds of thousands of dollars. It just depends," Mitchell says.

It's easier to measure the benefits that come from exposure. An established artist can see a sales spike of anywhere between 10 to 50 percent after landing a song on an ESPN show, and the jump can reach triple digits for lesser-known acts, says Dave Bakula, senior vice president of analytics entertainment for the Nielsen Company, which measures TV ratings and monitors music sales.

"Any time you see something get exposed for the first time, even if it's just a few seconds, a lead-in to a particular show, you see an impact immediately in sales," Bakula says. "ESPN is not out there trying to break new artists, but when you know who your viewer is, you're able to say, here is the demographic that is watching this particular show at this particular time, here is the perfect music to go with that."

Wilson credits their success in part to the fact that he and Mitchell didn't have television backgrounds when they started at ESPN.

"Me and Claude are music guys who learned the TV world, which is a benefit," Wilson says, because they weren't wedded to an established way of doing things. Their goal, Wilson says, was figuring out, "How can we fit ESPN into what's going on out there?"

Wilson, 42, a Bristol native with glasses, a neatly cropped Mohawk and arms sleeved up with tattoos, studied sound engineering at the University of New Haven and the music business at the University of Miami before moving back to Bristol, where he was working at a deli while considering his next step. During a catering gig at ESPN, Wilson took note of an executive's name, sent him a resume and, a few months later, landed a job.

The more buttoned-down Mitchell, 46, grew up in Staten Island and studied aerospace engineering and economics at Syracuse University, though music was an early obsession.

"I was the kid who lived at the record store all the time," he says.

Mitchell worked in music publishing for 10 years, jumped to MP3.com during the '90s tech boom and, through a friend, heard of a vacancy at ESPN.

Each listens to as much music as possible, spanning a range of styles and sounds. Wilson, for example, has a particular fondness for lyrics that could fit sports-related situations.

"I'm a fan of all music," Wilson says. "Even if you're not a fan of all music, in our position, you have to figure it out."

Converting a passion for music into a job, even a dream job, has drawbacks: Mitchell and Wilson say they're constantly sizing up music they hear at work, at home, in restaurants, at the movies, wherever, for how well it would work in the context of ESPN.

"It's like having your favorite food and eating it three meals a day for years and years," Mitchell says. "It just becomes normal sustenance. It doesn't dampen the passion, but you listen differently."


http://articles.courant.com/2011-05-29/b...emorabilia



2007 video interview with Claude: http://www.mixonline.com/ai/video/rhnyc0..._mitchell/



2009:

Quote:Wilson said choosing songs to be featured on the various outlets “depends on the parameters and budgets” labels are willing to work with. He noted labels and artists are “usually pushing the (latest) single, and many times we work that in, but we’re also looking for songs that lyrically go with our content.” Mitchell said of the relationship with labels, “There’s definitely a push to expose their artists. The trend has been that we’ve been working with them on these newer releases in the same way Springsteen is rolling out (his new CD) in the same time period that we’re featuring his music. … That’s where we can help bring value to the artists and the label to expose them to the ESPN fan base and help build awareness for them.” Compensation between ESPN and the publishers and labels is dependent on each agreement, but Mitchell said, “We don’t get those great deals anymore.”

LIVING IN THE FUTURE: Wilson said he hoped the use of high-profile musical acts in programming “continues to grow the way it has been the last couple of years.” “It’s something that we’re pretty aggressive at thinking about and conceptualizing and bringing to our productions,” he said. Mitchell noted ESPN is always looking to use recognizable music to enhance production value. But he warned, “We’re not going to do a deal just to do a deal. We want the right artist and the right music to complement both the band and our productions.”[

http://www.sportsbusinessdaily.com/Daily...ntent.aspx
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09-01-2012, 11:56 AM, (This post was last modified: 09-01-2012, 11:59 AM by Tom22.)
#15
RE: OH MY! and ESPN College Football
Great article finds Miguel !

Like I exressed in the movie thread, I think music is often underated in it's importance in TV too. Its not alway "song" and I suppose some social-science orientated critic could talk about emotional manipulation (but thats the point right? entertainining us) but those fanfare in the NFL themes (they use it on all the networks right.. its NFL owned?) and the olympic theme's composed for th 1984 olympic really add a sense that we're watching something "epic".

