| 词条 | Independent Music Companies Association |
| 释义 |
The Independent Music Companies Association (also known as IMPALA, originally the Independent Music Publishers and Labels Association) is a non-profit trade body established in April 2000 to help European independent music companies represent their own agenda and promote independent music in the interests of artistic, entrepreneurial and cultural diversity. Its offices are in Brussels, Belgium. The independents are in effect the small and medium operators. They are known as the independents because they are independent of the major music companies, known as the "majors". 99% of music businesses are small, medium or even micro operators, accounting for 80% of all new releases and 80% of the sector's jobs. The collective market share of the independents has shrunk from 40% to 20% due to concentration and under capitalisation. IMPALA's stated mission is to grow the independent music sector, promote cultural diversity and cultural entrepreneurship, improve political access and modernise the perception of the music industry. There is a Chairman, Mark Kitcatt (Everlasting Records), and a President, Kees van Weijen (STOMP). The Executive Chair is Helen Smith and the Treasurer is Geert de Blaere (BIMA). The Board is voted in by members. Cultural SMEs are recognised by the EC, as well as national, regional and international decision makers, as vital to innovation and economic and cultural diversity. IMPALA also participates in the Worldwide Independent Network. MembersIMPALA has over 4000 members including national associations and independent music companies.[1] Associations
Direct members (Independent music companies)
BoardThe Board is voted in by members.
AwardsIMPALA has three awards schemes: the European Independent Album of the Year Award, the Outstanding Contribution Award and the IMPALA Sales Awards.[2] European Independent Album of the YearThe European Independent Album of the Year Award winner is selected annually by a jury based on artistic merit alone, regardless of sales figures and publicity, from a nomination shortlist (nominated albums must have been released by a European independent label in the relevant year). Winners:
Outstanding Contribution AwardThis award recognises the efforts of an individual or organisation, not necessarily from a label, to promote and develop European independent music and the diversity of the sector. Again, a winner is announced annually. Winners:
Sales awardsFor many independent artists, success begins well before sales reach 1 million (the pan-European sales level officially recognised before IMPALA launched its scheme). IMPALA intends these Awards to provide a tool for independent music companies and artists to promote themselves, both domestically and internationally. The sales levels for the awards are:
Sales award winners include:
IMPALA 15To celebrate IMPALA’s 15th anniversary, various initiatives took place across Europe under the "IMPALA 15" banner. IMPALA 15 initiatives
Young Label SpotlightIn March 2016, IMPALA launched a monthly feature to put the spotlight on Europe's most inspiring young independent labels. The project shone a light on the work of a set of unique labels 15 years young or younger. Five labels were announced every month under the campaign name "FIVEUNDERFIFTEEN". All the interviews and playlists are in [https://impalamusic.org/content/story-corner IMPALA’s Story Corner] and [https://www.pias.com/category/blog/ The Independent Echo]. Over the course of the year these young labels shared their stories in panels taking place in industry gatherings such as Tallinn Music Week, Primavera Pro and Midem (see [https://www.youtube.com/watch?v=myMmY_3lnbk video]). The FIVEUNDERFIFTEEN campaign was one of IMPALA's 15th anniversary projects under the “[https://impalamusic.org/content/impala%E2%80%99s-fifteenth-anniversary-shining-light-young-labels#overlay-context= IMPALA 15” banner]. IMPALA’s milestones 2000-2015 (see below) illustrate some of IMPALA’s achievements in its first 15 years. The [https://impalamusic.org/content/impala-launches-young-label-spotlight-project-5-under-15# first FIVEUNDERFIFTEEN headed East]. The Estonian label [https://www.pias.com/blog/fiveunderfifteen-porridge-bullet/ Porridge Bullet] opened the campaign. [https://www.pias.com/blog/fiveunderfifteen-love-records-latvia/ I Love You Records] from Latvia and [https://www.pias.com/blog/fiveunderfifteen-s1-warsaw-poland/ S1 Warsaw] from Poland were next. Then the selection brought us to Scandinavia with [https://www.pias.com/blog/fiveunderfifteen-despotz-records-music/ Despotz Records] from Sweden and [https://www.pias.com/blog/fiveunderfifteen-soliti-finland/ Soliti] from Finland. The second edition started in Switzerland with [https://www.pias.com/blog/fiveunderfifteen-a-tree-in-a-field-records-switzerland/ A Tree in a Field Records] before going to Belgium to meet [https://www.pias.com/blog/fiveunderfifteen-eskimo-recordings-belgium/ Eskimo Recordings]. [https://www.pias.com/blog/fiveunderfifteen-tambourhinoceros-denmark/ Tambourhinoceros] from Denmark, [https://www.pias.com/blog/fiveunderfifteen-no-format-france/ NØ FØRMAT!] from France and the Hungarian label [https://www.pias.com/blog/fiveunderfifteen-egyseg-media/ Egység Média] completed April’s announcement. [https://www.pias.com/blog/meet-our-latest-crop-of-young-european-labels/ The third edition] opened in Southern Europe with [https://www.pias.com/blog/five-fifteen-omnichord-records-portugal/ Omnichord Records] in Portugal and [https://www.pias.com/blog/five-fifteen-canada-spain/ CANADA Editorial in Spain]. Then we visited [https://www.pias.com/blog/five-fifteen-lampshade-media-serbia/ Lampshade Media] in Serbia and finish with [https://www.pias.com/blog/five-fifteen-monkeytown-records-germany/ Monkeytown Records] from Germany and [https://www.pias.com/blog/five-fifteen-armada-records-netherlands/ Armada Music] from the Netherlands. The final edition included six young labels. It started in Norway with [https://www.pias.com/blog/fiveunderfifteen-jansen-plateproduksjon-norway/ Jansen Plateproduksjon], before heading to Croatia with [https://www.pias.com/blog/fiveunderfifteen-laa-croatia/ LAA]. We then visited [https://www.pias.com/blog/fiveunderfifteen-transgressive-records-uk/ Transgressive Records] from the United Kingdom, [https://www.pias.com/blog/fiveunderfifteen-machete-italy/ Machete] from Italy and [https://www.pias.com/blog/fiveunderfifteen-records-luxembourg/ Own Records] in Luxembourg. Finally, you met the American label nominated by our US sister organisation A2IM, [https://www.pias.com/blog/fiveunderfifteen-innovative-leisure-us/ Innovative Leisure] which received the Young Label Spotlight Award during the A2IM Libera Awards on June 16th in New York. Milestones
Market concentrationIn 2006 IMPALA challenged the European Commission's approval of the joint venture between Sony and Bertelsmann saying that the merger was contradictory to European competition law. The appeal court referred back for a "retrial". No final decision was ever reached because the court closed the litigation down when Sony bought out Bertelsmann's shares, making the joint venture an irrelevant entity. The case became a landmark litigation, setting a precedent for future merger cases that there is no presumption in favour of mergers. It also completely changed how merger cases are handled by the Commission and how the interests of competitors are taken into account. In August 2009, law firm Watson, Farley & Williams said "the [merger] system owes a debt of gratitude to IMPALA". IMPALA is also advocating new competition guidelines to foster diversity and true competition in the music market. IMPALA objected to the merger of Universal and the recorded music division of EMI, as well as the takeover of EMI's publishing business by the Sony/ATV consortium, and worked throughout the negotiations to emphasise the importance of maintaining competition and cultural diversity in the sector. After the European Commission approval of the mergers, pending significant divestments in September 2012, IMPALA welcomed the Commission's recognition of the need for strong competitors and its insistence on tough remedies, but reiterated their conviction that an outright blocking of the deals would have been in the best interests of the music industry as a whole. In February 2013, IMPALA and global rights agency Merlin announced a landmark agreement with Warner Music Group. The agreement arose out of the regulatory process in the EU concerning Universal's purchase of EMI's recorded music business, which resulted in Universal being required to sell a significant portion of the acquired business (as well as certain UMG assets) in order to secure the EU's approval.[3] This included Parlophone, which was subsequently acquired by Warner Music Group. WMG then signed an agreement with IMPALA and the Merlin Network, allowing member labels to acquire artist catalogues from Warner Music.[4] Other measures designed to help re-balance the recorded music market will also be put in place including behavioural commitments and capacity-building initiatives for independents, which again will be implemented by Merlin and IMPALA. IMPALA also represented the independents in the various Sony/EMI merger cases from [https://impalamusic.org/node/57 2012] to [https://www.impalamusic.org/content/independent-music-companies-slam-decision-green-light-sonyemi-merger 2018], where the EU ultimately approved the acquisition based on remedies Sony agreed in 2012. On top of mergers, IMPALA has also been involved in other anti-trust cases involving the music sector, such as the [https://impalamusic.org/node/331 abuse complaint against YouTube] in 2014 and the [https://impalamusic.org/content/eu-addresses-online-power-gap-regulating%C2%A0platforms-business-practices# call for regulating unfair business practices] by large online players. IMPALA also submitted observations on Apple's bid to acquire Shazam. Copyright and Value GapIMPALA actively supported the European Commission's proposal for a [https://docs.google.com/viewer?url=http%3A%2F%2Fwww.europarl.europa.eu%2FRegData%2Fdocs_autres_institutions%2Fcommission_europeenne%2Fcom%2F2016%2F0593%2FCOM_COM(2016)0593_EN.pdf Directive on copyright in the Digital Single Market], which is about making copyright fair and sustainable for all. Copyright reform is a fundamental part of this general desire to see more balance in the online world, and also to create new provisions for artists and writers in their relations with labels and publishers. It also tackles news online with a new right for press publishers. We embrace the fact that creators and citizens enjoy a unique