U.S. patent application number 10/430183 was filed with the patent office on 2003-10-16 for method and system for an online talent business.
Invention is credited to Chacker, Aaron R..
Application Number | 20030195795 10/430183 |
Document ID | / |
Family ID | 23912907 |
Filed Date | 2003-10-16 |
United States Patent
Application |
20030195795 |
Kind Code |
A1 |
Chacker, Aaron R. |
October 16, 2003 |
Method and system for an online talent business
Abstract
A method and system for implementing an online talent business
whereby large numbers of unknown artists can have their artistic
works made available to the public and wherein the public votes on
which artists they like and whereby the online talent business
enters into business contracts with the artists based on the public
voting. An interactive investment simulation game is also provided
for public participation in evaluating the actual demand of
unsigned artists. This online talent business is exemplified by an
online record business but may encompass any online talent
business, such as in the modeling industry or in the
story-scripting business.
Inventors: |
Chacker, Aaron R.; (Rydal,
PA) |
Correspondence
Address: |
CAESAR, RIVISE, BERNSTEIN,
COHEN & POKOTILOW, LTD.
12TH FLOOR, SEVEN PENN CENTER
1635 MARKET STREET
PHILADELPHIA
PA
19103-2212
US
|
Family ID: |
23912907 |
Appl. No.: |
10/430183 |
Filed: |
May 6, 2003 |
Related U.S. Patent Documents
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Application
Number |
Filing Date |
Patent Number |
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10430183 |
May 6, 2003 |
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09481671 |
Jan 12, 2000 |
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6578008 |
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Current U.S.
Class: |
705/7.29 |
Current CPC
Class: |
G06Q 30/0201 20130101;
G06Q 30/0202 20130101; G06Q 30/02 20130101; G06Q 30/0203 20130101;
G06Q 30/0601 20130101; G06Q 30/0278 20130101 |
Class at
Publication: |
705/10 |
International
Class: |
G06F 017/60 |
Claims
I claim:
1. A method for recruiting and identifying the consuming public's
interests in artists world-wide having artistic works for engaging
artists in contracts, said method comprising the steps of: (a)
receiving artistic works via global computer networks in order to
recruit artists; (b) making available at least one artistic work to
the consuming public for the review of the consuming public via
global computer networks; (c) obtaining consumer feed back from the
consuming public via global computer networks regarding the
consuming public's interest in the at least one artistic work or in
the at least one artist having the at least one artistic work; and
(d) engaging an artist in a contract based on said consumer
feedback.
2. The method of claim 1 wherein said step of making at least one
artistic work available to the consuming public further comprises
making personal information about the at least one artist available
to the consuming public.
3. The method of claim 1 wherein the step of engaging an artist in
a contract based on said consumer feedback comprises a recording
contract.
4. The method of claim 1 wherein the step of engaging an artist in
a contract based on said consumer feedback comprises a modeling
contract.
5. The method of claim 1 wherein the step of engaging an artist in
a contract based on said consumer feedback comprises a script
writing contract.
Description
FIELD OF THE INVENTION
[0001] The invention relates generally to online business methods,
and more specifically to a method for implementing an online record
business whereby large numbers of unknown artists can have their
music made available to the public and wherein the public votes on
which artists they like and whereby the online record business
enters into recording contracts based on the public voting.
BACKGROUND OF THE INVENTION
[0002] Music is one of the most popular forms of entertainment in
the world, but it is also a big business. According to the
Recording Industry Association of America, domestic sales of
recorded music were $13.7 billion in 1998, or more than one-third
of worldwide revenue.
[0003] Of the $13.7 billion in revenue, "rock" remained the
dominant genre, with 25.7% of the market in 1998. The next most
popular category was "country," with 14.1%. Rhythm and blues
("R&B") came in next at 12.8%, with "pop" and "rap" coming in
at 10.0% and 9.7%, respectively. As can be seen, these five
categories of music are responsible for over 72% of all sales, and
it is these genres to which the present application is directed.
Moreover, the buyers of these categories of music are also the most
Internet-aware.
[0004] The compact disc (CD) became the dominant format for
recorded music in 1992, the year in which its market share (in
terms of dollars, not units) barely exceeded that of cassettes
(46.5% vs. 43.6%). However, in terms of dollars, CDs now outsell
cassettes by a 5-to-1 margin. The shift to this new format did not
take place overnight, but it did take place. It is Applicants'
belief that the same transformation from CDs to a purely digital
format is inevitable.
[0005] The sale of prerecorded music is mostly of interest to the
younger consumer, and over 73% of revenue is derived from buyers
aged 10-39. The importance of this is the fact that, except for the
18.1% market share attributed to buyers 45 and older, the next
greatest demographic segment is buyers aged 15-19, with 15.8% of
the market; and it is this category of buyer that is among the most
Internet-aware.
[0006] In 1998, 85.2% of music sales took place in retail stores,
with record clubs having a distant 9% share of the market. By
contrast, the Internet was in distant last place at only 1.1%.
