Como Usar O Spotify Codes Para Compartilhar Sua Música

How to use Spotify Codes to share your music

Spotify rolls out a cool feature that makes it easier for you to get fans listening to your music on the streaming platform.

Just the other day I was thinking about a solo touring scenario where I’d need to travel light, real light — like one-change-of-clothes and no-merch light.

That got me wondering about the best way to ask people in the audience to access my music on their preferred streaming service. Spotify might’ve just introduced a solution: Spotify Codes, “a brand new way for users to share any track, artist, album, or playlist available on Spotify, as easily as taking a picture.”

Think of it like the Spotify equivalent of a QR code that your fans can scan on their phones to quickly access your tracks, albums, or playlists. Spotify Codes are now available worldwide for Android and iOS.

There are probably dozens of good uses for these codes, but here’s a basic list of options:

1. Bring some prominence to your playists

Playlists aren’t always as easily searchable on Spotify as artists, albums, and song titles. Sometimes playlists won’t appear in a search at all until they have a certain amount of followers. That means that someone would have to go to your artist discography page on Spotify first, then scroll down to see what playlists you’re featuring on that page. Spotify Codes gives you a much simpler way to make sure fans are finding and following your playlists.

2. Share Spotify Codes on Instagram

Since Instagram makes it hard to link followers to external URLs, you can share a picture of your Spotify Code, ask fans to take a screenshot, and then they can link right to your music.

3. Display a Spotify Code at your merch booth (or from stage)

Tell the audience to take a picture of the code and they can blast your tunes in the car ride home.

4. Keep an image of your Spotify Codes in your camera roll

Then you’ll have an easy way to share your music when you’re face-to-face with someone who wants to check out your tunes. They can take out their phone, open up Spotify, and scan the image right off your screen.

5. Print a Spotify Code on your concert posters

And on your flyers, business cards, one-sheets, etc. If the artwork catches their attention, you might be able to entice them to start listening to your music right then and there.

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How to access and share a Spotify Code

• To find a Spotify Code, click on the ellipsis (“…”) next to the artist, song, album, or playlist you want to share.

• Once you do, the code will appear at the bottom of the artwork.

• Click on the artwork with the code.
• Save the image to your camera roll by clicking “Save to Photos.”

• Share away!
• Be sure to tell your fans that all they need to do is open Spotify and find the camera icon (located next to the search bar).

Desert Trip Não Retornará Em 2017

Desert Trip Not Returning in 2017: Exclusive

Desert Trip, last year's epic classic rock festival headlined by The Rolling Stones, Paul McCartney and Roger Waters, will not be making a return in 2017, Goldenvoice's Paul Tollett has confirmed to Billboard.

"We're not doing Desert Trip this year," the L.A.-based concert promoter and Coachella founder tells Billboard. "We loved 2016 Desert Trip -- that was a special moment in time. Maybe someday in the future we'll do something similar."

The decision not to stage the event in 2017 puts to rest months of speculation about the future of Desert Trip, which grossed a staggering $160 million over two weekends in October 2016 and included performances by Bob Dylan, Neil Youngand The Who. The classic rock festival was held at the Empire Polo Club in Indio, California -- the same site as the annual Coachella and Stagecoach festivals -- and attracted 75,000 people per weekend with tickets ranging in price from $399 to $1,599.

Many music fans had been hoping for a Led Zeppelin reunion in 2017, potentially as headliners for Desert Trip. Buzz about a possible reunion hit a crescendo last week, thanks in part to a cryptic message on singer Robert Plant’s website that simply read, "Any time now..." But sources said that clue more likely alluded to a musical release.

The Indio festival would be an obvious place to stage what would have been the biggest reunion in rock history, and while a concert with John Paul Jones, Jimmy Page and Plant would have been the ultimate get for any concert promoter, the three won't be reunited for Desert Trip -- at least not in 2017.

As for Tollett, he still has plenty on his plate to keep busy for the rest of the year. After wrapping the largest-attended Coachella weekend ever with 125,000 fans in attendance each weekend, followed by Stagecoach, Tollett's next big event is the Arroyo Seco Weekend in Pasadena, California, June 24-25, headlined by Tom Petty and the Heartbreakers and Mumford & Sons. He's also co-producing the Monterey International Pop Festival's 50th-anniversary show with co-founder Lou Adler and Another Planet Entertainment, June 16-18.

