Impala / WIN
1. Juni 2010
Worldwide Independent Network meeting in New York- June 18th 2010
Hosted by A2IM during Indie Week, including A2IM’s 5th Anniversary celebrations
The next meeting of WIN will be in New York to coincide with Indie Week celebrations of the fifth anniversary of A2IM, the US independent music trade association, which is hosting the meeting.
Demonstrating the worldwide growth of WIN, delegates are expected at this meeting from Peru, Mexico and the Caribbean as well as from European member countries and the US. Their agenda includes the ongoing issue of collecting society revenues – and how these are distributed to independents; worldwide development of Independents Day; and a proposed WIN global market survey of indie music companies.
The mid-June events include the A2IM 5th Anniversary AGM and celebrations, and the second international Think Tank on the health and prospects of the independent music sector, with an opportunity to update the indies’ Road Map which emerged from the 2009 session.
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WIN is chaired by Alison Wenham, Chairman and CEO of AIM – which hosts the WIN secretariat. For further information contact AIM on 020 8994 5599
About WIN www.worldwideindependentnetwork.com
Unique in the history of the global music industry, WIN is a network exclusively for the worldwide independent music community. It was founded in July 2006 in response to business, creative and market access issues faced by the independent sector everywhere. With an estimated indie music global market share of 29% the sector WIN represents is bigger than the largest music multinational.
For independent music companies and their national trade associations worldwide, WIN is a collective voice. When appropriate it also acts as an advocate, instigator and facilitator for its continually growing membership. WIN is also a focal point for collecting and sharing knowledge about the indie sector at national and international levels.
WIN remains an unincorporated body by choice. Its membership stretches across 27 countries and in every continent, with Trade Associations in all the well-developed legitimate music markets taking a particularly active role – including AIM (UK), A2IM (USA), AIR (Australia), CIMA (Canada), VUT (Germany), ILCJ (Japan), IMNZ (New Zealand) , AIRCO (South Africa), UFI (Spain); APROFIP (Peru) ABMI (Brazil); IMI (India) – and Impala representing the whole of Europe.
The WIN office is hosted by AIM in the UK: AIM Chairman and CEO Alison Wenham was the founding President of AIM, and since the decision by WIN members to create an Executive she has been WIN Chairman, with Vice-Chairmen Portia Sabin (A2IM USA and Kill Rockstars label), David Vodicka (AIR Australia and Rubber Records), Duncan McKie (CIMA Canada); and Mark Chung (VUT Germany).
WIN’s priorities are set by the global membership, and included the creation of Merlin, the world’s first global new media rights licensing agency. Other key issues on WIN’s agenda in its first four years have included the policies and effectiveness of collecting societies; development of indie trade associations where they do not yet exist; support for member TA’s in national copyright issues; and the future survival and development of independent music companies in a rapidly changing market.
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IMPALA supports Italian artists and labels in radio dispute
IMPALA Statement, Tuesday 1st June 2010
IMPALA has given it’s full support to Italian artists and labels in their current dispute with radio. IMPALA objects in principle to radio stations using boycotts and claiming artists and labels should not be paid for new releases, which add huge value.
Negotiations have been running since 2006 to bring the rates paid by Italian radio stations into line with other European countries. Artists and record producers were forced to take the issue to court where a judgement is expected next year. Despite ongoing attempts to find a flexible solution out of court, 10 national networks have now decided to boycott new releases on their stations. IMPALA asks the radio networks to reconsider this and agree to a new approach which would see Italy’s artists and investors in music properly rewarded.
Helen Smith, Executive Chair of IMPALA said, “Italian radio royalties are the lowest in Europe. They should come into line with other European countries. The argument that radio promotes sales is wrong. Radio’s value comes from its content, which is mainly music and in any event the singles market in Italy is dead. Artists and labels deserve to be properly paid for the contribution they make to the value of Italian radio. New music should be prioritised not discriminated against.”
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IMPALA PRESS RELEASE: Music companies welcome EC Cultural Industries Green Paper – market access and SME finance among key issues to tackle
The European Commission’s Green Paper on the cultural and creative industries was adopted this week by the EC Commissioner for Culture. The move starts a very important process which is hoped will lead to concrete results for thousands of independent music companies and other SMEs across Europe.