Given that the market for domestic music is almost $14 billion,
each one-percent of additional market share translates into $140
million in sale, assuming no growth in the market as a whole.
[0007] The music industry has not changed very much during the last
few decades. Record companies typically require artists to sign
exclusive contracts, and in exchange, the record labels develop,
distribute, and promote the music. Additionally, the major record
labels (as well as several "independent" labels) control, to a
great extent, the type and quantity of recorded music that
consumers can buy.
[0008] This existing system limits artists and consumers in the
following ways:
[0009] Few artists can sell enough music to cover the high
distribution and promotion costs. These costs include producing CDs
and tapes, inventory and retail chain management as well as
television, print and radio promotions and public relations
efforts.
[0010] The majority of artists can only reach limited audiences due
to finite shelf space at retailers and limited air time on radio
and television stations, thus limiting the choices available to
consumers.
[0011] There is very little communication and exchange of
information between artists and consumers. For example, artists do
not readily know who is buying their music or how to contact them,
and consumers often do not have an opportunity to interact directly
with their favorite artists.
[0012] Because of these limitations, the number of artists served
by the existing music distribution system is small compared to the
universe of musicians with commercial aspirations. According to a
recent Gallup poll, over 25% of the U.S. population over the age of
twelve, or 53 million people, are active music-makers. In addition,
according to the National Association of Music Merchants,
approximately 62% of U.S. households contain an amateur musician.
These musicians represent a broad spectrum of artists including
hobbyists, amateurs, semi-professional and professional
musicians.
[0013] The World-Wide Web is also emerging as an important source
of music, dramatically altering the way consumers discover, listen
to and purchase music. According to Jupiter Communications,
domestic sales of recorded music over the Internet are projected to
grow from approximately $327 million in 1999 to $2.6 billion in
2002. The Web offers music fans major advantages over traditional
media, such as unprecedented interactivity and access to new and
archived music content on demand. Since music initially appeared on
the Web, the number and types of music Web sites have expanded to
include content, e-commerce and downloadable music sites. As a
result, both consumers and artists have embraced the Web as an
attractive medium for exploring and distributing music content.
Forrester Research estimates that approximately 50 million
individuals will be capable of downloading and playing digital
music by the end of 1999. In addition, a number of artists, such as
Public Enemy, Green Day, Hole and Todd Rundgren, either sell CDs
directly through their Web sites or allow visitors to purchase and
download digital music.
[0014] In recent years, consumers have increasingly used their
computers to play music. Dataquest estimates that in 1998, 30% of
U.S. households had multimedia PCs with a sound card, speakers and
either a CD-ROM or DVD-ROM drive. Consumers can now play CDs on
their computers with the ease and fidelity formerly associated only
with stereo systems.
[0015] However, music files can be very large. For example, a
three-minute song can occupy more than thirty megabytes of storage.
Storing and transferring audio files can be expensive and slow. To
address this problem, compression formats have been developed. One
of the first widely accepted standards for the compression of music
was "mp3", adopted by the Moving Picture Experts Group (MPEG).
There are also competitive formats that may receive more widespread
industry and consumer acceptance. These formats have different and
additional features including SDMI (Secure Digital Music
Initiative) and proprietary audio formats from companies like
Microsoft Corporation and AT&T Corp. The mp3 standard offers at
least 10:1 compression and audio integrity at near-CD quality. Mp3
playback is currently available on most operating environments
including Microsoft Windows 95, Windows 98, Windows NT and MacOS,
most major versions of UNIX and many other operating
environments.
[0016] Capitalizing on the growing popularity of mp3, Diamond
Multimedia Systems, Inc. introduced the Rio, the first commercially
available mp3 portable player, in November 1998. Over 250,000 units
have been sold to date. Several other manufacturers, including
Creative Labs, Thompson Multimedia's RCA division, LG Electronics
and Samsung, have recently released or announced plans to sell
portable mp3 players.
[0017] The development of compression formats like mp3 has made it
practical to transmit music over the Internet. However, until
recently there have been few legitimate sources of downloadable
music on the Internet.
[0018] The distribution method of recorded music has changed very
little over time. Until recently, a typical arrangement required
solid relationships between recording companies and distributors.
It is believed that eventually, recording companies may distribute
digitally their music directly to the consumer.
[0019] The following discussion relates to currently-available
online promotion and distribution of music and music-related
products.
[0020] Traditional music industries companies, including BMG
Entertainment, a unit of Bertelsmann A G; EMI Group plc; Sony
Corporation; Time Warner, Inc. and Universal Music Group, a unit of
the Seagram Company Ltd. have recently entered in the online
commercial community and are currently backing the SDMI security
format.
[0021] Examples of providers of online music content are Emusic.com
Inc. (formerly GoodNoise Corporation), Launch Media, Inc., Mp3.com,
Musicmaker.com, and Tunes.com. Some of these companies offer artist
services.
[0022] Examples of companies offering mp3 or other audio
compression formats are AT&T Corp., IBM Corporation, Liquid
Audio, Inc., Microsoft Corporation and RealNetworks, Inc. Some of
these companies also offer customers the ability to download music
from their web sites.