I think the reality show Survior would have had far lesser sucess without it's own musical themes woven through the show. I suppose credit goes to the Producers who understand how important production values and choices are to even a reality show and are sure to hire top talent top to bottom , from camera people, to video editors, to host , to music directors.. Still, I think it takes all those legs to be strong and the show would be a lot more wobbly without its music. (I 'll watch it a season or two , then take 4 or so off, then come back to it... after 20 seasons (2 a year) it gets old... but that still means I enjoyed it many many times)

Those articles really do paint to one reason why coverage feels "better" on ESPN sometimes and alternative sports channels often feel a bit bush-league.

Now

I wonder about the money.

I get conflicting messages, even in the second, more recent quote.

He seems to say both that the studios are pushing music more than ever, especially new artists yet he says "We don't get those great deals anymore".

How can that work? Can the studios really hang tough together and demand certain minimums while having so many bands they's like to get heard? (maybe thats why they consolodate into mega companies with mutiple labels and enforce something from the top and across their subsidiaries?

2007 We're able to do stuff for free, or for hundreds of thousands of dollars. It just depends," Mitchell says.

2009 (not clear on contextural meaning of "those" ) "We don't get those great deals anymore"
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09-01-2012, 12:31 PM, (This post was last modified: 09-01-2012, 01:16 PM by Miguel.)
#16
RE: OH MY! and ESPN College Football

Report from Gomchar on IF:

Quote:So I'm watching Tennessee wiping out NC state from the Georgia dome in Atlanta.
Coming back from commercial they have a feature on a gaming convention going on
down the street with a bunch of folks all game custumed out and I think, "Man this
is familiar and I don't play video games!" After I rewound the dvr to rewatch, what
do I hear as the background music? Oh my, Oh my. Oh Oh Oh Oh



I don't know about the money. When I looked earlier I found one story that said they went through some group that pooled content. It said National Geographic might pay a $100 usage fee for each time music was used, plus royalties. But ESPN only paid royalties. Then I saw another article that said ESPN didn't pay the publishing companies directly but used producers that did. So maybe they used to be cheap but are paying more to use current material now.

I also found this story about John Tesh:

Quote:It was about 3 o'clock in the morning and then-Entertainment Tonight host John Tesh, across the globe covering the Tour de France, had an early-morning revelation in his hotel room in the city of Pau. It was July 1990 and Tesh knew NBC was taking over NBA broadcasting rights from CBS. It needed a theme song.

Tesh already had received an Emmy for his music for the Pan American Games in 1983 and composed other sports television music, including the theme song played during CBS's Tour de France coverage in the late 1980s. Like the tales of other enduring rock songs, Tesh recalls a memorable story of how he gave birth to what has become the theme song of NBC's coverage of NBA games.

"It just came into my head," Tesh, who now devotes most of his time to his musical career, told ESPN.com on Wednesday. "So I called my message machine and sang the chorus. Then I called back 30 minutes later and sang the verse."

When Tesh got home, he played the song that would soon become known as "Roundball Rock" on the piano. He also watched an NBA game and played the music to the approximate speed of a fast break (122 beats per minute). After paying $15,000 to have a Los Angeles orchestra record the song, he sent a tape to NBC, but he didn't want them to know that he wrote it.

"The name on the tape was Jay Franklin, because my middle name is Frank," Tesh said. "But the problem was that when they called me up, I said they had the wrong number." After Tesh finally realized that he was "Jay Franklin," he worked out a deal with NBC where they would make his song the theme of "NBA on NBC" broadcasts and pay him royalties every time they played it.

"It's a great piece of music and it definitely became synonymous with the NBA on NBC over the years," NBC Sports spokesman Kevin Sullivan said. "When you hear that music, you know exactly what's coming up."

But when Tesh plays the song at concerts, he said most people are surprised to hear the song. "Ninety-nine percent of the crowd doesn't know I wrote this theme," said Tesh, whose 'demo' was never re-recorded. "NBC has never given me a single credit on the air. I have no animosity toward them. I'm sure it's just an oversight that's typical for musicians."

For the past 12 seasons, NBC has played the song about 12,000 times, or about 20 times per game when going to commercial or during halftime. Tesh said checks are about two years behind and that he has made "in the six figures" in royalties each year.

Although the song can be heard on Tesh's recordings "Victory: The Sports Collection" and "Live at Red Rocks," Wednesday night could be the last time that fans hear the music that has become so familiar over the past decade. With ABC/ESPN taking over NBA broadcast rights next season, the song's future remains uncertain.

Tesh, who recently licensed the song for the upcoming movie "Like Mike," insists that won't be the case. Since he owns both the copyright and the publishing rights, he has the right to shop it around. "I'm an entrepreneur, I'll find a home for it," Tesh said.