The Green Paper, a first for the cultural industries, highlights key issues already identified by IMPALA and other cultural actors:
The importance of SMEs is underlined throughout.
Market access is highlighted as a key issue, with the green paper stating: “A diverse range of entrepreneurs … is a pre-requisite for a culturally diverse offer to consumers. This is possible only if fair access to the market is guaranteed. Creating and maintaining the level playing field which ensures that there are no unjustified barriers to entry will require combined efforts in different policy fields, especially competition policy.”
The paper also acknowledges that the ability of business to respond to the structural changes of the digital market greatly depends on a company’s size and bargaining power viz a viz new digital outlets.
In addition, the paper underlines the barriers faced by SMEs in accessing finance. This is good news in the context of IMPALA’s Action Plan for Finance, adopted earlier this year.
The paper also highlights the need to put other “enablers” in place and deal with key issues such as developing local economies, and reducing barriers to the mobility of artists and music within Europe and internationally.
Helen Smith, Executive Chair of IMPALA said: This sends a clear message that the EC recognises the importance of a level playing field and will use competition rules to achieve it. The next step is to work out the concrete measures required for SMEs to secure real market access and improve their financial viability. Bold moves by the Commission now will deliver a thriving diverse digital market and a real boost to Europe’s economy.
Additional notes
The Green Paper highlights the economic importance of the cultural and creative industries:
Contribute 2.6% of European GDP.
Provide 5 million jobs, which is bigger than many manufacturing industries.
Are growing faster than most parts of the economy.
A public consultation was also announced at the launch of the Green Paper.
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Independence Arena Declaration
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News: IMPALA Statement on French “Creation and Internet” mission report
Obviously there are real concerns about the development of the online market which we share. We are analysing the report’s conclusions about how to deal with this and some recommendations, for example on collective licensing, will need particular attention. However, we believe the report is right to highlight that concentration and excessive market power of the majors are key concerns. The independents have suffered from exclusion and discrimination in many different guises as a result and it is vital that this is addressed.
Many of the recommendations are very innovative such as the online music card to incentivise 15 to 24 years olds to migrate to legal music services, the tax on Google and other search engines, the improvements to tax credits for labels, more IFCIC more funds particularly for SMEs, the PR campaign to promote legal services and respect for IPR, as well as a reduction in VAT for cultural services online. We also fully support the recommendation to separately investigate market access problems for independents in the offline world, and the referral of Google’s dominance to the French competition authorities.
Underpinning this mission is the need for an open, inclusive and diverse internet and, whether or not we agree with all the twenty odd recommendations, we believe the reports sets the standard that equal market access for all music, particularly SMEs, must be delivered. This can only be welcomed wholeheartedly.
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Platform on the Potential of Cultural and Creative Industries
This document presents the recommendations of the Cultural Industries Stakeholders’ platform aiming to unlock the potential of the European cultural and creative industries in particular SMEs. Drawn up by nearly 40 European organisations representing hundreds of thousands of cultural and creative actors from different fields, these recommendations are designed to be implemented by decision makers at EU, national and local level. This will create the optimum conditions in Europe and ensure cultural and creative industries can deliver their full potential in cultural, economic and social terms.
1. Introduction
Culture and creativity surround Europe’s citizens, both stimulating and inspiring them and driving an innovative Europe. The Lisbon Strategy recognised this, putting the cultural and creative industries at the centre of Europe becoming “the most competitive and dynamic knowledge-based economy in the world capable of sustaining economic growth with more and better jobs and greater social cohesion” .
According to the 2006 EC study on the economy of culture in Europe, the cultural and creative sector:
• employed nearly 6 million people in 2004,
• had a turnover of €654 billion,
• contributed to 2,6% of EU GDP.
Culture is an essential asset for Europe’s future and will continue to be so after the Lisbon strategy.
Of all the actors of the cultural sector, 99% are micro, small and medium sized enterprises (SMEs) – recognised by the EU as “drivers of growth, job creation and innovation” . Cultural and creative industries, especially SMEs, are risk takers, investing in new talents and new aesthetics, fostering creativity and innovation as well as ensuring cultural diversity and choice for consumers.
These actors are laboratories for artistic, managerial and technical innovation. Moreover, they allow a wider circulation of artists and works at EU and international level and improve both intercultural dialogue and social cohesion. The image of a dynamic, creative and modern Europe depends upon the success of its cultural and creative industries, participating in the renewal of national and local economies and territories.
Today, these industries are facing revolutionary change. The evolution of production, distribution, consumption behaviour and access to culture has accelerated the mutation of the cultural industries which now have to be even more creative as driving forces of the cultural economy. The growth of the digital economy is a huge opportunity for cultural and creative industries but there are obstacles that hinder their development potential and ability to remain competitive at a global level in the online environment.
Market access for all cultural actors, financial investment, and promotion of cultural goods as well as research and development remain challenging issues. Cultural and creative industries also need a clear regulatory framework concerning issues like piracy which cause uncertainties for the development of a real digital market.
Cultural and creative industries cannot find a place in the classical scheme of subsidies but require support measures and incentive mechanisms adapted to their needs, in the form of an action plan for cultural industries. According to the KEA newsletter on The Impact of Culture on Creativity, “innovation is given a rather limited definition as it essentially relates to technological and scientific development. The EU has invested 147 billion Euros (2007-2013) to stimulate R&D and stimulate ICT. Such innovation policy largely ignores the value of culture-based creativity. We estimate that the EU will spend less than 3 billion Euros (2007-2013) on culture-based creativity. Is the EU missing something in its quest for a more inclusive and more innovative society?”
Looking beyond the Lisbon strategy, cultural and creative industries and in particular SMEs from all over Europe demand that these recommendations be used in a new long-term coordinated strategy. EU support is more necessary than ever as Europe continues to evolve into a knowledge-based economy depending more and more on creativity-based ventures. It is essential to invest in cultural and creative industries and in particular SMEs. Such investment would support economic growth as well as create employment at a time of extreme economic uncertainty. Securing the safety of our economic future depends heavily on making the right decisions now.
These recommendations come from Europe’s cultural and creative industries, speaking with one voice, showing how the potential of our cultural and creative industries can be unlocked as part of a new global strategy for Europe.
2. Principles
I. RECOGNISE THE SPECIFICITIES OF CULTURAL INDUSTRIES AND IN PARTICULAR SMEs
Cultural goods and services are not like other goods and services and should not be treated as such.
II. PROTECT INTELLECTUAL PROPERTY RIGHTS
The best level of protection of intellectual property rights (IPR) anywhere in the world must be guaranteed. IPR play a legitimate part in the market as authors’ rights (including moral rights) and neighbouring rights enable creativity.
III. IMPROVE MARKET ACCESS
Market access must be ensured for all cultural and creative actors regardless of their size to guarantee pluralism and a real economy of diversity.
IV. FACILITATE ACCESS TO FINANCE
Investment in culture must be encouraged and facilitated through preferential treatment in order to ensure financial viability of the cultural and creative industries, notably the financial independence of SMEs.
V. ENHANCE WORKING CONDITIONS
The working conditions of authors, artists and cultural entrepreneurs must be improved as artistic practice is a key element of a larger system that creates public value in cultural, economic and social terms.
VI. PROMOTE THE CIRCULATION OF ARTISTS AND WORKS
The circulation of artists, works and productions across Europe must be facilitated as it is fundamental for cultural exchange and diversity.
VII. DEVELOP INTERNATIONAL PROMOTION AND EXCHANGE
The presence of artists and cultural professionals in key international markets must be maintained through the establishment of specific schemes and the facilitation of exchanges with third countries.
VIII. STIMULATE EDUCATION AND TRAINING
Education and training related to the activities and management of cultural and creative industries must be fostered to adapt to the constant evolution of the sector and the new business models.
3. Recommendations
I. RECOGNISE THE SPECIFICITIES OF CULTURAL INDUSTRIES AND IN PARTICULAR SMEs
Cultural goods and services are not like other goods and services and should not be treated as such.
- Ensure the effective implementation of the article 151.4 of the EC Treaty including the SME dimension, through the mainstreaming of culture in all Community policies, particularly in competition, internal market, information society, social, trade and industry policies.
- Make sure that the European Commission maintains its “no commitment” position regarding cultural services and audiovisual services under GATS as well as in bilateral trade negotiations.