[0023] Examples of online music retailers are Amazon.com, Inc. and
CDNow Inc., as well as online "portals" such as American Online,
Inc., Excite, Inc., Infoseek Corporation, Lycos, Inc. and Yahoo,
Inc.
[0024] In particular, Amazon.com has announced its launch of a
digital-download area on its Web site, allowing free song
downloads. In addition, America Online recently announced its
acquisition of two Internet music companies, Spinner Networks, Inc.
and Nullsoft, Inc. and stated its intent to offer downloadable
music in leading formats.
[0025] Other companies have agreed to work together to offer music
over the Internet. For example, in May 1999, Microsoft Corporation
and Sony Corporation announced an agreement to pursue a number of
cooperative activities. Sony has announced that it will make its
music content downloadable from the Internet using Microsoft's
multimedia software. In addition, Universal Music Group and BMG
Entertainment have announced a joint venture to form an online
music store, and Musicmaker.com recently announced that it signed
an exclusive 5-year licensing agreement for EMI's music catalogue
for custom compilation CDs.
[0026] U.S. Pat. No. 5,237,157 (Kaplan) discloses a user
interactive multi-media based point-of-preview system. In
particular, this system comprises a kiosk station at which a user
can preview music available on CDs at a retail store.
[0027] U.S. Pat. No. 5,963,916 (Kaplan) discloses a system for
online user interactive multimedia based point-of-preview. An
improvement to U.S. Pat. No. 5,237,157 (Kaplan), this system
basically integrates a network web site as the source of
pre-recorded products.
[0028] U.S. Pat. No. 5,629,867 (Goldman) discloses a digital radio
broadcast station which includes a single online digital database
having stored therein a plurality of at least several hundred
different selections of music to be played and broadcast by the
radio station.
[0029] In view of all of the above, there remains a need for an
online record business that provides talent recruitment world-wide,
from any artist that wishes to participate. Furthermore, there
remains a need for an online record business that presents these
artitsts' works for review by the consuming public and then obtains
feedback from the consuming public on which artists the consuming
public prefers. Finally, there remains a need for an online record
business that awards recording contracts to participating artists
based on the consuming public feedback.
OBJECTS OF THE INVENTION
[0030] Accordingly, it is the general object of this invention to
provide an apparatus which improves upon and overcomes the
disadvantages of the prior art.
[0031] It is another object of this invention to provide a method
and system for implementing an online record business.
[0032] It is still another object of this invention to provide a
method and system for implementing an online record business that
provides for talent recruitment from artists world-wide.
[0033] It is still another object of this invention to provide a
method and system for implementing an online record business that
permits any artist to participate in the world-wide talent
recruitment.
[0034] It is still another object of this invention to provide a
method and system for accelerating and streamlining the process
through which the record industry recruits new talent.
[0035] It is still yet a further object of this invention to
provide for decreased talent acquisition costs, decreased marketing
costs and decreased production costs.
[0036] It is still yet another object of this invention to provide
a method and system for implementing an online record business that
provides for retrieving and analyzing music-listening consumer
feedback.
[0037] It is still yet another object of this invention to provide
an interactive investment simulation game.
[0038] It is even a further object of this invention to provide a
method and system for implementing an online record business that
awards recording contracts based on the feedback from the
music-listening consumer feedback.
[0039] It is even yet a further object of this invention to provide
a virtual record label.
[0040] It is still yet another object of this invention to provide
a method and system that offers participating artists the
opportunity to upload and promote their music through their own Web
page.
[0041] It still yet another object of this invention to provide a
method and system for participating recording artists to reap the
benefits of a multi-million dollar marketing campaign without
spending any additional money of their own.
[0042] It is still yet another object of this invention to provide
a method for providing one of the largest collections of music
available online.
[0043] It is still yet another object of this invention to provide
a method for browsing the large collection of music using multiple
genre and geographical search classifications.
[0044] It is still yet another object of this invention to provide
a method and system for providing an interactive music-based game
for obtaining consuming public feedback.
[0045] It is still yet another object of this invention to provide
a method and system for purchasing music in a cost and time
efficient manner.
[0046] It is still yet another object of this invention to provide
a method and system for building brand awareness through a
combination of online and off-line advertising and promotional
activities.
[0047] It is even yet a further object of this invention to provide
a method and system for identifying international artists to add to
the talent pool.
[0048] It is even yet another object of this invention to provide a
method and system for multiple language content, multilevel
geographical indexing, global reach and rankings.
SUMMARY OF THE INVENTION
[0049] These and other objects of the instant invention are
achieved by providing a method for recruiting artists (e.g.,
musicians, models, authors, etc.) world-wide having artistic works
(e.g., music, appearance, story scripts, etc.). The method
comprises the steps of: (a) providing a web site over global
computer networks (e.g., the Internet) by a support entity (e.g.,
an online record business, modeling business, story-scripting
business, etc.); (b) communicating with the web site by the artists
world-wide for uploading representations of their respective
artistic works and personal information for evaluation by the
support entity that supports the web site in order to recruit the
artists; and (c) making each of the respective artistic works and
personal information available to the consuming public for the
review of the consuming public via the web site.
