Log in
A+ A A-

Segreteria Assomusica

ASSOMUSICA AND ELMA Are taking part in the “Music Moves Europe” project and launch an appeal to the President of the European Commission Jean-Claude Juncker

An important commitment to facilitate relations and culture between various European countries, to achieve a free circulation of young artists and stimulate creativity

Wednesday 14 February saw the approval of the project financed by the European Parliament and promoted by the Culture Commission, the Directorate General for Education and Culture and the main European stakeholders. Tibor Navracsics, President of the Culture Commission, set out the guidelines in five points and outlined the scenario for the prompt approval of a law on music. He also pointed out that Italy is the only European country with a music platform. Assomusica, the leading Italian culture association at the European level, Elma (European Live Music Association) and the main European associations that work in music, have committed to undertaking the most suitable actions to support the work of the Commission and of the Directorate General for Education and Culture.

The project, called “Music Moves Europe”, supported by 30 European associations, will be allocated a budget of 1.5 million Euro to begin the preparatory phases for a specific law on music, similarly to the process undertaken for the audio-visual law.

The European Union is focusing on music and culture and this is where we must step in, along with the major European music associations, with whom we have worked for two years. – comments the President of Assomusica, Vincenzo Spera, who adds – The appeal for Jean-Claude Juncker, President of the European Commission, renders our work operational in order to promote the projects and encourage the circulation of young artists across Europe as well as stimulating creativity”.

The music sector in Europe is very dynamic, with a significant contribution to employment and growth: it accounts for 1 million jobs and over 25 billion Euro in turnover. The sector is in good health and eager to expand, but it must overcome certain important challenges.

“The music sector met in Brussels, invited by the European Commission. Together we are preparing the launch of "Music Moves Europe", a pilot project adopted by the European Parliament to promote ideas and projects and that could be replicated on a large scale within the programs of the European Union. Seizing the opportunity provided by this event, the European music associations from across the continent, join together in asking the European Union to include a music program within the next long-term financial budget”, states the appeal signed by the President of the European Commission Jean-Claude Juncker.

The musical ecosystem must adapt to a rapidly evolving environment. One of the most important challenges is satisfying the appetite of European citizens for culture and diversity, as part of their cultural rights.

Being able to guarantee that the broadest variety of music can circulate and reach its public and that the artists and the European citizens are encouraged to express their creative freedom fully, is extremely important.

The preparatory action is designed as a first step towards overcoming a gap in the current cultural policy of the European Union. The next step is a tailor made European music program with a budget that reflects its economic, social and cultural contribution.

Amongst other things, a legitimate music program will contribute to triggering larger investments in the sector, increase the diversity and mobility of the artists and the repertoire across national and European borders.

Attachment: appeal

ASSOMUSICA AND ELMA Are taking part in the “Music Moves Europe” project and launch an appeal to the President of the European Commission Jean-Claude Juncker

An important commitment to facilitate relations and culture between various European countries, to achieve a free circulation of young artists and stimulate creativity

Wednesday 14 February saw the approval of the project financed by the European Parliament and promoted by the Culture Commission, the Directorate General for Education and Culture and the main European stakeholders. Tibor Navracsics, President of the Culture Commission, set out the guidelines in five points and outlined the scenario for the prompt approval of a law on music. He also pointed out that Italy is the only European country with a music platform. Assomusica, the leading Italian culture association at the European level, Elma (European Live Music Association) and the main European associations that work in music, have committed to undertaking the most suitable actions to support the work of the Commission and of the Directorate General for Education and Culture.

The project, called “Music Moves Europe”, supported by 30 European associations, will be allocated a budget of 1.5 million Euro to begin the preparatory phases for a specific law on music, similarly to the process undertaken for the audio-visual law.

The European Union is focusing on music and culture and this is where we must step in, along with the major European music associations, with whom we have worked for two years. – comments the President of Assomusica, Vincenzo Spera, who adds – The appeal for Jean-Claude Juncker, President of the European Commission, renders our work operational in order to promote the projects and encourage the circulation of young artists across Europe as well as stimulating creativity”.

The music sector in Europe is very dynamic, with a significant contribution to employment and growth: it accounts for 1 million jobs and over 25 billion Euro in turnover. The sector is in good health and eager to expand, but it must overcome certain important challenges.

