Impact of New Technologies and Globalization on the Music Industry
The global music industry today is going through a series of disruptive innovations that are changing business models in the short-term and value chains over the long-term. The pervasive influence of the Internet, mobile and streaming technologies, and the shift from CD-based music to digital and online music also signals how quickly the global value chain of the music industry is changing today. Of these many disruptive innovations, the most significant is the shift from individual record labels and their relatively un-integrated approach to delivering digital music to the pervasive platforms that include Apple iTunes
(Hopkins, 2011). With the number of legitimate online sources for music growing from 60 in 2005 to more than 400 in 2010 the role of the platform as consolidator in this global industry is clear (Hopkins, 2011). Of the many types and forms of global music distribution, online music is forecasted to grow at a 31% compound annual growth rate (CAGR), increasing from $5.9B in 2010 TO $7.7B in 2015 (Apple Investor Relations, 2012). Apple's internal research shows that online music subscription services will also experience very rapid growth, with one of the most well-known being Spotify, which is predicted to grow five-fold between 2010 to 2015. The Recording Industry of America (RIAA) estimates that 47% of global music industry can be attributed digital music downloads and subscription services (Apple Investor Relations, 2012). Contributing to these exceptional levels of growth are the impacts of globalization, technologies that are making online digital music sharing highly price effective and reliable, and greater clarity in the area of copyright and licensing. The global impact of piracy and free source software is also having a very significant impact on the global profitability of the music industry (Preston, Rogers, 2011). These constraints will be assessed and analyzed throughout this report.
Wolfgang Keller at Konigsbrau-Tak (A)
In the case, Wolfgang Keller at Königsbräu-TAK (A) by Jon N. Gabarro the dilemmas are presented of having a subordinate, Dmitri Brodsky entirely unsuited for the role of running sales at global brewery leader Königsbräu's Ukrainian subsidiary, Königsbräu-TAK A.E. Königsbräu's senior management team, the Vorstand however sees having him on staff as a benefit given his knowledge of the Ukrainian market, depth of experience relative to the younger staff members, and industry reputation as an expert in sales and distribution. These are all reasonable expectations for Königsbräu's Vorstand to have, yet in reality Mr. Brodsky is failing. The many conflicts he has with Wolfgang (Wolf) Keller, his lack of social interaction with customers, distributors, his own sales force and others is troubling. The industry is one that is fueled on trust, the most critical asset any commercial director has in their career and professional arsenal. Mr. Brodsky fails to realize that his lack of social interaction and cold, aloof manner are making him less and less trusted by his boss, his sales team reporting to him, distributors and the entire organization. In short, he is creating the ideal set of circumstances to get himself fired. If all this wasn't enough, he also vigorously defends his performance when there are example after example of it being less than optimum, showing a lack of self-awareness as well.
Cathedral, a Story by Raymond Carver, There
¶ … Cathedral, a story by Raymond Carver, there are three main characters: a husband, a wife, and the wife's blind, male friend. The story is told in the first person, from the point-of-view of the husband, and the mood…