[0050] These and other objects of the instant invention are also
achieved by providing a method for obtaining consumer feedback
world-wide regarding artistic works (e.g., music, appearance, story
scripts, etc.) by artists (e.g., musicians, models, authors, etc.).
The method comprises the steps of: (a) providing a web site over
global computer networks (e.g., the Internet) that make the
artistic works available for consideration by the consuming public
and wherein the web site is supported by a support entity (e.g., an
online record business, modeling business, story-scripting
business, etc.); and (b) communicating with the web site by the
consuming public for providing feedback (e.g., using an interactive
artist-investment simulation game) as to those artistic works that
are preferred by the consuming public.
[0051] These and other objects of the instant invention are also
achieved by providing a system for recruiting artists (e.g.,
musicians, models, authors, etc.) world-wide having artistic works
(e.g., music, appearance, story scripts, etc.) and wherein the
artistic works are loadable onto global computer networks (e.g.,
the Internet). The system comprises: a web site available on the
global computer networks; an artist database in communication with
the web site; and an artist works database in communication with
the web site. The web site stores artist information in the artist
database and stores the artistic works in the artist works database
for consideration by the consuming public via the web site. The web
site, artist database and artist works database are supported by a
support entity (e.g., an online record business, modeling business,
story-scripting business, etc.).
[0052] These and other objects of the instant invention are also
achieved by providing a system for obtaining consumer feedback
(e.g., via an interactive artist-investment simulation game)
world-wide regarding artistic works (e.g., music, appearance, story
scripts, etc.) wherein the artistic works are loadable onto global
computer networks (e.g, the Internet). The system comprises: a web
site available on the global computer networks; an artist database
in communication with the web site; an artist works database in
communication with the web site; an end-user database in
communication with the web site; a statistics database in
communication with the web site; and content databases in
communication with the web site. The web site stores artist
information in the artist database, stores the artistic works in
the artist works database, stores artist content in the content
databases, stores consuming public information in the end-user
database and stores web site use information by the consuming
public in the statistics database. The artist database and the
artist works database are searchable by the consuming public for
consideration by the consuming public world-wide via the content
database. In addition, the end-user database and the statistics
database are utilized for analyzing the consuming public
feedback.
DESCRIPTION OF THE DRAWINGS
[0053] Other objects and many of the attendant advantages of this
invention will be readily appreciated as the same becomes better
understood by reference to the following detailed description when
considered in connection with the accompanying drawings
wherein:
[0054] FIG. 1 is a block diagram of a method of an online business
that recruits artistic talent world-wide using the Internet and
also which utilizes consumer feedback to determine which artists
are preferred by the consuming public;
[0055] FIG. 2 is a is a block diagram of a method of an online
record business that recruits artistic talent world-wide using the
Internet and also which utilizes consumer feedback to determine
which artists are preferred by the consuming public;
[0056] FIG. 3A is a block diagram of the main functions available
to the user of the web site provided by the online record
business;
[0057] FIG. 3B is a functional diagram of the online record
business;
[0058] FIG. 4 is a block diagram of a system that depicts an
implementation of the method for the online record business;
[0059] FIG. 5 is a display screen view of the home page web site
for the online record business;
[0060] FIG. 6 is a display screen view of an exemplary unsigned
artist profile available at the web site of the online record
business; and
[0061] FIG. 7 is a pop-up toolbar for the interactive investment
simulation game.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT
[0062] Referring now in detail to the various figures of the
drawing wherein like reference characters refer to like parts,
there is shown at 10 in FIG. 1, a block diagram of a method of an
online business 11 that recruits artistic talent 12 world-wide
using the Internet and that also utilizes consumer feedback to
determine which artists are preferred by the consuming public 13 so
that a contract can be awarded from a contracting entity 14 to the
preferred artists. The online business 11 basically comprises a web
site 15 and the support entity 16 that runs the online business 11
and operates the web site 15. Artists from around the world, can
upload representations of their respective works, as well as
personal information, to the web site 15. The online business 11
then organizes the artist information and artistic works via artist
profiles (to be discussed in detail later) that are available to
the consuming public 13 at the web site 15. The consuming public
can then review any artist and his/her respective artistic works.
In addition, the consuming public can provide input (e.g., where
the online business 11 is an online record label, the consuming
public can "rate an artist's band" or post a message about the
artist/band) via the artist profile (see FIG. 6).
[0063] Furthermore, to obtain consuming public 13 feedback
regarding those artists preferred by the consuming public 13, an
interactive investment simulation game 30 (as will be discussed in
detail later) is available via the web site. In particular, all of
the unsigned artists/artistic works are pre-selected by talent
representatives of the online business (e.g., in the record
business, the online record business uses artist and repetoire
(A&R) representatives; see FIG. 3B; similarly, in the modeling
business or story-scripting business analogous pre-selecting
personnel are used) to determine their eligibility for the
interactive simulation game 30. Those artists considered eligible
to participate in the interactive investment simulation game 30 can
be "voted on" by the consuming public 13 through virtual stock
bought and sold by the consuming public 13, as will be discussed in
detail later. Based on those artist(s) preferred by the consuming
public, the online business 11 then awards those artists contracts
and implements the contracts.
