How To Get A Sync Agent

Real quick, just a reminder that Ari’s Take Academy enrollment is open, but just for another couple weeks. Join the other 6,000 students and finally break through what you’ve been struggling with in your music career. 

Learn more and enroll here (before October 25th). 

“Ari’s Take Academy has honestly changed my life. I’ve joined almost all of the courses. The courses are top notch. The community is incredible. I’ve started a record label. I’ve signed new artists. It’s incredible having the resource that is ATA and all the people in there to help wade through all these murky music business waters. It’s a goldmine.” - Dana Nielsen, Grammy-nominated, producer, songwriter, mixing engineer

Read this on aristake.com

So, if you've been following me for a while, you know I study the sync licensing realm (getting songs placed in film, tv, commercials, video games) quite a bit.

On the New Music Business podcast, I’ve interviewed quite a few sync experts like music supervisors, agents and artists. 

The sync licensing world is something I care deeply about. For one, I've seen it launch the careers of many, many artists (some of whom I've had the pleasure of touring with and opening for). After Lindsay Wolfington placed my song in One Tree Hill back in 2010, not only did my iTunes numbers skyrocket that night, but for years after that placement, people at every show came up to me saying they discovered me from that show.

And also because I know how much sync pays.

Typical upfront sync fees for indie artists:

Commercial Campaigns: $20K - $550K+
Films: $10K - $80K
Trailers: $10K - $80K
TV: $500 - $20K
Video Games: $2K - $10K
Theme Songs: $5K - $10K

Not to mention the backend performance royalties. Which can add up to be quite a lot.

Every TV show is different, of course, budgets vary and whatnot. But it's not uncommon for a $10K placement to an emerging artist for a Netflix show. More on this in a minute.

Sync licensing is one of those hidden corners of the music industry that not too many people talk about. Everyone is so obsessed with Spotify and TikTok and Instagram and ticket sales. When, literally one sync placement can pay your entire year's salary. That's a hell of a lot of streams!

Now, back in 2010 when I got my song on One Tree Hill, I did it by tweeting it to Lindsay.
This is not possible anymore. Artists are much more savvy and understand that music supervisors are the ones who hold the keys to the sync licensing kingdom. So they flood their inboxes with pleas to listen to their music.

Now, even if you get the perfect pitch down to the perfect music supervisor for the perfect show where your music would fit just perfectly, don't expect a listen, let alone a reply.

Why? Well, because for one, they don't know you. But, more so, they've been burned too many times by well-intentioned, but ignorant artists.

Artists just don't understand how sync rights work. They think because they released the song on Spotify that they have the rights to get it synced. They may not. Or they think because they co-wrote it with a friend, they have the rights. They may not. Or they think because they bought their beat (production) off of BeatStars and chopped it up to shit, they have the rights. They probably do not. Or they think, they think, they think, but they don't KNOW. And if the music supervisor can't be 10000% sure that the song they are placing in the episode won't get the network SUED, they won't place it. Because then they'll be out of a job!

So, music supervisors RARELY accept music from artists directly anymore.

So, how do you get your music in TV shows and movies?

Sync agents!

What are sync agents? Sync agents are the people who are the go between. Sometimes they work at sync licensing companies. Sometimes they work alone.

Sync agents have the relationships with all the music supervisors. And they have their trust. Music supervisors don't have to worry that sync agents will send them music that isn't cleared. Sync agents know how to make sure everything is completely cleared. Sync agents usually operate as "one stops." Meaning, they rep indie artists, clear all the rights to the music, and can offer it, completely cleared, to the music supervisor. So the music supervisor only has to make one stop. (Not, like 12 stops, calling around to the various publishers and record labels).

Music supervisors LOVE working with sync agents, because they have music that is great and cleared.

So, how do you get signed with one of these sync agents? And who are they?

Vo Williams is a hip hop artist who has had over 3,000 sync placements of just his own music. You may remember him from the New Music Business episode. The Houston Astros, the Milwaukee Bucks, and the Tampa Bay Lightning used Vo's music for their team's theme songs in the last few years - and ALL THREE went on to win their respective championships. Coincidence? Well, the Lakers are using him now!

I was so impressed with him on my podcast with his generosity at sharing his knowledge that I asked him to teach a course on sync licensing for Ari's Take Academy.

So that’s why we launched Advanced Sync Strategies for Film, TV, and Video Games.

Not only does he teach our students everything they need to know about the sync licensing world. He also, of course, teaches them how to get signed to agents.

But something we're doing in this course, that no other education institution is doing. We have showcases with top-tier sync agencies in the world. ATA students are able to submit their music (which they have honed and created based on Vo's incredible guidance) to sync agents that Ari's Take Academy has partnered with.

To date, we have gotten over 200 of our students signed to sync agencies.

Enrollment is open for Ari's Take Academy Advanced Sync Strategies for Film, TV and Video Games until October h. Enroll here.

~Ari

 

Here are what some of our students are saying:

"I landed my first official sync placement on Netflix’s Hype House, and I largely have ATA’s Advanced Sync Strategies course to thank in getting me this far. Enrolling in this course was a real investment in myself. Not only is Vo’s class structure informative and easy to follow, but the members of the online community are actively engaged, curious, and supportive. Getting my music on TV seemed like a far-off dream at first. Now I’m confident that I have the skills and support to accomplish landing more placements.." - Tim Stout

"This course is one of the best investments I’ve made in my career as an artist. Vo's hands-on guidance in addition to the vital information in the course landed me a deal with a major sync agency. This course really puts you in the shoes of a sync agent (or music library/supervisor) and will equip you with all the tools you need to land a deal or placement." - Janelle De La Rosa

"I went to Full Sail, and this course got me further ahead in one day than two years there. Vo pinpointed everything I needed to do that I wasn't doing. I included contracts and had all of the split sheets together with the music and BOOM! My first pitch landed in a library for sync with Universal Production Music UK just by following the course. Well worth it, for real." - Menice New Era

"Before I got into the course with Vo and Ari, I was pretty certain that I had my sync strategy down, because I was doing fairly well with the licensing and getting placements. When I enrolled in the course, I was genuinely surprised at how much I didn't know. Since enrolling in the course, I have landed several four-figure placements, made relationships and made new music to be published and repped by other agencies and libraries. The course has already paid for itself four times over! Whether or not you’re looking for sync, I recommend this course to anyone because it's an extremely lucrative way to make money in music." - Kolby Knickerbocker

“Thank you to the Ari's Take Academy team for helping us to land our first sync deal for Last Motion Picture! The course, community and ongoing long-term support alone is worth every penny, but the CATA submission also gave us the opportunity to get a direct introduction with a trusted agency who prioritizes developing their artists' careers. Joining ATA has been incredibly valuable and is hands down one of the best decisions I've made.” - Andy Doonan

"Vo is one of the best teachers I have ever had. Having access to his mind and support has been huge for me in finding a sync agent, which I was able to do. The world of sync has always been confusing to me, but knowing that I have a team of other musicians and Vo to help guide me in the process gives me the confidence and knowledge I need to have a successful sync career." - Lillian Frances

"ATA really helped us get a feel for what makes a song "sync-able," and through CATA we landed a sync deal with a couple of our songs. Having access to world-class sync agencies is an incredible opportunity. Also, Vo's experience and knowledge can not be overstated. If you have any specific questions about business/sync/deals/strategies, just jump on his monthly zoom call and ask away. We've gotten a lot out of it and are looking forward to even more!" - CAZA

Enroll in ATA's Advanced Sync Strategies here before October 25th.

No your distributor is not paying you all your money

By now, you've probably heard about the fraudster who stole $10 million (from real musicians) by flooding DSPs (streaming services) with AI generated "songs." Our friend of the pod, Billboard journalist Kristen Robinson has been doing some great reporting on it. 

Kristen also uncovered how other fraudsters stole $23 million from unclaimed YouTube royalties, which we discussed on the podcast.

Recently, I’ve been sharing a lot about scammers who convince musicians to pay for “REAL ORGANIC STREAMS” from “REAL PLAYLISTS WITH REAL LISTENERS, NO BOTS.” Nine times out of ten, these are scams. These playlists are often botted, which can get your music banned from your distributor and DSPs.

Long story short, there are always people looking to manipulate the system for their own gain, scamming naive musicians in the process. Bad actors in the music industry aren’t new. Hell, major labels in the past so blatantly ripped off their artists that all three majors have since waived unrecouped “debts” from artists signed before 2000 as a sort of mea culpa. Better late than never, I guess.

There will always be people out there looking to take advantage of artists. Artists are easy targets. All they gotta do is flatter them a bit and wave some perceived success in front of them. Or simply rip them off and blatantly steal from them. The music industry is so damn complicated (by design!) that unless you understand this stuff or have a high-priced attorney by your side, it’s easy to get taken advantage of. 

Nothing boils my blood more than seeing artists get ripped off. That’s why I’ve spent the last 12 years helping artists arm themselves with knowledge - so they can not only protect themselves from these vultures, but also thrive in this ever-changing industry.

Spotify recently reported that 20,500 artists earned at least $50,000 in 2023 just from Spotify royalties. But many of these artists likely didn’t see all of that money. 

Why? Well, streaming services don’t pay artists directly. There is an endless array of collection agencies and orgs that these DSPs pay. And then those agencies are supposed to pay the artists. And no, it's not just your distributor btw!

Some of this money goes into a “black box,” and if the artists aren’t found, it’s redistributed based on market share, mostly going to the majors. 

So, of course, it’s to the major labels (and publishers’) benefit to complicate this system so much, confuse and blind indie artists so much that these artists just throw their arms up and say “this shit’s too complicated, I don’t wanna deal with it,” and give up. So then the majors get to keep a bigger piece of the pie. 

So how can you protect yourself to make sure that you are getting all of the royalties you’re owed?

You gotta educate yourself!

One step you can take right now is to search the MLC’s database (theMLC.com, Public Search) to see if your songs are properly registered. If they aren’t listed, they haven’t been registered properly. If they're listed, but without a payee, then you're not getting paid all of your royalties. 

But unfortunately, even this database doesn’t reveal everywhere your songs need to be registered. 

That’s why I created the Ari’s Take Academy course Registration, Royalties, and Release + Streaming Growth. It’s designed to help you navigate this complex web of royalties and registrations. 

You could hire an attorney at $400/hr to help you track all of this down and get you properly set up (will be about 10 hours of initial work + 2 hours/month of maintenance). You could hire a marketing agency at $3K/month (4 month minimum) to help you run your socials and ads. And then hire a PR company at $3,500/month (4 month minimum), to get you press. Both with no guarantees of any kind of success. 

Or you could learn how to do all of this on your own in this course.

Arm yourself with knowledge. Have the peace of mind that you are collecting 100% of your royalties wherever they exist, from every collection organization around the world. 

Remember, many organizations hold your money for only about three years before redistributing it to the majors. So there is a ticking clock on all of this.

In this course, I’ll show you how to release your music properly, implement the best marketing strategies of the moment, how to get press without a publicist, grow your streams, and most importantly, collect the royalties owed to you.

Join us. Enrollment closes October 25th. 

More info, and enrollment info here. 

~Ari

PS if you have any questions, just hit reply.

 

What some of our students are saying: 

“ATA transformed my confidence as an artist.” - Barrett Crake

“I tell every musician who's got the work ethic to check out ATA. It's been a real eye-opener, offering tons of info on how to get stuff done yourself.” - Robbie Cook

“Ari’s Take Academy is worth every penny. One of the best music courses I've taken...that's after a bachelors and masters in music, plus many more dollars on other music courses!” - Meerenai Shim

“Taking the ATA course was one of the best decisions I have made in my music career. Like many other artists, I was flying blind, full of self doubt and alone. Here I learned how to hone my process and craft through the help of the ATA team and the community. But more importantly, I learned that there is a place for everyone's music. To stay true to what you want to create as an artist and stick it out because it is a long road. ATA operates on the idea of abundance vs scarcity. When we win, we win together and for that- I am eternally grateful.” - Jason Slack

“I have loved being a part of ATA! As an indie artist, it's hard to wear all the hats of being a creator that writes, produces, performs AND takes on the business aspect of music. RRR is super straightforward and easy to understand; ATA's a fun environment to learn helpful ways to succeed in the music business, whatever that may mean for you!” - Kenna Childs

“I would highly recommend this program as well as all of the other programs. It's a really quality organization and it's an absolute resource for an upcoming musician like myself, or at any level that you might want to gain some additional knowledge. They've been extremely hands-on so far and his team are extremely hands-on throughout the process.  I would highly recommend this program as well as all of the other programs. It's a really quality organization and it's an absolute resource for an upcoming musician like myself, or at any level that you might want to gain some additional knowledge.” -Ross Newhouse

Join us: https://aristakeacademy.com 

Redefining the Future of Hip-Hop and Music Management Consulting

Antonio ‘TopcaT’ Randolph: Redefining the Future of Hip-Hop and Music Management Consulting

Mr. Randolph is a visionary leader in the music industry, particularly known for his profound influence within the Southern hip-hop scene. As the President and CEO of his management and consulting firm, Randolph consistently demonstrates a unique ability to navigate the ever-evolving dynamics of the music business. He combines sharp business acumen with a deep understanding of cultural trends, audience behavior, and industry innovation, making him a driving force behind the success of numerous chart-topping, platinum-selling artists.

Randolph’s leadership in pioneering movements such as Crunk, Snap, and Swag exemplifies his forward-thinking approach to music management and consulting. His strategic vision has not only elevated his clients to the top of the charts but also positioned them as trailblazers within these genre-defining cultural shifts. His expertise spans beyond artist management to encompass the entire music ecosystem—production, distribution, and marketing—ensuring that his clients thrive both creatively and commercially in a highly competitive industry.

What sets Randolph apart is his ability to blend innovation with authenticity. He ensures his artists remain relevant by embracing cutting-edge trends while staying true to their unique artistic identities. Randolph’s deep insight into consumer behavior and brand positioning enables him to craft long-term strategies that resonate with audiences, strengthen brand consistency, and elevate his clients’ market presence.

As a leader with a forward-looking mindset, Randolph is deeply invested in the future of music distribution and the role of digital platforms. He actively integrates advanced technologies such as AI and blockchain to optimize visibility, monetization, and the overall success of his artists, cementing his role as a key figure in the digital transformation of the music industry.

Randolph’s management style is defined by fostering a vast network of artists, producers, and multi-platinum collaborators. His unwavering commitment to excellence, strategic growth, and adaptability in the face of industry shifts has solidified his legacy as a pioneering consultant who not only shapes stars but also continuously redefines the genres and trends that influence global music culture.

Through cultivating an elite roster of producers, songwriters, and industry professionals, Randolph ensures his clients are not just artists but integral parts of the evolving music industry landscape. His ongoing dedication to innovation and his ability to anticipate market trends make him a standout executive shaping the future of music and entertainment.

Specialties: Negotiation of all entertainment business

About: Big-N-Mage Publishing

                                                           Big-N-Mage Music Publishing 

BNMP, has been a dominant and transformative force in the music industry since 2009, specializing in the comprehensive management of intellectual property for songwriters and composers. Through strategic collaborations with industry giants like EMI Blackwood/Sony ATV Publishing, Big-N-Mage has established itself as a global leader, consistently securing top-tier positions within the music publishing ecosystem. The company's core mandate is to ensure that songwriters and composers are accurately compensated for the commercial use of their compositions.

With an extensive catalog of successful compositions spanning multiple genres, Big-N-Mage’s influence is rooted in its ability to forge high-value partnerships with some of the most influential figures in the industry. These relationships have enabled the company to remain competitive, continuously securing lucrative publishing contracts and positioning itself at the forefront of the market.

More than a traditional publisher, Big-N-Mage plays an integral role in the distribution, promotion, and development of musical works for a wide range of media, including album releases, film soundtracks, television, and commercials. Their services encompass monitoring the use of compositions across platforms, collecting and distributing royalties, and providing substantial advances on future earnings, all while ensuring that intellectual property rights are protected and optimized.

Big-N-Mage’s expertise extends far beyond royalty administration. The company has pioneered highly effective digital marketing campaigns, generating over 80% of new clients through referrals, word-of-mouth, and strategic media outreach. Their proactive approach has significantly contributed to the growth of their clients' careers, matching songwriters with prominent recording artists and securing placements in major projects, resulting in the creation of numerous chart-topping hits.

MINIX and Michael Jackson, more than just a collaboration.

As we know, the Estate has been approving licenses to a whole range of companies around the world. From Queen Studios in China to Chilli Beans in Brazil, there’s suddenly an influx of Official Michael Jackson Products, and if you’re a collector – that’s great news!

The latest product is from the Spanish company called MINIX.