Although ABC has said it would compose its own music, Tesh said the network has since expressed interest in "Roundball Rock." This week, Tesh proposed that ABC take the theme and have famous entertainers like Eric Clapton and Billy Joel perform it. "I'm also perfectly willing to sell it to the NBA if they want it," Tesh said.

"Even if I do something with it in the future, the last time on NBC is still going to be bittersweet," Tesh said.

http://assets.espn.go.com/nba/playoffs20...94112.html

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09-01-2012, 01:39 PM,
#17
RE: OH MY! and ESPN College Football
good one Miguel. I tried to google some info myself.

Needless to say it is very complicated. Musicians seem to be largely unprotected in most areas but song writers are in a much better position in terms of long term dividends. Some-how or another they allocate percentages of "who" wrote the song (i.e. Mary wrote 20% of the song and Jane wrote 80%)

I had a hard time understanding exactly how deals worked for the actual performance r(I.E Haley's actual singing , rather than the role she played in creating the song0

I think most of what follows relates to the writers:

Quote:In simple terms, songwriters make money in three ways: Mechanical Royalties (album sales and digital downloads), Performance Royalties (radio play) and Synchronization Royalties (licensing to TV, Films, Ads). There are other revenue streams--especially with the advent of Internet streaming services--but these three represent the lion's share.

Here is how Dr. Luke would get paid from a hit song:

1. Mechanical Royalties: Think of this as "money for when someone buys a copy of your song (physical or digital)."

In the U.S., the Record Label is responsible for paying the songwriter a fixed rate of $0.091 for each song sold. A simple example: Bob Dylan releases a new 10 song album, which sells an even 1MM copies. The Label owes Bob $91,000 for letting them "publish" his 10 songs. Here is an example with two writers: Bob Dylan writes a 10 song album with Shakira, and Shakira writes 80% of each song (Bob writes the other 20%). This album also sells 1MM copies. Here, Shakira is owed $72,800 and Bob is owed $18,200. This gets very, very complicated -- But that's a fair primer.

When Dr. Luke writes a song, he might not write all of it. In that case, he needs to negotiate what % of the "Publishing" he owns. I've heard that it's possible to receive an upfront "songwriter fee", either as an advance against future Mechanicals or as a standalone fee. But this is supposedly quite rare.

2. Performance Royalties - Think of this as "money for when your song gets played on the radio, TV, or in any public setting, even sports arenas and bars."

Unlike Mechanical Royalties, there is no clean formula for calculating what you are owed. To collect this income, songwriters must associate with a Performance Rights Organization (PRO), such as ASCAP, BMI or SESAC. PRO's are non-profit organizations that license their broad their huge catalogs to broadcasters (ex: Clear Channel radio; NBC) and public arenas (ex: Madison Square Garden). How much? BMI alone collected $901MM in the fiscal year ending June 30, 2009. That pie is split amongst nearly every songwriter imaginable, from John Lennon to John Legend (to your cousin Tom Lemon, who plays in a local Bluegrass band). Given that he writes some of the most-played Pop hits in the world, Dr. Luke would make a significant share of his income from Performance Royalties.

3. Synchronization Royalties - Think of this as "money for when you license your song to a TV show, Film, Trailer, Video Game, TV Commercial, or any other visual that needs to be 'sync'd' with music."

Each medium (TV, Internet, Film) has its own standard price structure. License terms can vary quite a bit, depending on who has negotiating leverage (Is the song a huge hit, or is it a no-name band dying for exposure?). In general, songwriters are given an advance (TV shows can fetch $1,000 to $25,000; car commercials can fetch $50,000 to $300,000).


http://www.quora.com/Music-Industry/How-...for-a-song

It looks like "sycchronization royalties are what apply to TV.

I am a bit confused by the term "advance" , as that usually means a minimum, with additional money that would be owed if an agreed fee per usage would come to amount that exceeded that minimum.

The articles seem to suggest that song writers havn't been pressured to give their future royalty rights to producers but I have no idea how that tradition developed or if it is true . It is all very complicated as I led off with with different pracitces for different mediums

Below is more about possible amounts. Going from very little to "holy shit" amounts all of which is not set by any law but only by negotiated payments .

Quote:Synchronization royalties (‘synch licenses’) are paid for the use of copyrighted music in audiovisual productions, such as in DVDs, television, movies, commercial, and advertisements. Music used in news tracks are also synch licenses. Synchronization can extend to live media performances, such as plays and live theatre. They become extremely important for new media – the usage of music in the form of mp3, wav, flac files and for usage in webcasts, embedded media in microchips (e.g. karaoke), etc but the legal conventions are yet to be drawn.

A synchronization license is needed for a song to be reproduced onto a television program, film, video, commercial, radio, or even an 800 number phone message. It is called this because you are “synchronizing” the composition, as it is performed on the audio recording, to a film, TV commercial, or spoken voice-over. If a specific recorded version of a composition is used, you must also get permission from the record company in the form of a “master use” license. The synchronization royalty is paid to songwriters and publishers for use of a song used as background music for a movie, TV show, or commercial.

Synchronization royalties are due to the composer/song-writer or her publisher. They are strictly contractual in nature and vary greatly in amount depending on the subjective importance of the music, the mode of production and the media used. The royalty payable is that of mutual acceptance but is conditioned by industry practice.

Fees for song usage range from $500-$15,000, with superstar tracks reaching up to $20,000-$250,000. That amount usually includes master rights for broadcast and most other media rights, with a time frame ranging from three years to perpetuity. An additional home video fee is equal to or greater than those quoted. Synchronization rights are negotiated separately, with master and sync rights usually split 50/50, unless the song is a cover — a situation that favors the publisher ?

The price tag for iconic, well-known tunes can be staggering: Tracks by the Who and the O’Jays, used in the opening credits of CBS’ “CSI: Crime Scene Investigation” and NBC’s “The Apprentice,” respectively, generate six-figure deals annually.

Example sync licenses fee’s from the NBC television:

CELEBRITY APPRENTICE

“For the Love of Money” – O’Jays – ($6000/week)

CHOPPING BLOCK

“Ring of Fire” – Johnny Cash – ($11,000/week)

ER

“Shadows and Regrets” – Yellowcard – ($6000/week)

HEROES

“Together” – Krystal Meyers – ($5000/week)

THE JAY LENO SHOW

“Hold On, I’m Comin’” – Sam & Dave – ($8000/week)

“Life Is a Highway” – Tom Cochrane – ($2000/day – $8000/week)

“Mess Around” - Ray Charles - ($6000/week)

See attached Sync License for: Synchronization Example

Marc Smilow
http://coast2coastmixtapes.com/newindust...royalties/
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09-01-2012, 01:58 PM, (This post was last modified: 09-01-2012, 01:59 PM by Miguel.)
#18
RE: OH MY! and ESPN College Football
I don't know what they mean by "advance" in regards to television. But it could be they pay the agreed upon usage fee and royalties based on the estimate audienced in advance. If surveys indicate the actual audience was smaller or larger then the artist will pay money back or the network will pony up more.

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09-01-2012, 02:28 PM, (This post was last modified: 09-01-2012, 02:36 PM by gillyking.)
#19
RE: OH MY! and ESPN College Football
Watching Nebraska vs Southern Miss. college football on ABC-TV.. and after the touchdowns comes HALEY slayin "OH MY".... Damn, double damn.. I've loving it.. Come on boys score some more touchdowns, I could care less who wins as long as there's lot's of frickin touchdowns!! OH MY!

So this is not just the cable tv ESPN station, but the parent big boy ABC which gets most of the Saturday viewers.. OH frickin MY! Big GrinBig GrinBig GrinBig GrinBig Grin

Just editing this to add that she's also HITTING THE GROUND RUNNING in this same game! Talk about a double bonus.. I've been waiting on the edge of my seat for the past 8 months for my very favorite sport.. College Football to finally arrive.. and now that it's here, we get The HALES to even sweeten the games even more!
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09-01-2012, 02:31 PM,
#20
RE: OH MY! and ESPN College Football
(09-01-2012, 01:58 PM)Miguel Wrote: I don't know what they mean by "advance" in regards to television. But it could be they pay the agreed upon usage fee and royalties based on the estimate audienced in advance. If surveys indicate the actual audience was smaller or larger then the artist will pay money back or the network will pony up more.

Yep,

Advance can mean there is an obligation to pay back in many businesses and thats what the word meant to begin with. That used to be what it suggested.

I think the custom has changed though but the word remains. The way they seem to use the term interchangably with a negotiated fee leads me to believe it is a minimum payment.

More like Rent being paid in advance and less like 1/2 in advance you'd give a plumber doing major work on your home, which he hasn't earned until he completes the job.

I think the word "draw" is now used more when there is an unknown future income.

But , who knows.



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