Spotify Está Permitindo As Gravadoras Paguem Para Promover Músicas No Playlist Dos Usuários

Spotify is letting record labels pay to promote songs in users' playlists

Spotify has launched a new ad format called sponsored songs which lets labels pay to promote songs and have them appear in users' playlists.

The songs don't appear amongst your music, but instead are featured at the top of playlists.

TechCrunch spotted the new ad format, and Spotify told the site that sponsored songs are "a product test for labels to promote singles on the free tier."

Here's what sponsored songs look like:

It's possible to opt out of seeing these kind of adverts on Spotify: Go to "display options" and turn off the option titled "show sponsored songs." It's on by default, as Chris Messina spotted on Twitter.

Messina was using Spotify Premium and saw the option to disable the ads — but the ads only show up on Spotify's free, ad-supported tier.

Como Os Principais Compositores De Filmes Gerenciam As Restrições Passadas Da Criatividade Sob Demanda

How Film’s Top Composers Push Past Constraints Of On-Demand Creativity

The doc “Score” explores film’s intrinsic connection to music and pulls the veil back on the creative processes of the best composers in the business.

From “SCORE: A Film Music Documentary”, featuring the film American Beauty,

There’s a scene in director Matt Schrader’s documentary, Score, where film composer Joe Kraemer lays out a frank truth: “When you’re a film composer, part of the gig is you’re giving the director and the producers the music they want. But at the end of the day, if they don’t like it, it’s not in the movie.”


Film composers navigate in a space where their creativity is on consignment–their duty is to tailor their artistry to fit a vision that isn’t their own. In addition to exploring the human body’s physiological responses to music and digging into the history of film scores, Schrader’s doc also touches on the creative process of some of film’s top composers and how they work through some of their most challenging work. Below, three of the composers featured in the film expand on their methods, dealing with writer’s block, and what they would change in their industry.

WHAT HAS BEING A COMPOSER TAUGHT YOU ABOUT THE CREATIVE PROCESS?

Marco Beltrami (Logan, The Hurt Locker, Scream): “If I’m working on a movie, I don’t try to work at a particular scene. I try to get the overall feel of what it is–the emotional heart of what it is. Sometimes it’s a sequence of notes that come to mind; sometimes it may be a harmony. Sometimes it’s even just a sound that will be a starting point for me that I can expand on. The creative process, it sounds very elusive but you have to be able to tap into it on-demand. And that is often a scary thing because I don’t fully understand the process of inspiration and developing ideas. You work at a problem and sometimes nothing happens. But then, out of the blue, when you’re not thinking about it, you solve it. But the people that hire you don’t want to hear about that–they just want the results.”

John Debney (The Jungle Book, Iron Man 2, Sin City): “For me, one of the biggest challenges is just to start the process. I’ve learned over the years to not think too much about it–I sit down and let the creativity flow through. That has served me well because the creative process gets difficult when I’m overthinking when I’m trying to intellectualize too much about some emotional piece of music I’ve got to write. So I always try to take my ego out of the process and just write. And I bet there are a lot of other artists that would agree with that, to get out of your own way.”

Composer John Debney and director Garry Marshall behind the scenes of “SCORE: A FILM MUSIC DOCUMENTARY” [Photo: courtesy of Gravitas Ventures]

HOW DO YOU GET OVER WRITER’S BLOCK?

John Debney: “It’s trial and error trial–you can’t be afraid to do a piece of music 20 times before you get it. Part of that is divorcing yourself from it and realizing that you’re servicing the movie–you’re servicing the director’s vision. But I work best when there’s the pressure of having something done at a certain time. For whatever reason, that spurs me into activity. So let’s I’m working on a film that I know I have to have done by a certain date–I break it down and I force myself to sit at my keyboard and do four minutes a day or five minutes a day, whatever the math is that would then enable me to have a completed score by a certain date. Part of it is trusting yourself and pushing through.”

Composer Harry Gregson Williams behind the scenes of “SCORE: A FILM MUSIC DOCUMENTARY” [Photo: courtesy of Gravitas Ventures]

WHAT’S MISSING FROM YOUR FIELD AS A FILM COMPOSER?

Brian Tyler (The Mummy, The Fate of the Furious, Now You See Me): “Something I’m a big proponent of is knocking down the borders of music genres–I’m someone that really loves to blur the lines. I find that people get in their lane and they’re afraid to embrace things that are unfamiliar, and my mantra is to love the unfamiliar. There are people around the world that love every type of music and there’s a reason for that: They’re all legit. But you have to really dive in and not just give it lip service but really learn about it and love it and incorporate that into your arsenal. It’s a good tool that’s often overlooked.”