relationship online. We also embrace the fact that posting and sharing user-generated content is part of our daily life online. At the same time, we need to rewrite certain rules of engagement online because some large platforms claim that responsibility lies only with the user and the owner of the content, and that can’t be right. You can find here a FAQ on the copyright directive: [https://docs.google.com/viewer?url=https%3A%2F%2Fimpalamusic.org%2Fsites%2Fdefault%2Ffiles%2Fpictures%2Fattachedfiles%2FIMPALA%2520-%2520Copyright%2520Directive%2520FAQs%2520-%2520March%25202019.pdf IMPALA - Copyright Directive FAQs - March 2019.pdf] This is not just a call from the music industry, [https://impalamusic.org/content/survey-europeans-ask-more-eu-regulation-tech-giants#overlay-context=node/183 80% of Europeans] want the EU to ensure creators are properly paid. On 26 March 2019, the European Parliament approved the copyright directive in a [https://www.impalamusic.org/content/european-parliament-approves-copyright-reform-landmark-vote landmark vote]. You can find the European Commission's press release here. The next step is for Member states to reconfirm their support for the directive to close the legislative process. Over 300 organisations across all cultural sectors asked the parliament to vote in favour, with a [https://impalamusic.org/content/more-300-cultural-and-creative-organisations-call-adopt-copyright-directive#overlay-context=content/more-270-cultural-and-creative-organisations-call-adopt-copyright-directive joint campaign #Yes2copyright]. Following the previous parliament vote in September 2018, anti-copyright pressure was intense. One example is YouTube using its own network and advertising to influence public opinion. An [https://impalamusic.org/content/open-letter-youtube-equal-access-yts-communication-network-requested-promote-democratic open letter] was sent to YouTube's CEO about this. It asked YouTube to allow Europe For Creators to message YouTubers and place banner ads, in the same way YouTube has done. It's now up to the Member States to confirm their approval of the text in April. Digital Action PlanIn January 2015, IMPALA launched its Digital Action Plan,[5] a ten-point plan calling for a new European industrial policy to drive the digital market through the cultural & creative sectors which account for 4,2% of EU GDP and 7.1 million EU jobs. With the debate on copyright a hot topic, the action plan takes a robust stance and calls on the EU to reinforce copyright as a fundamental right, a liberator of the creativity that drives the digital market. The importance of stopping the abuse of the so-called "safe harbour" exemption by certain online platforms is underlined as a top priority. Other key measures include promoting diversity in a measurable way and devising a new regulatory, competition, social and fiscal framework for smaller actors. The 10 points (click to view the relevant chapter online):
Action Plan for FinanceIn January 2010, IMPALA launched its Action Plan for Finance. This called for more specific measures to help finance cultural SMEs. The plan included sports-inspired measures, such as a 5% compensation fee on all future revenues of artists developed at a smaller label and later signed by a major, and a solidarity-based revenue-sharing system. It also called for action at EC, national and regional level to improve competition in the music sector, through a reduced VAT rate, ensuring proper valuation of copyright as an intangible asset, EC investment programmes and loan guarantee schemes, amongst other proposals. Action Plan for MusicIn January 2008, IMPALA launched its Action Plan for Music. This called for cultural SMEs to be given a specific status. The Plan covered an investment package for financial viability and independence (including lowering VAT for music, applying tax benefits for SME innovation/risks/production, rolling out public/private loan guarantee schemes and SME friendly growth loan finance) a market access package (including making preferential terms for cultural SMEs a reality, adopting new competition rules for the cultural sector and dedicated independent space in all distribution channels) and a copyright and digital package (including extending term of protection for sound recordings, ISP engagement in resolving P2P issues, promoting the right of creators to fair private copying compensation). Other issuesIMPALA is active on other issues which aim to level the playing field in the music sector. These include
You can find out more about IMPALA's milestones [https://impalamusic.org/content/milestones here]. References1. ^{{cite web|url=http://impalamusic.org/node/16|title=IMPALA members}} 2. ^{{cite web|url=http://impalamusic.org/node/11|title=IMPALA Awards}} 3. ^{{cite web|url=http://www.musicweek.com/news/read/warner-s-parlophone-acquisition-approved-in-europe/054696|title=Warner's Parlophone acquisition approved in Europe|date=15 May 2013}} 4. ^https://variety.com/2013/music/news/wmg-to-sell-some-parlophone-assets-1118066346 5. ^{{cite web|url=http://online.fliphtml5.com/jkbv/pcgf/#p=1|title=IMPALA's Digital Action Plan}} External links
4 : Music industry associations|Organizations established in 2000|International organisations based in Belgium|Music organisations based in Belgium |
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