I have decided to propose a panel at next year’s South by South West music festival in Austin, Texas titled ‘Jingle Punks – A Dark Empire or a Force For Good’. I’m aiming to have a debate about the new musical landscape with a focus on this highly successful new company. As a small music company and a loose collective of writers and producers, we are always interested in new ways to generate income from music. With Jingle Punks I saw an opportunity to perhaps open some new doors and potentially create income from music that was otherwise sitting on the shelf. But how does it work? And is it a good, fair deal for writers and producers?
Please take the time to vote for us at the sxsw site here:
Panel Organizer: Lorin Cutts – Director, mmrmmr
Peter Bradbury – Music Executive, BBC UK
Andrew Sunnucks ‐ Chairman/Founder, Audio Network UK
Kevin Vitale ‐ Vice President and Brand Creative Director, IFC
Jared Gutstadt ‐ CEO, Jingle Punks
Karen Craig ‐ Acting Head Of Music, ITV UK
Jingle Punks is a music licensing company that launched in 2008. Its founders said that they wanted to fill the void created by stock music libraries that refused to deliver relevant and hip content. It was named one of “America’s Most Promising Startups” by Business Week, 2009 and now has a client list including ABC, NBC, CBS, Comedy Central, Vh1, MTV, Bravo, TLC, History Channel and A&E plus many top advertising agencies. Jingle Punks received the Soundctrl Award for “outstanding achievement in music and technology” who said they had revolutionized the way film, TV and marketing production company’s access music. Jingle Punks has generated a lot of publicity, but is there another side to this story? Reports, rumours and blogs have been both positive and negative about Jingle Punks. Artists have questioned when, if, and how they will get paid. Many say there is a lack of transparency about the royalties and information on where their music has been used. So what’s the story? We will hear this from the composers, creative media producers and from those Jingle Punks themselves, and we will ask them whether it is possible to have a win/win situation for composers, music users and music licensing companies?
Questions To Be Answered:
Who are Jingle Punks and why are they successful?
What is Jingle Punks payment model for artists and composers?
What is the best way for artists and composers to get their music used in TV, advertising and media platforms?
When, how, and how much do artists and composers get paid when their music is used via Jingle Punks?
Is it possible to have a win/win situation for composers, music users and music licensing companies like Jingle Punks?