- Ensure the implementation of the 2005 UNESCO Convention on cultural diversity and of WIPO Treaties on authors’ and neighbouring rights at all levels.
- Shape a favourable regulatory environment for cultural SMEs in line with the Small Business Act for Europe and target a specific status for cultural SMEs.
- Generate better statistics (data and figures) on the importance of growth activities, production and performance of cultural and creative industries in Europe as well as statistics specific to the sector.
II. PROTECT INTELLECTUAL PROPERTY RIGHTS
The best level of protection of intellectual property rights (IPR) anywhere in the world must be guaranteed. IPR play a legitimate part in the market as authors’ rights (including moral rights) and neighbouring rights enable creativity.
- Make sure that all rightholders benefit from the revenues of each exploitation of their works, including online.
- Promote the right of rightholders to a fair private copying compensation.
- Encourage fair and equitable agreements engaging ISPs’, telecom operators’ and search engines’ cooperation in resolving illegal digital uses, in order to enable the rolling-out of legal services.
- Support cultural and creative industries and in particular SMEs to adapt to the digital shift in proposing new online services promoting author’s rights and neighbouring rights.
- Ensure that respect and enforcement of IPR is a condition in signing bilateral agreements with third countries.
- Ensure a favourable regulatory environment allowing collective management societies for copyright and related rights, whose role is essential for right-holders and the creative industries, to carry out their activities effectively, ensuring legal security for right-holders and users alike.
III. IMPROVE MARKET ACCESS
Market access must be ensured for all cultural and creative actors regardless of their size to guarantee pluralism and a real economy of diversity.
- Adapt competition rules to the specificities of the cultural sector to avoid excessive market concentration in order to guarantee cultural diversity, consumer choice and diversity of entrepreneurship.
- Make sure that all cultural players have a minimum access to all distribution channels, including the opportunities of the online market in order to offer real cultural diversity and choice for consumers.
- Take regulatory measures to ensure a level playing field in the cultural sector so as to counter chronic concentration and allow cultural and creative SMEs to compete on their own merits in order to deliver their full contribution to growth, job creation and innovation.
IV. FACILITATE ACCESS TO FINANCE
Investment in culture must be encouraged and facilitated by preferential treatment to ensure financial viability of the cultural and creative industries, notably the financial independence of SMEs.
- Create a fiscal environment to support the development of the cultural and creative industries, in particular SMEs, with tax credits and fiscal exemptions, as well as solutions for the issues of withholding tax and double taxation.
- Provide reduced VAT rates for cultural products and services, both online and offline.
- Develop financial tools adapted to the needs of cultural and creative industries such as public/private loan guarantee schemes, cultural and creative SME- friendly growth loan finance etc.
- Re-model the European Investment Bank operational schemes in order to better respond to the specificities of cultural and creative SMEs and to provide them with necessary finance. Establish a European Creative Industries Bank to help cultural and creative industries to invest in new talents.
- Increase EC investment for culture, including the creation of a specific programme for cultural and creative industries and in particular SMEs, for creation, production, promotion and distribution.
- Develop the use of state aids for cultural and creative SMEs amongst the member states as with the audiovisual sector.
V. ENHANCE WORKING CONDITIONS
The working conditions of authors, artists and cultural entrepreneurs must be improved as artistic practice is a key element of a larger system that creates public value in cultural, economic and social terms.
- Public policy must take into account the particular employment of people working in the cultural and creative industries, in order to ensure good working conditions and social partners should be involved to this end.
- Develop a better working environment and social protection adapted to conditions of employment for artists and authors concerning short term contracts, visa issues, social security position and work permits for third country nationals.
- Reduce the administrative burden for cultural and creative SMEs through cutting red tape related to working conditions and supplying services to facilitate mobility in Europe.
- Ensure effective cooperation between national administrations to facilitate operations which have to deal with different legal systems (mobility – export of live performances).
- Make sure that the EC takes into account the special needs of cultural SMEs in its policies through specific consultations and working groups during the legislative process that promote awareness and respect for authors and artists.
- Promote artistic creation and entrepreneurship at both a European and Member State level to reflect the added value that artists, authors and cultural entrepreneurs can bring to society as a whole.
VI. PROMOTE THE CIRCULATION OF ARTISTS AND WORKS
The circulation of artists, works and productions across Europe must be facilitated as it is fundamental for cultural exchange and diversity.
- Support live performances by establishing mechanisms in the form of small investments to ease the risk factor taken by artists when touring, to encourage wider circulation and to trigger investment.
- Promote co-production in music, theatre, dance and between the live performance sector and other cultural and creative industry sectors and other sectors in the cultural and creative industry.
- Increase support for the translation of works with more EU funding available for lesser-spoken languages, translations from and into non-European languages, for different genres of publications and for the translation of short excerpts to present at European/International trade fairs.
- Promote and support co-edition programmes for book publishers.
- Increase European programming in venues and festivals by giving incentives through a bonus system.
- Improve and internationalise cross-residence schemes for performers, authors, and cultural entrepreneurs to facilitate exchanges of production, creation, diffusion and talent development within and outside of Europe.
- Facilitate structural interventions through the European Regional Development Funds to address the East-West imbalance, especially for infrastructure.
- Provide tailored information to mobile professionals, artists, and organizations in order to facilitate circulation within Europe, such as information on European and key international markets as well as on the fiscal, legal and social environment.
VII. DEVELOP INTERNATIONAL PROMOTION AND EXCHANGE
The presence of artists and cultural and creative industries, especially SMEs, in key international markets must be maintained through the establishment of specific schemes and the facilitation of import and exchange with third countries
- Develop programmes for circulation (co-edition, co-production, cross-residence schemes, support to live performances, etc) outside of Europe.
- Set up a network of ‘European cultural industries agencies’ in key international markets outside of Europe and to represent all the cultural and creative sectors.
- Organise a joint European presence at international trade fairs to give all Member States the chance to participate in key market events.
- Facilitate artistic exchanges and share know-how with third countries and Europe to stimulate cultural diversity by importing non-European culture as well as exporting European culture.
VIII. STIMULATE EDUCATION AND TRAINING
Education and training related to the activities and management of cultural and creative industries must be fostered to adapt to the constant evolution of the sector and the new business models.
- Bridge the gap between professional training and professional practice through training programmes linked to cultural and creative SMEs, mentoring schemes and work placements as well as through business, IP law and management courses for better entrepreneurial and administration skills.
- Increase understanding of and interest in the work and products of cultural and creative SMEs and promote entrepreneurship by fostering artistic and cultural education in general (primary and secondary) education, which will at the same time support the development of creativity as well as “cultural expression and awareness’, one of the key competences for lifelong learning.
- Develop EU support for European-level careers of recently graduated professionals through existing programmes, new mobility grants or grants to companies employing junior professionals.
- Increase employability by providing opportunities for continuing professional development and training in the workplace and increase the recognition of qualifications for professionals moving to another EU country.
- The Cultural Industries Stakeholders’ Platform calls upon the EC directorate of Education and Culture to take the lead in the implementation of these recommendations through the establishment of an action plan that aims to firmly support the cultural and creative industries and in particular SMEs, together with the EU Member States and the European Parliament. The EC should particularly consider the creation of a specific programme focusing on cultural and creative SMEs to support the creation, production, distribution and promotion of cultural artists, services and products.
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IMPALA’S STANCE ON SONYBMG AND CONCENTRATION
Where we are today – December 2008
In September the European Commission approved the buy out by Sony of Bertelsmann’s shares in the joint venture SonyBMG. IMPALA objects to that approval on the grounds that no remedies were put in place and there was no detailed investigation. As IMPALA is still in litigation over the creation of SonyBMG in the first place, however, it will not launch a new appeal over the buy out. IMPALA’s concerns mainly relate to the market power of SonyBMG (and the other majors) rather than who owns it.
IMPALA’s appeal in the European courts is due to be heard again by the judges next year. IMPALA also appealed the EC’s second approval decision and this case is on hold while the appeal against the first approval is being dealt with. Technically the joint venture which was the subject of the original approval does not exist anymore and this may impact on whether or not the first cases are able to continue. IMPALA will be able to review this in the new year.