[0064] It should be understood that the method 10 set forth above
has applications in many types of businesses, such as the record
business, the modeling business, the story-scripting business, etc.
When applied to the record business (as will be discussed in detail
below), the support entity 16 is a record label and the
artists/work 12 are musicians that want to promote their
music/video; when applied to the modeling industry, the support
entity 16 may be an online modeling agency seeking models to
promote their clients' products or operation/services and the
models send pertinent information (e.g., images, photographs, etc.)
to the modeling agency 16 for consideration; when applied to the
story scripting business, the support entity 16 may be a publisher
or movie production company seeking a story line for a new book or
movie. One of the key features of the method 10 is that it provides
an artist, anywhere in the world, with the ability to have his/her
talent presented to the consuming public for their consideration,
thereby avoiding the current hurdles of not being able to even "get
a foot in the door." Another key feature of the method 10 is that
it lets the consuming public 13 decide who should be promoted to
the next stage, i.e., contract, of bringing a new work of art to
the world, thereby avoiding the support agency 16 always making
that determination for the consuming public 13. For example, in the
record industry, the record labels alone make the decision of which
artists will be promoted.
[0065] FIG. 2 depicts the method 10 implemented in the record
business and is hereinafter referred to as the method 20. In
particular, the method 20 comprises an online record business 21
that operates, supports and maintains a web site 25. As also shown
in FIG. 2, the Online record business 21 is known as
"OnlineRecordBiz.com" and supports the web site 25 having that URL
(uniform resource locator). Unsigned recording artists 22, from
around the world, interface with the online record business 21 via
the Internet by uploading their music and personal information to
the web site 25. By providing this interface, the online record
business 21 greatly assists the unsigned artists 22 by avoiding all
of the "hype" (at great expense and time to the artists 22) that
normally would need to be created before a record label would even
"give 'em a chance". In addition, the consuming public 13 can then
access the web site 25 and review the various unsigned artists'
music/information and listen to the artists' music. Following the
pre-selecting of all of these unsigned artists by A&R
representatives, the consuming public 13 can then "vote" (as will
be discussed in detail later) on which artists' 22 music they
prefer via the interactive investment simulation game 30. Since
record labels are in the business to make money, the online record
business 21 will award recording contracts to those unsigned
artists 22 that are most preferred by the consuming public 13.
Thus, the consuming public 13 drives the awarding of recording
contracts, rather than the record label driving the awarding of
recording contracts.
[0066] It should also be understood that the term "artist" when
used with regard to the online record business means an artist as
an individual or artist as a band.
[0067] FIG. 3A depicts a block diagram of the main functions
available to the user of the OnlineRecordBiz.com web site 25.
Through this web site 25, OnlineRecordBiz.com finds the best new
artists from around the world, determines new artists' success
potential before signing, markets its artists, and distribute its
artists' music and merchandise. This method 20 provides for
decreased talent acquisition costs, decreased marketing costs, and
decreased production costs. In particular, users of the web site 25
can utilize the extensive unsigned artist database 28 which
includes pictures, profiles and mp3 files. The users can also
utilize an interactive investment simulation game 30, a community
center 32 with bulletin boards, chat rooms and e-mail. The users
can also utilize an online store 34 for music and merchandise
distribution.
[0068] The unsigned artist database (also referred to as the
"unsigned artist talent pool") 28 comprises an extensive database
of unsigned recording artists 28 developed through both online and
offline marketing techniques. Each artist is presented with the
opportunity to create and maintain his/her own no-cost web page on
the OnlineRecordBiz.com web site 25, known as artist profiles (see
FIG. 6). Within their profiles, the artists share their relevant
information, photographic images, at least one song, and one music
video (if available). In particular, artists upload a photographic
image, a text-based profile, up to three mp3 files and one video
file. This is accomplished in a "do-it-yourself" fashion similar to
the method used by GeoCities in permitting users to create their
own pages. Furthermore, OnlineRecordBiz.com employs experienced
talent scouts (i.e., the A&R representatives) to track the
recording artists that join its talent pool. Talent scouts have
access to daily, detailed statistics regarding each unsigned artist
profile, including how many users traffic the profile, how many
songs were listened to and downloaded, as well as access to
interactive opinion polls and newsgroups contained within the
artist profile. Those top artists are then invited to join the
interactive investment simulation game 30 through which
OnlineRecordBiz.com determines the actual appeal of the unsigned
artist.
[0069] The interactive investment simulation game 30 is the key
tool in evaluating the actual demand of the unsigned artists.
Through the interactive investment simulation game 30, users
virtually buy and sell stock in the more than 50 unsigned artists
with imaginary money. Every few days, OnlineRecordBiz.com adds more
unsigned artists to the interactive investment simulation game 30.