John Debney: “If somebody gave me a magic wand, I would just try to get a little more time on some of these films. The longer I’m on a show or film it always seems to make my work better because I have more time to make a mistake or fail. My friend [director] Jon Favreau, what I love most about him is we’ll start working together and he’s not afraid of me failing. In fact, he wants me to fail because then we can discover something together and then get to the spot that’s right for the film.”


Marco Beltrami: “The fact that it’s so easy to edit and change both movies and music is something I think has caused some of the creative process to suffer a bit. By doing mock-ups of everything, you’re not allowing for some of the performance creativity that happens, some of the magic that used to happen when you’re out there working with the orchestra. Oftentimes you’re not even recording the whole orchestra–you’re recording just the strings and just the brass and just the woodwinds. It becomes less and less musical and more and more a technical process. And that, to me, I don’t think is a good change. On the other hand, I think technology has opened the doors for a lot of people that have ideas and they don’t have a whole orchestra at their disposal. There’s a lot of room for experimentation with virtual instruments and creating sounds and coming up with your own idea of what music is.”

Venda De Albums De Trilhas Sonoras Cresce Acima De 31% Graças A 'Moana,' 'Trolls,' 'Guardians 2'

Soundtrack Album Sales Up 31 Percent in 2017, Thanks to 'Moana,' 'Trolls,' 'Guardians 2' & More

t’s been a banner year for soundtracks on the Billboard 200 chart following the success of top 10 efforts like La La Land, Moana and Fifty Shades Darker. In total, soundtrack albums have sold 4.58 million copies in 2017 (through the week ending June 8, according to Nielsen Music), up a big 31 percent compared to the same time frame a year ago (3.51 million).

To put that 4.58 million figure in perspective, soundtracks have sold more in 2017 than Latin albums (1.35 million) and Dance/Electronic albums (1.79 million) combined (3.14 million). In terms of overall sales among all genres of music, total album sales stand at 72.54 million in 2017 – down 19 percent year-to-date.

Further, of the top 20 selling albums in 2017, five are soundtracks, led by Moana(the year’s No. 4 seller with 457,000), Trolls (No. 7; 342,000), Beauty and the Beast (No. 9; 311,000) and Guardians of the Galaxy, Vol. 2: Awesome Mix Vol. 2(No. 10; 300,000). In the same span of time in 2016, there was just one soundtrack among the top 20 sellers: Prince and the Revolution’s Purple Rain(No. 5, with 542,000), which saw a surge of sales following Prince’s death on April 21, 2016.

On the latest Billboard 200 chart (dated June 24), soundtracks continue to sizzle, as Cartoon Network’s Steven Universe, Volume 1 bows at No. 22 on the Billboard 200 (22,000 units; 18,000 in album sales) and at No. 2 on the Soundtracks chart.

On the former tally, it’s the third TV soundtrack to debut in the top 40 in 2017, following The Bob’s Burger’s Music Album (No. 21 on the June 3 chart) and Big Little Lies (No. 23, April 22). Including Steven Universe, there have been 17 soundtracks that have reached the top 40 in 2017 (including debuts and titles that carried over from 2016, or those that returned to the tally after a longer absence). Comparably, in the same span of time in 2016 (from Jan. 1 through June 25) there were just 10 soundtracks that ranked among the top 40.

De "Bleeps" Do Pong e do Super Mario As Músicas No Vídeo Game

From Bleeps of 'Pong' and 'Mario,' Video Game Music Comes of Age

The electronic bleeps and squawks of "Tetris," ''Donkey Kong" and other generation-shaping games that you may never have thought of as musical are increasingly likely to be playing at a philharmonic concert hall near you.

From the "ping ... ping" of Atari's 1972 ground-breaking paddle game "Pong," the sounds, infectious ditties and, with time, fully-formed orchestral scores that are an essential part of the sensory thrill for gamers have formed a musical universe. With its own culture, sub-cultures and fans, game music now thrives alone, free from the consoles from which it came.

When audiences pack the Philharmonie de Paris' concert halls this weekend to soak in the sounds of a chamber orchestra and the London Symphony Orchestra performing game music and an homage to one of the industry's stars, "Final Fantasy" Japanese composer Nobuo Uematsu, they will have no buttons to play with, no characters to control.

They're coming for the music and the nostalgia it triggers: of fun-filled hours spent on sofas with a Game Boy, Sonic the Hedgehog and the evergreen Mario.

"When you're playing a game you are living that music every day and it just gets into your DNA," says Eimear Noone, the conductor of Friday's opening two-hour show of 17 titles, including "Zelda," ''Tomb Raider," ''Medal of Honor" and other favorites from the 1980s onward.

"When people hear those themes they are right back there. And people get really emotional about it. I mean REALLY emotional. It's incredible."

Dating the birth of game music depends on how one defines music. Game music scholars - yes, they exist - point to key milestones on the path to the surround-sound extravaganzas of games today.