IMPALA’s action is multi-faceted – political and commercial, as well as judicial. This is important because what IMPALA has been saying about the consequences of excessive concentration have indeed come true. The combined market share of Universal and Sony Music Entertainment for chart albums in key territories such as the UK is over 80% In addition, since the approval of the merger Sony have already publicly spoken of improving vertical integration with the rest of the company.
We will continue to seek a level playing field for the independents through collective Merlin action. We will also continue to ask the Commission to reform competition rules, and investigate the structure of the music market and the impact that this is having on the development of the critical online market.
On this, we are not alone. The European Parliament has challenged the European Commission for the third time over SonyBMG. The EC Commissioner for Competition, Neelie Kroes has one month to provide a written explanation regarding:
1. Why the Commission did not carry out an in-depth investigation when it adopted its last approval decision?
2. What the Commission’s strategy is for making sure that SMEs have market access in concentrated sectors like music?
3. Whether the Commission will adopt new rules or guidelines on how competition policy should be adapted to the specificities of cultural markets such as music?
Significant inroads have been made since IMPALA first took a stance on excessive concentration:
• IMPALA’s action was the first class action of its kind helping thousands of artists and independent music companies to make their voices heard.
• There have only been two other successful challenges of EC merger approvals.
• Our initial win brought many benefits….
• We obtained remedies in Universal/BMG Publishing.
• We have obtained acknowledgement in writing from the EC that excessive market power in music is problematic (again Universal/BMG).
• We have seen the first ever cultural diversity impact assessment in a merger case (again in Universal).
• We negotiated a market remedies template with Warner.
• We have had the opportunity to create Merlin.
• We have had a platform to raise the profile of our concerns on concentration and the key role of independents.
• Culture is being “mainstreamed” into competition policy for the first time.
• We have won recognition of the need to prioritise SMEs due to their key economic and social contribution (80% of Europe’s jobs are created by SMEs, and 80% of all new music released in Europe today). Examples include:
1. Highest political recognition by the European Heads of State of the role of cultural SMEs and the need to give them specific support.
2. The clause on SME exemption in the draft copyright term proposal.
3. The EC’s Cultural Industries Stakeholder platform, and its working group dedicated to cultural SMEs, which IMPALA chairs.
4. EC Commissioner for competition, Neelie Kroes recognises that preferential treatment for SMEs is both “politically and economically justifiable”.
• The judgement in July means the original appeal was referred back down to the lower court, which can still take a decision entirely in our favour. We are back to square one.
• We have won the most important battle – final ruling of the principle that there is no presumption in favour of mergers.
• Merger control procedures are now more respectful of merging parties’ smaller competitors.
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Impala Awards 27.01.2010
| Multiple Platinum | ||
| Katie Melua | Pictures | Dramatico |
| Double Platinum | ||
| The Prodigy | Invaders must die | Cooking Vinyl |
| Diamond | ||
| Arctic Monkeys | Humbug | Domino Records |
| Dead Kennedys | Fresh Fruit For Rotting Vegetables | Cherry Red Records |
| Franz Ferdinand | Tonight | Domino Records |
| Various Artists | Pillows Prayers | Cherry Red Records |
| Vampire Weekend | Contra | XL Recordings |
| Gold | ||
| Benjamin Biolay | La Superbe | Naïve |
| Chuckie LMFAO | Let The Bass Kick In Miami Girl | Cr2 Records Ltd |