“The music sector met in Brussels, invited by the European Commission. Together we are preparing the launch of "Music Moves Europe", a pilot project adopted by the European Parliament to promote ideas and projects and that could be replicated on a large scale within the programs of the European Union. Seizing the opportunity provided by this event, the European music associations from across the continent, join together in asking the European Union to include a music program within the next long-term financial budget”, states the appeal signed by the President of the European Commission Jean-Claude Juncker.

The musical ecosystem must adapt to a rapidly evolving environment. One of the most important challenges is satisfying the appetite of European citizens for culture and diversity, as part of their cultural rights.

Being able to guarantee that the broadest variety of music can circulate and reach its public and that the artists and the European citizens are encouraged to express their creative freedom fully, is extremely important.

The preparatory action is designed as a first step towards overcoming a gap in the current cultural policy of the European Union. The next step is a tailor made European music program with a budget that reflects its economic, social and cultural contribution.

Amongst other things, a legitimate music program will contribute to triggering larger investments in the sector, increase the diversity and mobility of the artists and the repertoire across national and European borders.

Attachment: appeal

ASSOMUSICA AND ELMA Are taking part in the “Music Moves Europe” project and launch an appeal to the President of the European Commission Jean-Claude Juncker

An important commitment to facilitate relations and culture between various European countries, to achieve a free circulation of young artists and stimulate creativity

Wednesday 14 February saw the approval of the project financed by the European Parliament and promoted by the Culture Commission, the Directorate General for Education and Culture and the main European stakeholders. Tibor Navracsics, President of the Culture Commission, set out the guidelines in five points and outlined the scenario for the prompt approval of a law on music. He also pointed out that Italy is the only European country with a music platform. Assomusica, the leading Italian culture association at the European level, Elma (European Live Music Association) and the main European associations that work in music, have committed to undertaking the most suitable actions to support the work of the Commission and of the Directorate General for Education and Culture.

The project, called “Music Moves Europe”, supported by 30 European associations, will be allocated a budget of 1.5 million Euro to begin the preparatory phases for a specific law on music, similarly to the process undertaken for the audio-visual law.

The European Union is focusing on music and culture and this is where we must step in, along with the major European music associations, with whom we have worked for two years. – comments the President of Assomusica, Vincenzo Spera, who adds – The appeal for Jean-Claude Juncker, President of the European Commission, renders our work operational in order to promote the projects and encourage the circulation of young artists across Europe as well as stimulating creativity”.

The music sector in Europe is very dynamic, with a significant contribution to employment and growth: it accounts for 1 million jobs and over 25 billion Euro in turnover. The sector is in good health and eager to expand, but it must overcome certain important challenges.

“The music sector met in Brussels, invited by the European Commission. Together we are preparing the launch of "Music Moves Europe", a pilot project adopted by the European Parliament to promote ideas and projects and that could be replicated on a large scale within the programs of the European Union. Seizing the opportunity provided by this event, the European music associations from across the continent, join together in asking the European Union to include a music program within the next long-term financial budget”, states the appeal signed by the President of the European Commission Jean-Claude Juncker.

The musical ecosystem must adapt to a rapidly evolving environment. One of the most important challenges is satisfying the appetite of European citizens for culture and diversity, as part of their cultural rights.

Being able to guarantee that the broadest variety of music can circulate and reach its public and that the artists and the European citizens are encouraged to express their creative freedom fully, is extremely important.

The preparatory action is designed as a first step towards overcoming a gap in the current cultural policy of the European Union. The next step is a tailor made European music program with a budget that reflects its economic, social and cultural contribution.

Amongst other things, a legitimate music program will contribute to triggering larger investments in the sector, increase the diversity and mobility of the artists and the repertoire across national and European borders.

Attachment: appeal

Grazie

Cari amici, colleghi, sostenitori,

l’anno che sta per concludersi ha prodotto importanti risultati per il mondo dello spettacolo ed in particolare per la musica popolare contemporanea.

E’ stato approvato il DDL 4652, che delega al Governo “la disciplina delle attività musicali contemporanee popolari dal vivo”.
Caso più unico che raro, il disegno di legge è stato approvato pressoché all’unanimità, sia alla Camera che al Senato. La legge ha recepito buona parte delle istanze sostenute da Assomusica e sottoscritte da tutti voi.
Inoltre, la Legge di Bilancio 2018 approvata lo scorso sabato ha introdotto numerose novità che riguardano il nostro settore. E’ stata rinnovata la card diciottenni per altri due anni, è stato adeguato il concetto di prestazione artistica ai tempi moderni, introducendo l’aliquota agevolata del 10% anche alle prestazioni rese dagli intermediari. E’ stato introdotto il tax credit per lo sviluppo della creatività e così via. La cultura e la creatività sono diventati centrali nelle politiche di questo Paese.

