Hodges 153!
Club Legend
I don't want to be one of THOSE people, but holy smokes.
(Fk it, I'll probably still do it.
)
(Fk it, I'll probably still do it.
)
-
Mobile App Discontinued
Due to a number of factors, support for the current BigFooty mobile app has been discontinued. Your BigFooty login will no longer work on the Tapatalk or the BigFooty App - which is based on Tapatalk.
Apologies for any inconvenience. We will try to find a replacement. -
LIVE: Melbourne v Richmond - 7:30PM Thu
Squiggle tips Demons at 73% chance -- What's your tip? -- Injury Lists »
-
Weekly Prize - Join Any Time - Tip Round 7
The Golden Ticket - MCG and Marvel Medallion Club tickets and Corporate Box tickets at the Gabba, MCG and Marvel.
Round 6 Winner: iantran_83
-
LIVE: Melbourne v Richmond - 7:30PM Thu
Squiggle tips Demons at 73% chance -- What's your tip? -- Injury Lists »
Bruce Springsteen
- Thread starter Cruyff14
- Start date
- Tagged users None
🥰 Love BigFooty? Join now for free.
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 81
- 140
- AFL Club
- North Melbourne
Geez...I don't want to be one of THOSE people, but holy smokes.
(Fk it, I'll probably still do it.
View attachment 2271860
Sony are trying to get back the 500 mill they paid him for his catalogue in one hit
I usually buy these big boxes immediately - Neil Young Archives, the Wilco boxes for YHF and A Ghost is Born, Dylan's Fragments 10 LP. I am questioning that in this case - nearly $600 for 7 albums and a book is not value for money.
I can see this one being steeply discounted on Amazon a few months after release. Might be one to stream initially, and be patient from the physical copy.
I can see this one being steeply discounted on Amazon a few months after release. Might be one to stream initially, and be patient from the physical copy.
- Thread starter
- #8,904
Spotify for me will do the trick.
Log in to remove this Banner Ad
I'd be tempted to buy it and rip all the discs in the best quality possible
RussellEbertHandball
Flick pass expert
Bruce sold his back catalogue to Sony Music for a reported $550m USD in December 2021.
2 or 3 years ago when I was getting regular emails about old concerts being available to be purchased via mp3 etc downloads or streaming, I wondered how much of this was coming from Sony rather than Bruce to sell to fans and Sony get a return on their investment.
I suspect this back catalogue might not be Bruce to profit from, unless the contract didn't include all his unreleased catalogue, but I doubt that, with Sony knowing they could milk things down the track to get their money back.
The Forbes report on 16th December detailing what it might involve and that it was reported to be at least $500mil.
Over the last 12 months, as streaming and studio mergers and consolidation milestones crowded the entertainment headlines, the music business has quietly shaken up conventional wisdom with mega-deals for singer-songwriters. Bob Dylan, Paul Simon, Fleetwood Mac, Stevie Nicks, David Bowie, Neil Young and many other high-profile artists and estates have made deals to sign away their life-long rights, in the low to mid-nine figures, many since January this year.
What’s behind this sudden rush towards catalog ownership, and these mega-valuations? Conventional wisdom points to the exploding music streaming market (led by Spotify), that has resulted in unexpected royalties in the tens of millions of dollars to artists with catalogs that were once simply nostalgic, but now extremely valuable and potent.
Reportedly, Springsteen’s work threw off over $15 million in sales in 2021 alone.
.....
Sony will seek to exploit Springsteen’s work across many platforms, including but not limited to:
— Spotify and other domestic and global music streaming apps
— Reissues of existing albums and re-packaging/re-imagining of existing songs
— Broadway adaptations of classic songs or full albums
— Film and TV adaptations of the same
— Licensing opportunities for Film, TV, Theater and Gaming
— Web 3 digital exploitation
How Springsteen’s intellectual property gets monetized over the coming months, years and decades will help feed and influence the value of future career artists, from Jay Z to Taylor Swift and beyond.
The same day BBC reported the following had been sold and in the article says an announcement hasn't been officially made yet. https://www.bbc.com/news/entertainment-arts-59680797
Bruce Springsteen has sold the master recordings and publishing rights for his life's work to Sony for a reported $500m (£376m). The deal gives Sony ownership of his 20 studio albums, including classics like Born To Run, The River and Born In The USA, according to multiple US reports.
The following rights are attached to music. I have stuck this here in one place for future reference, as I have copied from 3 sources.
Music copyrights are split into two parts.
One covers the original sound recording - known as the master rights (owned by recording artists and record label) and
the other covers the composition - known as the publishing rights which protects the underlying melody and structure of a song. This is owned by the songwriter(s) ie words and if someone contributes to the melody/music part of the song and their music publisher.
The performance royalty goes to the copyright holders of the musical composition even though for a cover version, the actual performance - away from the actual recording - is by another artist they don't get the performance royalty in this case.
Mechanical royalties are paid in relation to a song’s composition. Mechanical royalties are owed every time a copy of a musical composition, also referred to as a Musical Work is made. This applies when a song is recreated in just about any format.