| Grizzly Bear | Veckatimest | Warp Records |
| Gurrumul | Geoffrey Gurrumul Yunupingu | Dramatico/Skinnyfish |
| Jay Sean | My Own Way | Jayded/2Point9 |
| Pink Martini | Splendor in the Grass | Naïve |
| Scooter | Under The Radar, Over The Top | Kontor Records |
| The Gaslight Anthem | The ‘59 Sound | Side One Dummy/ CARGO Records Germany GmbH |
| Tom Waits | Glitter and Doom (live album) | Anti |
| Tracey Thorn | A Distant Shore | Cherry Red Records |
| XX | XX | Young Turks |
| Silver | ||
| Ben Watt | North Marine Drive | Cherry Red Records |
| Buraka Som Sistema | Kalemba (Wegue Wegue) | Fabric |
| Calexico | Carried To Dust | City Slang |
| Chris Rea | The Definitive Greatest Hits (Fool If You Think It’s Over) | earMUSIC (Edel) |
| Europe | Last Look At Eden | earMUSIC (Edel) |
| Get Well Soon
|
Rest Now Weary Head, You Will Get Well Soon | City Slang |
| Gregorian | Christmas Chants Visions | earMUSIC (Edel) |
| Gregorian | Masters of Chant Chapter VII | earMUSIC (Edel) |
| Kitty, Daisy & Lewis | Kitty, Daisy & Lewis | Sunday Best Recordings |
| Kraak Smaak feat Ben Westbeech | Squeeze Me | Jalapeno / PIAS Benelux / Time |
| Marine Girls | Lazy Ways | Cherry Red Records |
| Medina | Kun for mig (single) | A:larm music |
| Medina | Velkommen til Medina (single) | A:larm music |
| Mike Batt | A Songwriters Tale | Dramatico |
| Miossec | Finisteriens | PIAS |
| Nada Surf | Lucky | City Slang |
| Ojos de Brujo | Aocana/Todos Mortales | Diquela |
| Scala | Grenzenlos | PIAS |
| Skunk Anansie | Smashes and Trashes | earMUSIC (Edel) |
| The Notwist | The Devil, You and Me | City Slang |
| The Rasmus | Best Of 2001-2009 | Playground Music |
| Wild Beasts | Two Dancers | Domino Records |
IMPALA European Music Sales Awards
Der erste europäische Schallplatten-Preis für Independents
Der
IMPALA Award ist eine neue Möglichkeit für unabhängige Musikunternehmen
und Künstler sich im In- und im Ausland besser zu promoten.
Der
IMPALA Award zeichnet neue Talente und kulturelle Vielfalt aus. IMPALA
hat erkannt, dass kulturelle Vielfalt auf sinnvolle und praxisnahe Art
und Weise gefördert werden muss. Erfolg muss über die ganze Karriere
eines Künstlers hinweg zelebriert werden.Und Erfolg fängt bereits weit
vor 1 Millionen verkauften Alben an. (Dies war das einzige europaweit
offiziell anerkannte Verkaufslevel, bevor IMPALA mit einem eigenen
Modell startete).
Der VUT sieht hierin eine gute
Möglichkeit, die starke Kraft der Indies zu bündeln und gemeinsam zu
demonstrieren, wie eigenständig und gut unabhängige Musik ist.
Kriterien:
Teilnahmeberechtigt
sind alle Alben, Singles oder Downloads die von einem unabhängigen
Musikunternehmen veröffentlicht wurden, sofern folgende Stückzahlen
innerhalb Europas an den Vertrieb ausgeliefert wurden
| IMPALA SILBER | 30 000 |
| IMPALA GOLD |
100 000 |
| IMPALA DIAMOND | 250 000 |
| IMPALA PLATINUM | 500 000 |
| IMPALA DOUBLE PLATINUM | 1. 000 000 |
Gezählt
werden alle Auslieferungen innerhalb Europas, egal zu welchem Zeitpunkt
diese stattfinden. Alle neuen, laufenden und kommenden
Veröffentlichungen sind teilnahmeberechtigt. Den Antrag können Labels,
Verleger, Manager etc. stellen, alle die, die den Künstler vertreten.
Zertifizierung:
Alle Awards-Anträge können online registriert und zertifiziert werden unter:
Die Zertifizierung ist für IMPALA-Mitglieder kostenfrei. IMPALA publiziert die Ergebnisse/Gewinner quartalsweise.
Bestellungen:
Wer
seinem Künstler den IMPALA-Award zu einem offiziellen Termin
überreichen möchte oder ihn einfach zuhause als sichtbares Zeugnis
eines Verkaufserfolges über dem Kamin aufhängen möchte, kann auch einen
gerahmten Award bestellen. Dieser wird dann in einem Glasrahmen mit der
Award Zertifkation und einer personalisierten Plakette per Post gegen
einen Selbstkostenpreis geliefert. Rabatte gibt es für
IMPALA-Mitglieder oder ab einer bestimmten Menge georderter Awards.
Und so sieht der gerahmte Award aus:
Unter www.impalasite.org
könnt Ihr Eure Veröffentlichungen zertifizieren lassen, Eure Awards
ordern oder weitere Informationen über den IMAPLA-Award erhalten.