Prices of the imaginary stocks are driven by the actual supply and
demand as dictated by the traders. The top traders for each month
or quarter receive various prizes such as T-shirts, CD's, cash and
even a new car. In addition, the web site 25 includes a feedback
section so that web site visitors can post their comments about the
recording artist. Users who participate in the interactive
investment simulation game 30 compete against thousands of other
users daily in order to earn a variety of prizes. Moreover, through
participation in the game, users actually take part in determining
the next interactive investment simulation game 30 signed artist.
The combination of the enjoyment and fun of the game with the power
of the experience creates an exciting opportunity to
OnlineRecordBiz.com users.
[0070] As mentioned previously, OnlineRecordBiz.com also uses
A&R (Artist and Repertoire) representatives to watch the
results of the interactive investment simulation game 30 to
determine which unsigned recording artists have received the most
favorable reception by the public. The artists that excel in the
game 30 (i.e., the highest stock price) are traditionally scouted
by the A&R representatives. If decided appropriate, those
artists are then offered a recording contract with
OnlineRecordBiz.com.
[0071] Once a particular artist warrants a OnlineRecordBiz.com
contract (as reflected by the investment simulation game 30)
OnlineRecordBiz.com actually signs the artist to a recording
contract, utilizing several new media and traditional music
industry marketing strategies to market its artists. For example,
when OnlineRecordBiz.com signs a new artist to a recording
contract, the company's site, the OnlineRecordBiz.com web site 25,
features a 15 to 30 second animated introduction to introduce the
new artist (e.g., see www.3dfx.com for a similar experience). The
introduction contains information on the artist, graphics, and the
artist's actual music as the user enjoys an exciting and unique
experience. Furthermore, OnlineRecordBiz.com provides an individual
web site for each of its signed artists. The site includes profile
information, concert information, discographies, online videos, and
other relevant information. After OnlineRecordBiz.com signs a
particular artist, users receive a direct e-mail containing the
signed artist's profile information, an attached digital download,
an instant play hyperlink and a compact disc order form. In order
to provide links to the new artist's web site, OnlineRecordBiz.com
purchases banner advertisements on appropriate web sites to attract
more potential users of the web site 25. In addition,
OnlineRecordBiz.com uses television promotions, radio promotions,
record store promotions and music videos to generate as much
interest as possible in artists signed by OnlineRecordBiz.com.
Furthermore, through the online store 34, OnlineRecordBiz.com
offers users the opportunity to purchase signed artists' music, and
merchandise directly through its site.
[0072] In addition to the unsigned artist talent database 28 and
the interactive investment simulation game 30, OnlineRecordBiz.com
offers services designed to instill a sense of community in the web
site 25. Among these are e-mail accounts, chat rooms, bulletin
boards, and interactive games. The web site 25 permits fans to
contact artists directly via e-mail and to communicate with one
another through message boards and chat. In addition, artists can
use their artist profile to communicate directly with their fans,
advising them of concerts and new releases and developing a fan
email list.
[0073] The result of the method 20 is fourfold. First, it
accelerates and streamlines the process through which the record
industry recruits new talent. Second, the power to choose which
recording artists become commercially popular resides in the hands
of the consumer. As opposed to music being "pushed" through the
channel by today's entertainment companies, music is "pulled"
through by consumers who decide what they want to hear through the
method 20. Third, consumers have more music from more recording
artists from which they can choose. Fourth, the industry
experiences major "disintermediation," i.e., that dependence on a
middle-man between suppliers and buyers (i.e., a retailer) is
greatly reduced or eliminated. In order to better understand the
value of the method 20, consider a brief examination of each of the
four aforementioned results:
[0074] With regard to talent recruitment, by using the World Wide
Web as its headquarters, OnlineRecordBiz.com essentially has a
talent scout wherever there is a connection to the Internet, be it
in North America, Asia, Europe or anywhere in the world. Therefore,
OnlineRecordBiz.com has access to the best new talent from around
the world before any other traditional music company.
[0075] With regard to consumer feedback, while traditional music
companies rely solely upon their executives to predict those
artists that will achieve commercial success, OnlineRecordBiz.com
lets the music buying public decide. OnlineRecordBiz.com only signs
those artists that have proven to be popular by the music-buying
public. In doing so, OnlineRecordBiz.com greatly reduces the
inefficiency currently plaguing the traditional music industry.
[0076] With regard to the consumers' music choice, via the
expanding collection of artists in the unsigned artist database 28,
the consuming public is provided with one of the largest databases
of musical content available on the Internet. Consumers can listen
to real-time or streaming audio or download thousands of songs
posted on the web site 25 by artists to their personal computers
free of charge, twenty-four hours a day. The music collection spans
dozens of categorized genres, including pop, rock, classical,
country, alternative, children's, easy listening, electronic, hip
hop, rap, blues, jazz, international. Those music categories are
searchable by genre, artists or location.