In the days before digital media, these royalties were paid every time a song was mechanically reproduced as a CD, vinyl or other physical medium. Nowadays, mechanical royalty payments have been extended to online sales. They’re generated whenever a composition is streamed or downloaded on platforms like Spotify, Apple Music, iTunes and Amazon.
That means you could be earning additional mechanical royalties on top of your existing royalty payments every time someone plays your song on Spotify.
And as mechanical royalties are paid in relation to the composition of a song (rather than the sound recording), when someone reproduces and releases your material as a cover version, you’re also owed mechanical royalties.
Performance royalties are paid for the right to play a composition in public, mechanical royalties are paid for the right to reproduce a composition through the process of recording, manufacturing, and distributing the work. So, if a label wants to produce a CD bearing the composition, they have to pay mechanicals for each copy they make.
Those two types of royalties are often mixed up, since they sometimes travel through the pipe together — streaming services, for example, treat public performance and mechanical royalties as a single All-In Royalty Pool.
Normal Performance Royalties are paid when music is played on
For any musical composition, the royalties are divided into two parts: one part goes to the songwriters, and the other to the publisher. However, the publisher’s share isn’t kept entirely by the publisher: instead, songwriters and publishers typically have a deal in place, which gives a portion of the publisher’s share to the songwriter. The exact percentages of those shares vary by territory: in the US, publishers and songwriters generally split both performance and mechanical royalties 50/50, but in France, songwriters receive 66% of the performance royalties, while the mechanical royalties are split 50/50 between publishers and songwriters.
In Bruce's case, he has signed away his rights, for a shitload of cash.
2 or 3 years ago when I was getting regular emails about old concerts being available to be purchased via mp3 etc downloads or streaming, I wondered how much of this was coming from Sony rather than Bruce to sell to fans and Sony get a return on their investment.
I suspect this back catalogue might not be Bruce to profit from, unless the contract didn't include all his unreleased catalogue, but I doubt that, with Sony knowing they could milk things down the track to get their money back.
The Forbes report on 16th December detailing what it might involve and that it was reported to be at least $500mil.
Bruce Springsteen Live Concert Setlist at The Roxy, West Hollywood, CA on 07-07-1978
Bruce Springsteen live downloads and online music streaming of 07/07/1978 at The Roxy West Hollywood, CA. Listen to live concerts at nugs.net or download our mobile music app
www.nugs.net
Over the last 12 months, as streaming and studio mergers and consolidation milestones crowded the entertainment headlines, the music business has quietly shaken up conventional wisdom with mega-deals for singer-songwriters. Bob Dylan, Paul Simon, Fleetwood Mac, Stevie Nicks, David Bowie, Neil Young and many other high-profile artists and estates have made deals to sign away their life-long rights, in the low to mid-nine figures, many since January this year.
What’s behind this sudden rush towards catalog ownership, and these mega-valuations? Conventional wisdom points to the exploding music streaming market (led by Spotify), that has resulted in unexpected royalties in the tens of millions of dollars to artists with catalogs that were once simply nostalgic, but now extremely valuable and potent.
Reportedly, Springsteen’s work threw off over $15 million in sales in 2021 alone.
.....
Sony will seek to exploit Springsteen’s work across many platforms, including but not limited to:
— Spotify and other domestic and global music streaming apps
— Reissues of existing albums and re-packaging/re-imagining of existing songs
— Broadway adaptations of classic songs or full albums
— Film and TV adaptations of the same
— Licensing opportunities for Film, TV, Theater and Gaming
— Web 3 digital exploitation
How Springsteen’s intellectual property gets monetized over the coming months, years and decades will help feed and influence the value of future career artists, from Jay Z to Taylor Swift and beyond.
The same day BBC reported the following had been sold and in the article says an announcement hasn't been officially made yet. https://www.bbc.com/news/entertainment-arts-59680797
Bruce Springsteen has sold the master recordings and publishing rights for his life's work to Sony for a reported $500m (£376m). The deal gives Sony ownership of his 20 studio albums, including classics like Born To Run, The River and Born In The USA, according to multiple US reports.
The following rights are attached to music. I have stuck this here in one place for future reference, as I have copied from 3 sources.
Music copyrights are split into two parts.
One covers the original sound recording - known as the master rights (owned by recording artists and record label) and
the other covers the composition - known as the publishing rights which protects the underlying melody and structure of a song. This is owned by the songwriter(s) ie words and if someone contributes to the melody/music part of the song and their music publisher.
The performance royalty goes to the copyright holders of the musical composition even though for a cover version, the actual performance - away from the actual recording - is by another artist they don't get the performance royalty in this case.
Mechanical royalties are paid in relation to a song’s composition. Mechanical royalties are owed every time a copy of a musical composition, also referred to as a Musical Work is made. This applies when a song is recreated in just about any format.
In the days before digital media, these royalties were paid every time a song was mechanically reproduced as a CD, vinyl or other physical medium. Nowadays, mechanical royalty payments have been extended to online sales. They’re generated whenever a composition is streamed or downloaded on platforms like Spotify, Apple Music, iTunes and Amazon.
