Di Katy Fentress • 11 giu 2009 • Categoria:Cultura, Musica • 2 Commenti

Ci spiace, ma questo articolo è disponibile soltanto in English.

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Katy Fentress

Katy Fentress Born in Rome, to American academic parents, I attended Italian and International schools and spent time living in North Africa with my mother where I learned French. I have worked as a photographer since the age of 18 and as such have travelled to places like the Democratic Republic of Congo, South Sudan, Zimbabwe and Mozambique. I spent nine years living in the UK where I completed an MSc International Development and a BA in Anthropology. Although I have a keen interest in African politics and culture, I also have a well-rounded knowledge of UK current affairs, art and lifestyle.
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Commenti: 2 »

  1. Hi Katy,

    I am Benjamin and I work for Beatpick as a music licensing client manager. Thanks for your article.
    i’d like to point out that your sentence “Obviously, there are artists that have succeeded in bagging the odd lucrative contract through BeatPick.” is a little unfair:
    During the last 7 days only we have licensed music for 3 PUMA worldwide advertising video and we have cut a deal to provide lots of our music for a brand new italian TV show going to be screened from september on a major TV channel. during the last 2 weeks we have cut a deal to diffuse our music in over 1000 outlets in italy. IntiMan which is a great musician and friend of ours has only 4 d&b tracks out of a catalogue of over 5000 tracks.

  2. Hi Ben, thanks for your comment.
    I take your point and concede that Intiman may not have been the best case study of how the average artist is faring under BeatPick.
    In his interview, d’Atri speaks of a shift in the label’s core business model, focussing less on selling individual albums and more on aiming at contracts like the ones you just mentioned. From your comment, I read that this change has produced very positive results and that you are now reaping the benefits. Kudos to you.
    It would seem that BeatPick’s move towards an almost exclusively licensing-oriented model, means that its smaller and slightly more niche artists will tend to slip through the net, while the more catchy mainstream ones will receive greater attention. Whether this is a positive or negative development is beyond the scope of this article/comment.
    My understanding of the BeatPick model today, is that the label no longer focuses on the goal of affecting the way people buy and sell music online but has settled with what seems to be a strong business model that provides a competitive service for companies looking to license music.
    I look forward to hearing about the evolution of BeatPick and hope it will continue to grow like you say it has.


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