Non si può che essere soddisfatti, anche se resta molto lavoro da fare affinché i decreti attuativi della Legge per lo Spettacolo vengano emanati nel più breve tempo possibile.


SODDISFATTI
SOPRATTUTTO PER IL GRANDE LAVORO DI SQUADRA E DI PARTECIPAZIONE alle nostre iniziative.


Corre quindi l’obbligo di ringraziare tutti, anche se sarebbe impossibile farlo con una mail. (www.assomusica.org)

Innanzitutto voglio ringraziare Voi che in 36.235 avete sostenuto il nostro appello, oltre ai 3.000, tra artisti, operatori del settore, dello sport, della cultura e della società civile che l’hanno sottoscritto.

Ringraziare tutte le associazioni di categoria aderenti ad Agis e tutte le organizzazioni firmatarie dell’appello consegnato a mano ai decisori pubblici lo scorso 6 marzo a Firenze.


Un Grazie soprattutto ai Governi Gentiloni e Renzi, al Ministro Dario Franceschini, all’On. Roberto Rampi (presentatore della proposta di Legge, sottoscritta da altri 16 parlamentari) e ai parlamentari Di Giorgi, Ferrara, Liuzzi, Ascani, Giro, Valiante, Fanucci, e a tutte le forze politiche, di maggioranza come di opposizione, che si sono battuti, insieme a noi, accogliendo le nostre istanze.


Non vi nascondo che siamo andati oltre quanto potevamo aspettarci. Questo rende ancora più merito a tutti e mi piacerebbe poter festeggiare questi importanti risultati insieme a tutti voi. Impresa questa altrettanto complicata, ma mi auguro che con l’aiuto di nostri associati, di artisti e quanti vorranno farsi promotori riusciremo a realizzare un importante evento.


D’altronde abbiamo iniziato da qui molti mesi fa e non possiamo fermarci:

"Coltiviamo‎ emozioni" in un terreno arido, dove leggi ottocentesche non consentono una adeguata legislazione per lo sviluppo della musica e della creatività. ASSOMUSICA si batte da vent'anni per avere una legge sulla musica. Finalmente il Governo ed il Parlamento potrebbero approvare una legge per un settore dalle grandi potenzialità di sviluppo e di internazionalizzazione, tenendo conto delle peculiarità proprie del nostro lavoro.


Grazie a tutti coloro che con passione hanno sottoscritto il nostro appello e grazie a quanti vorranno sostenere la nostra causa.

 

GRAZIE ANCORA A TUTTI E CHE IL NUOVO ANNO CI SIA DI BUON AUSPICIO.


Il Presidente
VINCENZO SPERA

 

JAPANESE MPS TO TABLE ANTI-ONLINE TICKET TOUTING BILL

The Parliamentary Group on Live Entertainment aims to outlaw for-profit online resale ahead of the 2020 Olympics, bringing the law into line with the street selling ban.

A coalition of Japanese parliamentarians are to submit a bill to the House of Representatives to regulate Japan’s increasingly controversial online secondary ticketing market.

Liberal Democratic Party (LDP) members of the Parliamentary Group on Live Entertainment met on 7 December to author the bill, which would mandate all tickets resold on the internet include information about the event’s date, time, location and seat number; a notice that resale of the ticket is prohibited; and that the promoter has taken measures to prevent the ticket’s resale, including by checking the identity of the ticket seller.

The proposed legislation would also classify resale of tickets above face value as fraud, similar to the ban on street ticket touts. There is currently no regulation of online ticket resale, which according to the International Ticketing Yearbook 2017 is a ¥50bn ($44m) market, with Ticket Camp – currently being investigated by the police for alleged breaches of competition law – the largest player.

see more on IQ Magazine

CANADA: MARKET REPORT

A growing economy is providing Canadian consumers with more disposable income, a proportion of which is finding its way to live entertainment, reports Steve McLean.

 

Canada’s economy has led G7 nations in growth in 2017, and that momentum seems to have carried over to the live music industry to a large degree.

“It’s robust,” says Jim Cressman, president of Pentiction, British Columbia-based Invictus Entertainment Group, which books and promotes 500-700 concerts per year at multiple venues. “The right artist at the right price almost always does predictable business.”

Though no national study has yet been done on the live music industry, an economic impact analysis of the business in Ontario – Canada’s most populous province and home to the music hub of Toronto – illustrated how important it is. The Live Music Measures Upstudy showed that the industry was responsible for 20,000 full-time equivalent jobs in 2013 and that spending by live music companies and the tourism activity generated by music festivals together contributed just under C$1.2billion (€0.8bn) to Ontario’s gross domestic product.

Those numbers have likely increased, and can be extrapolated across the country, according to Erin Benjamin, executive director of Music Canada Live, which was created in the fall of 2014 to advance and promote the live music industry’s many economic, social and cultural benefits.

The concert industry received an extra boost in 2017 due to Canada’s sesquicentennial, as communities across the country often included live music in their celebrations of the nation’s 150th birthday.

While the Canadian recording industry has benefited from national sources of funding – including the Canada Music Fund, the Foundation Assisting Canadian Talent on Recordings (FACTOR), Radio Starmaker Fund, VideoFACT, PromoFACT and the SOCAN Foundation – and broadcasters being legally obliged to play a minimum amount of Canadian content, the federal, provincial and municipal levels of government also provide grants for events and festivals where live music is a major component.

“That support really makes the Canadian music business the envy of the world, quite frankly,” says Jack Ross, who heads the newly opened Canadian office of the Los Angeles-based APA talent agency along with Ralph James.

 

see more on IQ Magazine

SH BLASTS NEUTERED ONTARIO REGS AS ‘BAD FOR FANS’

 

In an open letter to ticket buyers, StubHub's Jeff Poirier says the new Ticket Sales Act, stripped of its transparency provision, is a "disappointment for fans like you".

StubHub’s general manager for concerts and theatre in North America, Jeff Poirier, has penned an “open letter to fans” criticising Ontario’s abandonment of the planned ticket transparency provisions in its new Ticket Sales Act, which passed into law yesterday.

In its current form, the Ticket Sales Act caps the price of resold tickets at 150% of face value, bans ticket bots and requires business selling or reselling tickets to disclose certain information, including the capacity of the venue, the number of tickets on general on-sale and the original face-value ticket price.

It also originally required ticket sellers to disclose how many tickets are available to the public for a given event seven days before they go on sale – a provision abandoned last month following reported opposition from the concert industry. Among those believed to have pushed back against the transparency clause were Live Nation/Ticketmaster Canada and industry association Music Canada Live; according to local media, Ticketmaster’s Canadian COO, Patti-Anne Tarlton, told Ontarian parliamentarians that revealing total ticket numbers “could enable [touts] to better use bots to buy bulk tickets where they’re known to be scarce”.

Poirier disagrees, and in the open letter, published yesterday, says the stripped-back legislation will be remembered for its “unintended consequences” on ordinary ticket buyers – and push the secondary market underground.

“Today, the Ontario Liberals passed their Ticket Sales Act,” he writes. “Consultations were initially approached with the best of intentions: increase transparency on availability of tickets on the marketand level the playing field so you have better access and more insight into the ticket buying process. In the end, this legislation will be known more for its unintended consequences than its protection of fans like you.

“In its original form, the Ticket Sales Act banned the use of bots to procure tickets, required ticket businesses to disclose more information to consumers and capped the resale price of tickets. Yet the government has maintained proposals that set fans back and stripped important transparency requirements that could have truly benefited you.”

While he reiterates StubHub’s previously expressed support for banning ticket bots, Poirier cites the January 2016 study by New York attorney-general Eric Schneiderman – which found that up to 75% of tickets are being held back from the general public – as evidence that “the issues impacting ticket access are broader than just bots”, which many consider to be only a small part of wider structural issues affecting the ticketing sector. This shortage of publicly available tickets, he continues, “is one of the reasons why you see popular shows ‘sell out’ so quickly”.

“The original legislation required ticket sellers to disclose how many tickets were actually being made available for sale – a simple concept that would provide you better insight into the actual availability of tickets,” writes Poirier. “This is the very issue the proposed legislation was trying to solve. Yet, the government chose to remove this critical provision from the legislation, citing pressure from the live entertainment industry as a prevailing reason over establishing transparency for Ontario fans like you.

“At StubHub, we understand transparency is important across the entire ticket industry, not just in the resale market. You should be able to know how many tickets are available for an event, what your seats will look like and how much you’re going to pay for them. Only in that circumstance can you make a purchase that you truly feel good about.”