Sony Libera A Trilha Sonora De Spider-Man

Sony Masterworks to Release ‘Spider-Man: Homecoming’ Soundtrack

Sony Masterworks will release the official soundtrack album for the comic book movie Spider-Man: Homecoming. The album features the film’s original music composed by Michael Giacchino (Up, The Incredibles, Star Trek, Jurassic World, Doctor Strange, Inside Out). The soundtrack will be released on July 7, 2017 and is now available for pre-order on Amazon. Check back on this page for the full album details. Spider-Man: Homecoming is directed by Jon Watts and stars Tom Holland, Michael Keaton, Zendaya, Jon Favreau, Donald Glover, Tyne Daly, Marisa Tomei and Robert Downey Jr. The movie will be released nationwide on July 7 by Sony Pictures. Visit the official movie website for updates.

Os Computadores Irão Controlar A Indústria Da Música?

Will Computers Soon Control The Music Industry?

First of all thanks to Erin M. Jacobson for this article.

Today’s hot topics in the music industry are more about data and payments than sex, drugs, and rock ‘n’ roll. As previously discussed, payments to musicians, songwriters, and the companies that represent them are unfairly low. Aside from the rates, the other problem with getting paid fairly relies on the accuracy of the data relating to music.

Digital uses of music require various types of data embedded in and tied to digital music files – called metadata. Metadata includes data like the copyright owners of the compositions and master recordings, ISRC codes (unique identifying codes for master recordings), ISWC codes (unique identifying codes for compositions), performance rights organization affiliations, and other information. One large problem with current metadata within the industry is a problem of matching. Music publishers and record labels often need to match data so certain sound recordings are matched to the composition embodied within them, or that certain uses can be matched to the exact sound recording and composition used. However, there is not yet a good system in place for totally accurate matching, which means a lot of extra work for rights’ holders to identify uses of their works in order to collect the payments associated with those uses.

The other problem is the lack of correct metadata. Oftentimes, identifying correct metadata is like identifying the correct message in a game of telephone. Between the publishers, labels, distributors, and other involved entities, metadata that may have been correct at the beginning of the chain is often incorrect by the time it reaches a stage of usage, resulting in incorrectly identified (or unidentified) owners who don’t receive payments because it is unclear who to pay.

Metadata is often incorrect for several reasons: (1) human error of employees incorrectly inputting data, and (2) lack of communication stemming from either rights’ owners not being clear on their shares of ownership or co-owners not sharing ownership information, (3) companies that have been sold or gone out of business with no clear successor, and (4) people who claim ownership of shares to which they do not actually have rights. In addition, many rights owners (often songwriters) do not want their ownership shares made public because they feel the ease of third parties figuring out what they earn will decrease their bargaining power.

There has been a longstanding argument within the music industry for the need for a centralized database containing all relevant ownership information for all songs. There was an initiative to create the Global Repertoire Database (GRD) to solve this problem, however, the initiative failed reportedly due to companies not providing their data, side initiatives focused on mini-GRD projects, and lack of funding. Although the GRD failed, there are other possible alternatives. CISAC, which is a worldwide collective society of author organizations, supports CIS-NET, a global network of ownership information powered by Fastrack. CIS-NET will be available to CISAC member societies, but not the general public or digital service providers.

Significant attention has been focused on using Blockchain technology to create an open database that is not governed by any one body and can be contributed to by multiple sources. This is a similar principle to the Wikipedia model. The advantages of using Blockchain technology for a centralised music rights database include: the data on the platform is encrypted and run across multiple computers making it difficult to hack; its Bitcoin protocol supports micropayment amounts, making it easier for rights owners to receive that $0.0007 payment and receive it directly; and its decentralized nature allow for rights’ owners to correct information on the rights they own.

However, in my opinion, there needs to be a centralized body to oversee the database to protect against bogus claims and try to discern correct data when inconsistencies are present. Further, while it is great that Blockchain technology can pay artists and writers directly, the technology needs to be implemented in such a way that representatives of rights’ owners like performance rights organisations, music publishers, record labels, attorneys, etc. are not circumvented, as those representatives are essential to handling important business functions for artists and rights’ owners who need to spend their time creating instead of drowning in the minutiae of administration.

The music industry needs a central database with correct information, splits, metadata, etc., both for cohesiveness within the industry and for information transparency to increase the efficiency and reliability of receiving payments. While Blockchain puts forth some real advantages, there is one element that Blockchain or any other database will never have – the human element. The music business is a business of relationships, a business run by people who manage and guard the rights of the music. Therefore, we can only achieve a winning proposition if the business can implement the technology in a way that supports the structure of and the people within the music business.