That means you could be earning additional mechanical royalties on top of your existing royalty payments every time someone plays your song on Spotify.
And as mechanical royalties are paid in relation to the composition of a song (rather than the sound recording), when someone reproduces and releases your material as a cover version, you’re also owed mechanical royalties.
Performance royalties are paid for the right to play a composition in public, mechanical royalties are paid for the right to reproduce a composition through the process of recording, manufacturing, and distributing the work. So, if a label wants to produce a CD bearing the composition, they have to pay mechanicals for each copy they make.
Those two types of royalties are often mixed up, since they sometimes travel through the pipe together — streaming services, for example, treat public performance and mechanical royalties as a single All-In Royalty Pool.
Normal Performance Royalties are paid when music is played on
- Radio plays (terrestrial, satellite, and internet)
- Digital streams
- Plays & performances in live venues
- Plays in TV, film, or advertisements
For any musical composition, the royalties are divided into two parts: one part goes to the songwriters, and the other to the publisher. However, the publisher’s share isn’t kept entirely by the publisher: instead, songwriters and publishers typically have a deal in place, which gives a portion of the publisher’s share to the songwriter. The exact percentages of those shares vary by territory: in the US, publishers and songwriters generally split both performance and mechanical royalties 50/50, but in France, songwriters receive 66% of the performance royalties, while the mechanical royalties are split 50/50 between publishers and songwriters.
In Bruce's case, he has signed away his rights, for a shitload of cash.
Last edited:
And for the lazy cheap skates like myself-
A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD.
A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD.
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 81
- 140
- AFL Club
- North Melbourne
You're not a cheap skate, $580 for a box set is ridiculous.
- Thread starter
- #8,910
Amazing, make the most of it! I am sure it will be exceptional as always.
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 81
- 140
- AFL Club
- North Melbourne
This is footage from the soundcheck at the Palais Theatre in Melbourne in 95. I drive by there often and wonder what it would have been like to see those Tom Joad shows there.
It was hot and uncomfortable up the top level with no air flow nor air conditioning
Glad when it was over tbh and a disgraceful Venue
Heading back there 30 years later in September and hoping for a better experience at a comedy show
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 81
- 140
- AFL Club
- North Melbourne
Wow that's a bummer, sorry to hear that.
- Thread starter
- #8,914
Haha, I know this guy. Ripping fella.
- Apr 11, 2015
- 4,616
- 5,723
- AFL Club
- Hawthorn
- Other Teams
- Cill Chainnigh
I don’t know if anyone on here has commented on this cover of Dancing in the Dark by Jørgen Dahl Moe on the Norwegian version of The Voice. This is much shorter than the original to fit in with their format and is a much sparser arrangement, slower and more emotional version. Amazing really that he sings so well in English considering he’s Norwegian.
Last edited:
RussellEbertHandball
Flick pass expert
The Tom Joad tour was in February 1997. I was living on the Gold Coast at the time and drove up to Brisbane to watch him at the Concert Hall in the first of his 2 Brizvegas shows. It was a good intimate show, but it missed the punch of the E Street Band.
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 81
- 140
- AFL Club
- North Melbourne
Yeah you're right i was mistakenly thinking when the album was released (1995)
I loved the Palais in the 90s. Great sound, never too far away wherever you were in the building. Saw Dylan, Patti Smith, PJ Harvey and plenty others there, aways great.
I thought the Joad show I saw (Feb 15) was amazing, one of the best shows I ever saw. The 97 leg of the Joad tour was great, introducing Freehold and RHW into the setlist was a night little mood lightener in among the intensity of the rest of the set.
On the other hand, one of my least favourite shows attended was the Rising Tour at what is now Marvel Stadium. Despite being in a decent spot on the floor, there was no atmosphere, terrible sound. Now that was a show I couldn't wait for it end.
I thought the Joad show I saw (Feb 15) was amazing, one of the best shows I ever saw. The 97 leg of the Joad tour was great, introducing Freehold and RHW into the setlist was a night little mood lightener in among the intensity of the rest of the set.
On the other hand, one of my least favourite shows attended was the Rising Tour at what is now Marvel Stadium. Despite being in a decent spot on the floor, there was no atmosphere, terrible sound. Now that was a show I couldn't wait for it end.
🥰 Love BigFooty? Join now for free.
Were you there at the Palais for a twilight gig?
Yes Marvel sucked
Rod Laver was epic and probably the best venue of the lot for me
- Thread starter
- #8,921
Yeah, the Marvel gig was filled by corporates up close and I think that pissed Bruce off. Not sure how true it is, but there are rumours that's why he stayed away for so long.
I don’t recall a pit comment think of it
I paid ridiculous seat prices that were marketed as A Reserve or something and ended up on Level 1 on the Wing on the other side of the ground from the Stage. Miles away.
- Thread starter
- #8,923
This is batshit crazy good. Absolutely superb.
Last edited:
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 81
- 140
- AFL Club
- North Melbourne
He stayed away because the promoter took a bath on the tour. I read somewhere that it was the first time since the 70s that a Springsteen tour actually lost money.
Last edited:
