The app, like its counterparts on Android, iOS, BlackBerry and Windows Phone, will allow users to download purchase and download music from the company’s 25 million track catalogue. It’ll also allow streaming of purchased songs stored in your 7Digital locker. Pricing of the music remains the same whichever platform you’re accessing it from, 7Digital said.
Spotify's acquisition of the Echo Nest signals the growing importance of data in the music business as context becomes king in a world of virtually
Last Week's Most Read Posts On Hypebot bit.ly/1cMF9oa
The sound of music is drawing Bill Thomas back to the union world. The veteran AFTRA and SAG-AFTRA executive, who retired from the merged union’s staff in 2012, has been appointed assistant to the president and Electronic Media Services Division (EMSD) director, joining the AFM’s West Coast office as a senior staffer.
“Bill Thomas brings years of accomplished, result-oriented media relations experience to the table and I bid him a hearty welcome to our team,” said AFM president Ray Hair. “As we transition toward a more open, action-oriented organizing approach to the problems faced by professional musicians in the world of global media, I believe Thomas is the right person, at the right time, to direct the Electronic Media Services Division of American Federation of Musicians.”
REWIND: The New Music Industry's Week In Review bit.ly/PczSB9
Getting It Done: The Week In D.I.Y. & Indie Music bit.ly/1incLAM
10 Reminders For SXSW Before You Enter The Abyss bit.ly/P8TMgx
“Beauty is everywhere in Brazil,” intones singer-songwriter Seu Jorge, the funky samba stylist best known in the States for playing versions of David Bowie songs in Wes Anderson’s movie “The Life Aquatic With Steve Zissou.” Sounding like a Brazilian Barry White, Jorge, speaking English-subtitled Portuguese, narrates a new spot that starts airing Tuesday (March 4) on 2014 World Cup network ESPN, 100 days before the FIFA tournament begins in Sao Paulo.
MusicThinkTank Weekly Recap: 4 Amazing Mobile Apps for Musicians and Composers & More bit.ly/1cjz9Z7 #music #musicians
Lady Gaga To Keynote SXSW 2014 bit.ly/1nw1QU6
Spotify Said to Seek Credit Facility in Step Toward IPO
For many years, we've highlighted how copyright maximalists have abused the international trade process to expand copyright monopolies around the globe. If you're interested in the history there, I highly recommend the book Information Feudalism: Who Owns the Knowledge Economy?, which details much of the history. Defenders of this policy love to pretend that international trade agreements can't bind US law, but reality is quite different. Time and time again, we've seen maximalists use international agreements to get their way either in ratcheting up copyright law even further, or pressuring courts into certain positions. This is one of the reasons (one of many) that we're so concerned about new agreements like the TPP and TTIP/TAFTA. Even if the USTR claims (incorrectly) that nothing in them goes beyond US law today, they can not only limit the changes Congress can make to copyright and patent law, but these issues can show up in court cases, potentially hindering innovation.
Here's a perfect example. We've been covering the Aereo case for quite some time, and as the Supreme Court prepares to hear the case in April, a bunch of international music organizations, led by the IFPI (basically the international version of the RIAA), have filed an amicus brief that pretty clearly says that the Supreme Court has to rule against Aereo because of existing international trade agreements that the US has signed. No joke. The brief directly claims that the appeals court ruling that found in favor of Aereo "places the United States in violation of its multilateral treaty commitments," as well as "its bilateral and regional agreements," and further that the Supreme Court has a duty to find against Aereo in order to respect the US's "treaty commitments."
For PolyFauna, we were approached by Radiohead's Thom Yorke and Stanley Donwood, the band's long-time visual collaborator, after they had seen our Super-Computer-Romantics show at La Gaite Lyrique in Paris, and our website and sleeve work for Warp Records.
They had a very clear but open idea of what they wanted: to go beyond a linear music video and build an app that is an immersive, ever-changing world. The app would be made by exploring the music from studio sessions of Radiohead's last album, King of Limbs, and Stanley's organic pen and ink drawings.
In its second week back, NBC’s “The Voice” retained nearly all of its premiere-night audience Monday, teaming with “The Blacklist” to sweep the night’s half-hours in key demos. The night also saw upticks for a trio of CBS comedies, Fox’s “The Following” and CW’s “Star-Crossed.”
According to preliminary national estimates from Nielsen, “The Voice” averaged a 4.5 rating/12 share in adults 18-49 and 15.7 million viewers overall from 8 to 10 p.m., down just slightly from the 4.7 and 15.9 million viewers of its week-earlier season premiere; it’s the second highest 18-49 rating for a Monday telecast of the show since Oct. 14 (behind only last week). It fended off CBS’ “How I Met Your Mother,” winning by 2 shares in 18-49, but no other program came within 6 shares of the music contest from 8:30 to 10.
Lucian Grainge has a vision for the future of the music business that bears scant resemblance to the traditional record company playbook.
He is putting songs on smartphones in Africa, reviving moribund American record labels and making Lorde into a Grammy-winning global sensation. Above all, he wants to forge new partnerships with his industry's erstwhile adversaries — the technology firms that have upended the way people get their music.
Skeptics question whether anyone can reverse the decline of an industry that has seen global sales plummet from $28 billion in 1999 to $16.5 billion in 2012. But if anyone can save the music business, it might be Grainge. As chairman of Universal Music Group, the biggest of the three remaining major record companies, few rival his influence in determining how people will listen to music, and how they will pay for it.
“We want to enable straight playback from Spotify on other services,” CEO Daniel Ek tells me. It’s part of why his company just acquired The Echo Nest, the top music personalization and discovery API in the industry. “We’ve both invested in platform approaches to music,” EchoNest’s CEO Jim Lucchese explains. ”To combine those creates such a cool opportunity for developers anywhere that music lives.”
In a joint interview with the two CEOS, Ek tells me the acquisition was a natural fit. “We have a long relationship with the guys at Echo Nest that stems back to 2007 before Spotify was even launched as a service publicly. We’ve been working together for a few years. We look at the world in the same way.” Their mutual mission? “Getting people to listen to even more music” Ek says. “It was pretty clear that the best way to do that was to be one company and not two separate ones.”
the Windish Agency
We have 121 artists at SXSW this year. The bulk are playing Music, but we have them at all three sections of the conference. To prepare? I meditate for hours, days, weeks ahead of time. I haven’t had any alcohol for the entire year. I don’t recommend that for everyone, but I find doing South By sober is a completely different experience. You’re having all these different conversations with bands and other people in the industry and it helps to just have a clear head. Plus you remember a lot more!
LiveNation Labs Acquires YourTrove bit.ly/1gfDBDK
RECESS Announces Mark Cuban Led Seed Funding and Spring College Tour bit.ly/1noauE7
Lady Gaga is heading to South By Southwest after all.
After reports last week that the singer was denied a permit to perform at the Doritos 56-foot vending machine-shaped #BoldStage on the corner of Austin’s 5th and Red River Streets, the “Artpop” singer is set to headline the outdoor stage at Stubb’s on March 13, which will become the temporary home of the #BoldStage that night.
The performance will be intimate by modern Gaga standards. Stubb’s has an average capacity of 2,200, while Gaga can fill arenas with crowds upwards of 18,000, so gaining entrance will be particularly tricky. That’s why Gaga and Doritos are tasking fans with performing a series of outlandish challenges, or “Bold Missions,” set to be revealed on Doritos.com (and Doritos’ social pages) in the days leading up to the March 13 performance. In a YouTube video unveiling the campaign that debuted Thursday morning, Gaga announced the first Bold Mission.
Watch NME's short film about Blondie. To celebrate 40 years of the superstars we chart Debbie Harry and the band's career, from the early days of CBGBs, 'Parallel Lines' & the ground-breaking 'Rapture' to the 'Maria' comeback and present day.
Read more at http://www.nme.com/nme-video/the-story-of-blondie---an-nme-retrospective/3307101350001?curator=MediaREDEF#mXwc18bohCCW5Zx6.99
Ignoring broadcaster complaints, Federal Communications Commission Chairman Tom Wheeler is moving forward with plans to heavily restrict TV station owners’ ability to jointly manage multiple stations in smaller markets.
Regulators are expected to approve new rules later this month that would sharply curtail the use of “joint sales agreements,” which have become a popular broadcaster method of skirting national ownership limits, that restrict companies from owning more than one major station in a market.
Broadcasters currently operating stations under the sales agreements would be required to unwind those deals within two years, FCC officials said Thursday. Stations could ask for waivers, but those would be considered on a case-by-case basis.
Spotify Signals IPO, Seeks New Credit Line bit.ly/1ghDibu
Stageit To Livecast Immunity Fest In Support Of HIV/AIDS Vaccine Research bit.ly/1gfhlKb
A Preview Of SXSW 2014 Accelerator Music Finalists bit.ly/P8ZGy7
Once, all you needed to succeed in the music business were a pair of golden ears and some hustle. Now, it also takes mountains of data.
That is the thinking behind a string of recent music technology deals, including Spotify’s announcement on Thursday that it had bought the Echo Nest, a company that analyzes music consumption patterns and was founded by computer scientists from M.I.T.
With the industry turning digital, music companies can now understand their customers’ listening habits in greater depth than ever before, which has led to fierce competition over access to data. Over the last month, Warner Music formed a partnership with the popular music-identification app Shazam and the music mogul Lyor Cohen teamed up with Twitter. Both of those deals centered on the ability of social media to point the way to the next big hit.
Daniel Ek, chief executive of Spotify, said that the Echo Nest acquisition would help his company “improve the customer experience” by giving its 24 million users better suggestions about what songs to listen to. The deal also gives Spotify a programming advantage in the competitive market for monthly subscription streaming services, which also includes Rdio, Rhapsody and Beats Music. (Spotify also has a free version, with advertising.)