Kaaboo Está Mudando O Modelo Dos Festivais De Música

Kaaboo is Breaking the Mold of Music Festivals

First of all thanks to Brad Auerbach for this article.

We have explored in this column the explosive growth in the live event and festival sector.

Certain festivals, by dint of longevity have established a brand identity. If you are aware of music festivals, for instance, you know what Coachella or Glastonbury means.

But for newer festivals looking to gain a toehold in the market, it can be difficult to garner a share of mind (and share of wallet).

(courtesy of Kaaboo)

Sunset Cliffs - Kaaboo

Kaaboo is in its third year, and the producers recently announced the impressive lineup for its September dates in Del Mar, California. I spoke recently with two executives behind Kaaboo, and each offer intriguing insights.

I first met Bryan Gordon weeks before the inaugural Kaaboo. He is an of investment manager, venture capitalist and the brain child of Kaaboo. More recently, he discussed how he and his team are “architecting their model in the live event business and overcoming the pre-conceived notions of how it is done.”

Gordon spoke about integrating technology to improve the experience of attending the event. The technology is dropping in price and improving in efficiency, a delight shared in most other sectors. Nonetheless, Gordon believes there is room for improvement, as certain technologies address a slice of the challenge, but there is no holistic solution. He and his team are always seeking better tools.

Kaaboo is establishing itself as something far more than a music festival. With Gordon’s background in the hospitality business, he has placed a strong focus on the customer experience. Hence, in addition to great music, Kaaboo offers comedy, art, food and more. Much of Kaaboo is rooted in these passions Gordon pursues; his family was in the imported fine food business. “This year’s culinary program will be a big step forward, in terms of quality and inventiveness. It is a defining element of Kaaboo. We are putting more energy into that aspect,” Gordon stated. “We are very excited about our culinary program, we want it to be good and healthy. Just because the event is in a large venue does not preclude serving good healthy food.”

(Photo by C Flanigan/WireImage for Kaaboo Del Mar via imageSPACE)

Last year's Rock'N Chef Competition at the LOCALE stage during the 2016 KAABOO.

We both chuckled at the irony of the San Diego County Fair being on the same site months earlier; like most county fairs the big news is what range of fried food will be on offer…last year it was a deep fried Snickers bar.

Gordon recognizes that a festival can be somewhat of an endurance test of 8-10 hours per day over three days, “But there is no need to feel like crap from bad food. We want you to feel better than when you arrived. You are taking time to get away by attending. Wellness step one is to de-stress. Music helps, comedy and laughter and then healthy food and perhaps a massage. You don’t have to come out haggard, you should come out upbeat.”

That prompted an obvious comparison to the country’s granddaddy of music festivals, Woodstock. Gordon observed that Kaaboo “has many natural advantages in Del Mar, which weren’t available at Yasgur’s Farm.”

Gordon’s team consciously set up a vibe different from Coachella. Part of that effort is shared by Jason Felts. He is a co-founder with Richard Branson and Justin Befield of Virgin Produced, and is the CEO of Virgin Produced.

Felts told me he is a connoisseur of music festivals, having seen just about every festival that has been around for more than a year.

His folks live in Del Mar, and in a turnaround they invited him to Kaaboo. After attending last year, Felts cold-called Gordon, and the pair began discovering their shared vision. Now Felts also acts as Kaaboo’s Chief Brand and Marketing Officer. “Although the two brands of Virgin and Kaaboo were birthed by two fathers, they seem to have the same father,” observed Felts.

Felts described how they are flipping the script, he considers Kaaboo an anti-festival. “It is multi-generational, with no barrier of entry. Although the core thread is music, we offer comedy, a fine culinary palette, art, a Vegas style club, an after-hours club. Kabob lives up to something for everyone, and all elements are elevated.”

(Photo by Brian Spady/WireImage for KAABOO Del Mar via imageSPACE)

At the inaugural Kaaboo.

(Photo by C Flanigan/WireImage for Kaaboo Del Mar via imageSPACE)

The Indulgences Experience during the 2016 KAABOO.

Richard Branson also speaks highly of Kaaboo:

Having recently shared the exciting revamp of V Festival, I’m pleased to be bringing back the live music experience to the US with Virgin Produced’s partnership with KAABOO Del Mar in San Diego. This event isn’t just for your typical festival-goer, at KAABOO, guests are immersed not just in world-class music, but comedy, cutting edge contemporary art (my favorite is Ron Wood), delicious cuisine and luxury hospitality – even flushing loos! I love how KAABOO is built around customer service and hospitality, a premise we hold dear at Virgin.