MINIX is a brand under the company “Toys and Humans SL,” which is based in Spain. The company specializes in designing and manufacturing of collectible figures, known for their high-quality designs and attention to detail. These figures are typically around 12 cm in height and are packaged in premium window boxes, making them highly collectible. There are also smaller 7 cm versions available in different formats, including keychains and multi-figure packs.

MINIX figures span a wide array of popular culture themes, including famous TV shows, movies, anime, and even football players. The company has licensed characters from well-known franchises such as Stranger Things, The Witcher, Naruto, and has also created figures for top footballers like Lionel Messi and Kylian Mbappé. The brand has been quite successful, with over 4 million units sold worldwide​.

The figures are made from durable, high-quality materials, ensuring they are safe for all ages. This dedication to quality is evident in their rigorous safety and quality control processes. The company has been expanding its product lines by acquiring new licenses to create more figures​. And one of them is Michael Jackson!

We have already two of them ready to collect: “Thriller” and “Smooth Criminal”.

But what is the difference between MINIX and other companies? Believe it or not, one of the owners of MINIX actually met Michael Jackson and even organised a Birthday Event for one of Michael’s children.

Before working for MINIX, Dutch born Wibo Westdijk worked in the Toy industry for over 2 decades. His love for toys started in New York in early 2000’s at the FAO Schwarz toy store (yes, the same toy store that Tom Hanks dances on a dance-on piano in the movie BIG).

As Event manager in the store, he was responsible for many events there. But one day in 2001, the King of Pop himself called to organised a sleep-over Birthday party for one of his children.

Wibo recalls, “When Michael called, he did not have many requests, one was to have all the store windows to be blocked off, which was challenging, the second was no unnecessary staff to be present and all staff present should focus on the birthday party”.

“It was a fun night but more guests turned up so I had to find at the last minutes some sleeping bags. I went to the store where we purchased the first batch but I arrived just few minutes after closing time. I banged on the door and the lady opened the door and told me to come back tomorrow. I said, it is for now, it is really important. She said “I am sure, but come back tomorrow” and I told her: “It is for a very important person, the Birthday party is tonight. I need those sleeping bags… It’s for Michael Jackson” – She open the door and let me purchase the items.”

Wibo told us that the party was a success and that Michael was really fun and childlike. Children were everywhere and at one point, Michael was missing. After asking all the staff if they’d seen Michael, Wibo found him playing alone in the storage room with marbles. “Are you ok Michael? Wibo asked, “Shall we go back to the party?” Wibo recalls that Michael was deep in his thoughts and after a moment Michael said “Oh yes! The party! Let’s go!”

“Michael was a great and cool guy, we really had fun and I am so proud I did this event for him”

Originally the idea for MINIX was to make caricature football figurines to bring the personality of the heroes to life, but due to the success the company decided to grow the portfolio with iconic figures from the past and present and they managed to get the licence for Michael Jackson.

Living now in Paris, France, Wibo told us that he wanted to do more Michael Jackson figures and hopefully we will have a full range of them soon. Having this link between MINIX and Michael is so special, especially for us the fans, there is a connection between the product and Michael directly unlike some items we saw popping in this year, like TUD (The Ugly Duck… literally).

Don’t wait too long to grab the first Michael Jackson MINIX Thriller edition—it’s a collector’s item that’s finally affordable for everyone. MINIX is listening to the fans, so get ready for a special figurine in 2025 to celebrate a unique anniversary… but I won’t reveal any more details just yet!

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$2 Billion in Ticket Sales for the Michael Jackson Estate

By: Admin Team September 6, 2024

I hesitated to write this piece for a few days, unsure of how to approach a subject that leaves me with mixed feelings. It’s been widely reported that the Michael Jackson Estate has surpassed $2 billion in global ticket sales across their various projects. Over the past 12 years, John Branca, the estate’s co-executor, has orchestrated deals that have generated an astounding $2.5 billion. These ventures include high-profile successes like “Michael Jackson’s THIS IS IT,” the highest-grossing concert film ever; “MJ The Musical,” a Broadway sensation with four Tony Awards, now captivating audiences across North America, London’s West End, and soon in Hamburg and Australia; “Michael Jackson THE IMMORTAL WORLD TOUR,” ranked among the top 10 touring shows of all time; and “Michael Jackson ONE,” Las Vegas’ premier show.