[0077] With regard to industry "disintermediation," once
OnlineRecordBiz.com signs a particular artist to a recording
contract, the company then makes that signed artist's music
available for purchase in all reasonable formats, including
digital, compact disk, and cassette tape, directly within the
company web site 25. Considering that consumers (potential music
buyers) already traffic the OnlineRecordBiz.com web site 25, it
makes sense for the consumer to purchase the signed artist's music
directly through the OnlineRecordBiz.com web site 25 and not a
traditional third party retailer. As consumer acceptance of the new
digital distribution systems pick up, OnlineRecordBiz.com
completely eliminates the need for a distributor and retailer,
greatly increasing the revenue of OnlineRecordBiz.com as well as
its artist.
[0078] FIG. 4 is a diagram of a system 120 that depicts an
implementation of the method 20 for the online record business. In
general, the system uses servers, networks, computer terminals and
other conventional systems, subsystems and components that are
known in the art which are necessary for Internet
communication.
[0079] In particular, the system comprises a plurality of consuming
public and unsigned artist terminals 122 for interaction with the
Internet 124. OnlineRecordBiz.com's web site 25, as will be
discussed in detail, is available via the Internet 124. The web
site 25 communicates with, and maintains, a plurality of relational
databases, namely, an artist database 126, a music database 128, an
e-commerce database 130 and an end-user database 132. These
databases are used to enhance the user experience at the web site
25 and to provide OnlineRecordBiz.com with valuable information for
marketing and sales activities. Content databases 134 make content
available for download, CD purchase, web site ranking and
cataloging and are updated as artists and users interact with the
web site 25. Statistics databases 136 maintain traffic and site
analysis information including the number of times that web pages
were viewed, download counts and artist/song rankings. The end-user
database 132 and e-commerce database 130, which are firewalled for
protection, contain customer information and transaction
histories.
[0080] As mentioned previously, each participating artist has
his/her artist profile 138 within the OnlineRecordBiz.com web site
25 as supported by, among other things, the artist database 126 and
the music database 128. It should be understood that the artist
database 126 and the music database 128 encompass the unsigned
artist database 28 mentioned earlier.
[0081] Finally, other links 140 (e.g., ticketing agencies) are also
available via the Internet 124 as part of the system 120.
[0082] The technology infrastructure is based on architecture
designed to be secure, reliable and expandable. Software used in
the system 120 is a combination of proprietary applications, third
party database software, and open operating systems that support
acquisition of content, management of that content, publication of
the web site 25, downloads of music and media files, registration
and tracking of users, reporting of information for both internal
and external use.
[0083] The infrastructure is designed to allow each component to be
independently scaled, usually by purchasing additional
readily-available hardware and software components, to meet or
exceed future capacity requirements.
[0084] All servers, networks and systems are monitored on a
continuous basis. Numerous levels of firewall systems are
implemented to protect the databases, electronic commerce servers,
customer information and music archive. Backups of all databases,
data and media files are performed on a daily basis. Data back-up
takes are archived at a remote location on a weekly basis.
[0085] The OnlineRecordBiz.com web site 25 can support new
technology formats and standards, including a variety of leading
audio compression formats. Music in offered in both the mp3 and
RealAudio formats, as well as in the still popular CD format.
[0086] The web site 25 incorporates the latest technologies,
featuring the use of Macromedia's Flash 4 and Shockwave to make the
web site 25 one of the most exciting and creative destinations on
the web. Moreover, the site offers four to five languages other
than English.
[0087] The OnlineRecordBiz.com web site 25 is discussed in further
detail below. It should be understood that although record industry
terminology and symbology are shown in FIGS. 5-7, it is within the
broadest scope of this application to include other
industry/business terminology and symbology, e.g., the modeling
industry and story-scripting business, in each of those figures;
thus, as a result, FIGS. 5-7 are exemplary only in that other
industries/businesses may modify the language and icons of FIGS.
5-7 to meet their respective terminologies and symbologies.
[0088] As mentioned previously, a 15-second powerful introduction
greets the user to the OnlineRecordBiz.com web site 25, introducing
the company through a powerful flash presentation incorporating
text, graphics, and music (see www.balthaser.com for a similar
experience). Upon completion of the introduction, the
OnlineRecordBiz.com home page (FIG. 5) is loaded along with the
Investment Game Toolbar pop-up window (FIG. 7).
[0089] The home page (FIG. 5) links the user to five optional
sections: (1) the OnlineRecordBiz.com Talent Pool, (2) Top Artists,
(3) the OnlineRecordBiz.com Brand Store, (4) OnlineRecordBiz.com
Artists (4) the Investment Game Overview, and (5) the
OnlineRecordBiz.com Community Center (OnlineRecordBiz.com Lounge).
Each option is presented through an image map showing partial
graphics of each individual station compiled into one circular
graphic (see www.millerbrewing.com as a reference). A navigation
bar is displayed along the top window margin of the
OnlineRecordBiz.com home page. The user can find links to the
several important OnlineRecordBiz.com sections and services. Among
those sections included on the toolbar are: Login/Register, Talent
Pool, Top Artists, Store, OnlineRecordBiz.com Artists, Game
Overview, Community, DJ, Prizes, and Leaders. A real time ticker
showing the updated artist price quotes of that particular user's
portfolio sits along the bottom margin of the OnlineRecordBiz.com
home page. The ticker resembles those tickers found on non-fantasy
investment sites. The user can click on a particular ticker symbol
to view a description of the artist.