“YOU SHOULD BE ABLE TO KNOW HOW MANY TICKETS ARE AVAILABLE FOR AN EVENT, WHAT YOUR SEATS WILL LOOK LIKE AND HOW MUCH YOU’RE GOING TO PAY FOR THEM”

“When it comes to price caps,” he continues, “StubHub joins the industry in opposing this measure. This proposal stands to negatively impact Ontario fans like you and Ontario-based businesses like StubHub as ticket resales are driven off platforms that have robust consumer protections. Ticket resale prices will continue to be driven by supply and demand, not by arbitrarily set price caps. The fact is, if a venue holds 20,000 fans, but 100,000 fans want to attend the performance, ticket prices will reflect that demand. If the established market rate exceeds the 50% cap established by government, those sales won’t stop or adapt to reflect the price caps – they’ll just occur at their true value through channels the government cannot regulate. It will happen on street corners where the risk of counterfeit and fraud is significant, and no guarantees are in place; or it will happen on ticket resale websites located outside of jurisdiction of the Ontario government. Either way, you and businesses that have invested in the province will be hurt.

“Consumers benefit from a competitive ticket market where transactions occur through secure channels that prioritise fans. At the same time, it is important to incentivise and encourage this ecommerce to remain right here, in Ontario.

“We have said from the onset that we believe there is a better way for the industry and for you. It’s our mission at StubHub to connect you to incredible live event experiences, and to do so safely and securely by including money back guarantees and fraud prevention measures. This legislation is a disappointment for the ticketing industry, and a disappointment for fans like you.”

see more on IQ Magazine

UK TRADING STANDARDS ARRESTS FOUR IN ANTI-TOUT RAIDS

Martedì 12 dicembre, gli agenti dei National Trading Standard hanno condotto incursioni in una serie di proprietà in tutto il Regno Unito", afferma un portavoce del National Trading Standards in una dichiarazione. "Questi raid fanno parte di un'indagine in corso che esamina le pratiche sleali nel mercato del ticketing secondario.

 

British consumer protection body National Trading Standards has made four arrests as part of its investigation into the business activities of large-scale secondary ticket sellers.

The existence of the investigation, which began in April 2017 and focuses on “businesses that buy and sell tickets in bulk”, was revealed last month when news broke that competition watchdog CMA had raided the London offices of StubHub and Viagogo. It is believed to be codenamed ‘Operation Electra’.

The arrests are linked to alleged breaches of the Consumer Protection from Unfair Trading Regulations act of 2008, the UK version of the EU Unfair Commercial Practices Directive, which seeks to protect consumers from “unfair, misleading or aggressive selling practices”.

While National Trading Standards has not named the four individuals, or the companies they represent, Viagogo in particular has been criticised for masquerading as an ‘official site’ for concert tickets, which could potentially breach the 2008 legislation. It was also recently criticised by French authorities for allegedly misleading consumers on the number of tickets available by suggesting they are about to sell out.

“Yesterday (Tuesday 12 December), officers from National Trading Standards conducted raids at a number of properties across the UK,” a National Trading Standards spokesperson says in a statement. “These raids are part of an ongoing investigation looking into unfair practices in the secondary ticketing market and particularly the practices of businesses that buy and sell tickets in bulk.

See more on IQ Magazine

ANOTHER LEGAL DEFEAT FOR TICKET FEES IN AUSTRIA

Following an earlier decision by the Commercial Court, the Higher Regional Court of Vienna (OLG) has also found against CTS Eventim's oeticket over delivery charges.

Another judge has sided with the Austrian Consumers’ Association (VKI) in its legal dispute with CTS Eventim over the fees it levies on print-at-home tickets.

In August Vienna Commercial Court, a court of first instance, found that the fees on tickets sold via CTS’s oeticket website, which charges €2.50 for ‘print @ home’ and mobile tickets and €1.90 for those picked up from branches of Libro or oeticket’s own box offices, are “unusual and disadvantageous” for consumers and inadmissible under Austrian law.

The lawsuit by VKI against CTS Eventim last week reached the Higher Regional Court of Vienna (Oberlandesgericht Wien, OLG), which on 5 December similarly ruled the fees to be illegal, although the verdict is not yet legally binding.

According to VKI, the OLG took particular exception to the fact oeticket does not offer a fee-free delivery option, leaving the consumer with no option but to pay them.

“We hope in the interest of ticket buyers that this judgment will be final, meaning consumers are [finally] able to purchase tickets without these additional costs,” says VKI lawyer Joachim Kogelmann.

see moore on IQ magazine

Subscribe to this RSS feed