Financial experts and the media have praised Branca for pulling the Estate out of debt and generating massive revenue. There’s no denying his talent for negotiating deals under the Michael Jackson brand. But let’s be honest: all of this was possible because of the immense talent and legacy of the King of Pop himself. The ticket sales, music sales, and lucrative contracts weren’t just because of savvy business maneuvers — they were fueled by the extraordinary artist that was Michael Jackson.

As someone with a Master’s degree in Business, I understand why experts commend Branca and the Estate for their financial management. I get it — their goal is to grow, develop, and ultimately, make money. But as a fan, I see many gray areas in the deals and projects the Estate has pursued, such as the controversial “Michael” album, the sale of Neverland Ranch, the sale of the ATV Catalog, certain products they’ve released, and most recently, the sale of half of Michael’s music catalog to Sony for $600 million. As fans, we know how much Michael valued owning music catalogs, especially his own. I fully supported Katherine Jackson’s attempt to stop this latest sale, so it felt like a real slap in the face to hear it was going ahead regardless.

What disturbs me even more is seeing some fans happily sharing articles praising Branca and the Estate, as if all is well. Don’t get me wrong — I respect everyone’s opinions. But as a Michael Jackson fan, I find it hard to understand this blind approval, especially when these same fans have repeatedly told us to “stick to the facts” since 2019. Did we not all watch the same Michael Jackson interviews where he passionately talked about his music? Did we not rally against anyone who publicly slandered him? Why does Lynn Nottage get a free pass? Why aren’t we angry at Branca for selling MIJAC? Why are some of us willing to cross moral lines just to gain recognition from the Estate? They are not Michael Jackson — so what’s the point?

I know the fan community is deeply divided regarding the Estate, but if we all ask ourselves the right questions and reflect on our moral compass, shouldn’t we arrive at the same conclusion?

With the upcoming biopic and the musical’s expansion into Germany and Australia, the sales figures will only continue to rise. It seems the Estate is focusing its efforts on appealing to the general public, rewriting HIS story to fit their narrative, while forgetting the fans who have been there from the start. A glaring example is the annual Las Vegas Birthday celebration, which has become a complete joke. Fewer and fewer fans are showing up, and those who do are often just there to curry favor with Branca and Langford. The event has turned into a Karen Langford show, with no consistency or thought put into the organization, offensively neglecting both the fans present and Michael’s own memory.

And let’s not forget: Branca takes a cut from every single deal he makes for the Estate. That should give you a sense of the gravity of the situation. What also concerns me is that Michael’s son, Prince Jackson, seems to be spending a lot of time with the Estate. I can only hope he is learning what to do — and more importantly, what not to do — in the name of his father’s legacy.

But here’s the headline: over $2 billion in ticket sales! Congratulations… MICHAEL JACKSON!

This is the end of an era for us Michael Jackson Fans. Sony/ATV Music Publishing has rebranded to Sony Music Publishing, returning to its original name after 25 years. The rebrand comes with a new logo and mission statement which, according to a statement, “further aligns the business with Sony’s powerful entertainment brands”. “The central visual of the new brand identity is a refreshed logo, which is designed as an abstraction of sound waves – with resonance and vibrations that express infinitely expanding opportunities for songwriters. Complementing the symbol, the Sony Music Publishing ethos is ‘every voice matters’, elevating the vision and goals of songwriters,” the statement said.

Sony Music Publishing merged with the Michael Jackson-owned ATV Music in 1995. Jackson had acquired ATV in 1985, and by extension the Northern Songs catalogue which included the rights to songs written by John Lennon and Paul McCartney during their time with The Beatles. Sony acquired the Jackson estate’s share of Sony/ATV in 2016, making it a wholly-owned Sony company.

The rebrand was driven by Sony Music Publishing CEO Jon Platt.

“Since its inception, Sony Music Publishing has supported the careers of songwriters and continues to defend their rights,” Platt said.

“Returning to the Sony Music Publishing name reconnects us to our legacy and further unifies our mission and culture with the Sony Corporation. Our new brand embodies a modern vision to be an authentic reflection of the music and songwriters we represent.”

Sony Music Publishing’s catalogue includes artists such as Michael Jackson, The Beatles, Queen, Carole King, Ed Sheeran, Beyoncé, Lady Gaga and Kanye West, among others.

Related articles: Inside Sony/ATV’s Buyout of Michael Jackson’s Estate And Why They Cashed Out / European Regulators Said to Greenlight Sony/ATV Deal