[0090] The OnlineRecordBiz.com Talent Pool: The talent pool is the
unsigned artist section of the OnlineRecordBiz.com site. As
mentioned earlier, users can view profiles 138 (FIG. 6) of artists
contained within the extensive pool of unsigned artists that appear
on the OnlineRecordBiz.com web site 25. Each profile 138 contains
important information about the artist. In the upper left corner of
the profile window is a picture of the artist. To the right and
below the picture is the artist's name, songs available for
sampling and download, a brief description, and other relevant
information. Below the artist's description is an interactive
weekly survey (e.g. generating opinion polls), a link to that
artist's individual newsgroup (e.g., for disseminating information
about the artists and the consuming public input), and a button
allowing users to "join this band's email list" (e.g., using e-mail
listserves).
[0091] Top Artist Stocks: The music artist stocks offered section
of the site links the user to a list of all of those artists
available for ranking on the Investment Game (music artists that
can be traded in the game) and their current stock price. The
artists are categorized into nine categories: (1) hip hop, (2)
R&B, (3) jazz, (4) classical, (5) new age, (6) pop, (7)
alternative, (8) rock/pop, and (9) country. Each band name listed
is linked to that artist's profile.
[0092] The OnlineRecordBiz.com Records Store: In the
OnlineRecordBiz.com Records store users can purchase
OnlineRecordBiz.com music and brand-name merchandise. Among the
merchandise offered is OnlineRecordBiz.com signed artists'
downloadable digital and deliverable CD and cassette tape music,
OnlineRecordBiz.com T-shirts, Polo shirts, hats, sweatshirts, mugs,
distinctive shot glasses, books, lighters, can openers, pitchers,
mouse pads, and others.
[0093] OnlineRecordBiz.com Signed Artists: In the
OnlineRecordBiz.com Signed Artist sections users find information
on the signed OnlineRecordBiz.com artists. Each artist has his/her
own web site within the OnlineRecordBiz.com web site 25 that
features information on the artist, including profile information,
concert information, discographies, online videos, and other
relevant information. As more artists are signed, this section
grows to be an invaluable marketing tool for
OnlineRecordBiz.com.
[0094] The Game Overview: The Game Overview is the "how to play"
section of the OnlineRecordBiz.com web site 25. The interactive
teaching instrument educates the user through a logical progression
of flowing page interactions, as well as contains specific links to
other help sections. One example of a similar instructional
resource can be found at Miller Brewing Company's web site at
www.millerbrewing.com/a_lite_section- /index.asp (see Pilsner Beer
Story) and the Esignal web site at
www.esignal.com/flash_demo.htm.
[0095] The OnlineRecordBiz.com Community Center (The
OnlineRecordBiz.com Lounge): The OnlineRecordBiz.com Community
Center offers many of those options found on a standard music
community web site such as Billboard Online and Rolling Stone
Online. Among those options are live concerts, chat sessions, daily
news, newsgroups, and email. In addition to those common features,
OnlineRecordBiz.com offers the OnlineRecordBiz.com leader board,
OnlineRecordBiz.com postcards, OnlineRecordBiz.com member web
pages, and OnlineRecordBiz.com interactive games.
[0096] The OnlineRecordBiz.com Power Toolbar (FIG. 7) is an
individual pop-up window that acts as OnlineRecordBiz.com Record's
consumer feedback portion of the web site 25. Within this section,
all artists involved in the interactive investment simulation game
30 are listed along with the user's buy/sell tools and other
necessary features.
[0097] At the top of the window is the OnlineRecordBiz.com game
logo. Below the OnlineRecordBiz.com logo is a scrollable ranking of
the artists in the OnlineRecordBiz.com game. Each name contains a
hyperlink to each artist's profile 138. The top five artists are
visible at window launch, but all others can be reached through the
scrollbar.
[0098] Below the OnlineRecordBiz.com artist list is the user's
investment toolbar. With the toolbar, the user can utilize three
features: (1) enter a quick search of a particular artist's name or
ticker symbol, (2) buy or sell a particular quantity of shares, and
(3) see his/her current revenue and portfolio. Each individual
feature links to a new window. The quick search feature links to a
full description of the particular searched artist. The buying and
selling tools link to a confirmation screen that finalizes the
trade. When the user clicks on the portfolio link, he/she can view
his/her current artist stocks, balance, and other relevant
information. Below the portfolio is a description of each prize the
user can win if he/she attains a certain amount of money. Below the
OnlineRecordBiz.com Investment Toolbar the user can download a
desktop version of the Investment Challenge and link back to the
OnlineRecordBiz.com home page (FIG. 5).
[0099] Without further elaboration, the foregoing will so fully
illustrate my invention that others may, by applying current or
future knowledge, readily adopt the same for use under various
conditions of service.
* * * * *
References