(photo courtesy Richard Branson)

Richard Branson enjoys the crowd

Felts and the Kaaboo team believe they are shifting the live entertainment paradigm. When I asked him about their biggest challenges, he said, “One of the larger challenges is educating people that Kaaboo is different. Also, encouraging people to take in all parts of Kaaboo beyond the great music lineup. If you peel back the onion and walk into every door, tent, stage area, all our diverse elements are available. The art of discovery will reveal new foods, wines, massages, and immersive experiences.”

He assured me that you won’t ever go to Kaaboo and see all elements the same as before.

Amazon Entra No Live Music Começando Com Blondie Em Londres

Amazon moves into UK live music starting with Blondie London gig

US digital giant to expand music strategy with Prime Live Events, in latest move to attract subscribers

Amazon is moving into the live music business in the UK, running and promoting its own gigs starting with Blondie later this month.

Amazon, which started selling tickets for shows, gigs and events for the first time two years ago, is once again using the UK to expand its music strategy with the launch of a new business called Prime Live Events.

The US digital giant is using live gigs, which industry body UK Music says are worth about £1bn a year to the economy, as the latest sweetener to attract customers to its Amazon Prime subscription service.

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The company is putting on gigs featuring major artists in smaller, intimate locations for subscribers, who pay £79 a year or £7.99 a month for services including online video and one-hour and same-day delivery of a wide range of products.

First up is Blondie, who will be playing at the Round Chapel in Hackney, London, on 23 May, in a gig taking place 40 years to the week since the US band first played in the UK in Bournemouth. 

“We are excited to be performing at the first Prime Live Event marking 40 years since our first gig in the UK,” said Blondie’s lead singer, Debbie Harry. “The Round Chapel is an intimately warm and beautiful room allowing our fans to get up close and personal.” 

Blondie will be followed by Alison Moyet on 12 June, also at the 750-capacity Round Chapel, which will include a pre-gig Q&A session; Texas will play on 16 June at the Porchester Hall and Katie Melua will play in 25 and 26 July at Cadogan Hall.

Each event will also be shown exclusively on Prime Video, Amazon’s international film and TV service, globally.

For Amazon, it is the latest initiative to try and make its subscription service as appealing as possible to existing customers and attract new subscribers.

Amazon’s most high-profile move to boost its appeal was to launch its own video service, competing against Netflix and traditional broadcasters, as part of its Prime subscription service.

The company, which is estimated to spend more than $3bn on film and TV content annually, has invested huge sums in shows including The Grand Tour, the motoring show from ex-Top Gear presenters Jeremy Clarkson, James May and Richard Hammond, and critically acclaimed fare such as Transparent, Mozart in the Jungle and the freshly launched American Gods.

Sign up to the new-look Media Briefing: bigger, better, brighter

 

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Other content available through the subscription service, which at £7.99 a month costs the same as Netflix which offers just TV and film, includes 2m songs and one free Kindle book a month.

Amazon is secretive about the numbers of Amazon Prime members, and therefore whether its huge investment in extra services is paying off, but analysts at Ampere estimate that there are about 5 million Amazon Prime subscribers in the UK. It is thought to have almost 4 million users of its video service.

Globally, IHS Markit estimates that Amazon has 75 million to 80 million subscribers to Prime, with almost 50 million of those in its home market the US, with perhaps 30 million using its video service.

“The expectation is that video is driving the overall Prime subscription base,” said Tom Morrod, analyst at IHS Markit, who expects Amazon to hit 40 million video users by the end of 2017.

Earlier this year Amazon’s founder, Jeff Bezos, was named in Billboard magazine’s top 100 list of the most powerful people in the music industry, driven by the potential for Alexa, its voice-operated “personal assistant”.

Last year, Amazon UK ran pilots of its new live gig strategy featuring Robbie Williams and John Legend.

Entrevista De Jack White Para CBS Sobre Third Man Records

Jack White Takes 'CBS This Morning' Inside Third Man Records: Watch

Jack White’s Third Man Records just released Forever And Then Some, the debut solo album from White’s touring fiddler Lillie Mae.

And before she performed on CBS This Morning’s "Saturday Sessions", White welcomed co-anchor Anthony Mason into his Third Man empire for an interview and a tour of the label’s Nashville and Detroit facilities. Watch him discuss his love of vinyl and the history of Third Man below.