The heartbeat-like bass thump of Taito's "Space Invaders" in 1978, which got ever faster as the aliens descended, caused sweaty palms and was habit-forming.

Namco's "Pac-Man," two years later, whetted appetites with an opening musical chirp . For fun, check out the 2013 remix by Dweezil Zappa, son of Frank, and game music composer Tommy Tallarico. Their take on the tune speaks to the sub-culture of remixing game music, with thousands of redos uploaded by fans to sites like ocremix.org - dedicated, it says, "to the appreciation and promotion of video game music as an art form."

Based on the Russian folk song "Korobeiniki," the music of the 1984 game "Tetris" has similarly undergone umpteen remixes - including "Tetris Meets Metal," with more than 2.2 million views on YouTube.

By 1985, the can't-not-tap-along-to-this theme of "Super Mario Bros.," the classic adventure of plumber Mario and his brother Luigi, was bringing fame for composer Koji Kondo, also known for his work on "Legend of Zelda." Both are on the bill for the "Retrogaming" concert in Paris. Kondo was the first person Nintendo hired specifically to compose music for its games, according to the 2013 book, "Music and Game."

Noone, known herself for musical work on "World of Warcraft," ''Overwatch" and other games, says the technological limitations of early consoles - tiny memories, rudimentary chips, crude sounds - forced composers "to distill their melodies down to the absolute kernels of what melodic content can be, because they had to program it note by note."

But simple often also means memorable. Think "da-da-da-duh" - the opening of Ludwig van Beethoven's Fifth Symphony.

"That is part of the reason why this music has a place in people's hearts and has survived," Noone says of game tunes. "It speaks to people."

She says game music is where movie music was 15 years ago: well on its way to being completely accepted.

"I predict that in 15 years' time it will be a main staple of the orchestral season," she says. "This is crazy to think of: Today, more young people are listening to orchestral music through the medium of their video game consoles than have ever listened to orchestral music."

She still sometimes encounters snobbism from orchestras: "They saw 'Pong' once and that's video game music to them, you know?"

But "halfway through the first rehearsal, their attitude has changed," she adds. "And then when they walk out on stage and the audience treats them like they're The Rolling Stones."

This year marks the 30th anniversary of the first game-music concert: The Tokyo Strings Ensemble performed "Dragon Quest" at Tokyo's Suntory Hall in August 1987. Now there are six touring shows of symphonic game music, Noone says.

"This is just the best way, the most fun way to introduce kids to the instruments of the orchestra," she adds. "It may be the first time ever they are that close to a cellist, and that's really exciting for me."

Paul McCartney - Os 40 Hits Na Billboard

Paul McCartney's Top 40 Biggest Billboard Hot 100 Hits

In honor of Sir Paul McCartney’s birthday (June 18), Billboard looks back at his top 40 biggest songs on the Billboard Hot 100 as a solo artist and with his band Wings.

With nine No. 1s  -- outside of The Beatles’ record-holding 20 -- McCartney is no stranger to the Hot 100. His first solo appearance on the chart came with the release of the double single “Another Day”/“Oh Woman Oh Why,” which eventually peaked at No. 5 in April 1971. He went on to chart 22 more top 10 smashes, and a total of 46 hits on the list.

McCartney’s biggest Hot 100 hit (see our exclusive recap, below) is Wings’ “Silly Love Songs,” which ruled the weekly chart for five nonconsecutive weeks in May, June and July of 1976. His No. 2 biggest hit is his chart-topping collaboration with Michael Jackson, “Say Say Say,” which spent six weeks at No. 1 in late 1983 and early 1984.

McCartney -- an 18-time Grammy Award winner -- has also reigned on the list with further collaborative efforts. “Uncle Albert”/“Admiral Halsey,” his duet with his late wife, Linda McCartney, topped for one week in 1971; while “Ebony and Ivory” with Stevie Wonder spent seven weeks at No. 1 in 1982.

McCartney most recently charted on the Hot 100 with three collaborations with Kanye West, back in 2015, and all of them reached the top 40 on the weekly tally. West’s “Only One,” featuring McCartney, peaked at No. 35; “FourFiveSeconds,” a joint collaboration with West and Rihanna, reached No. 4; and West’s “All Day,” featuring Theophilus London, Allan Kingdom and McCartney, hit No. 15.

Paul McCartney’s Top 40 Biggest Billboard Hot 100 Hits
Rank, Title, Act, Peak Position, Peak Date

1. “Silly Love Songs,” Wings, No. 1 (5 weeks), May 22, 1976
2. “Say Say Say,” Paul McCartney & Michael Jackson, No. 1 (6 weeks), Dec. 10, 1983
3. “Ebony and Ivory,” Paul McCartney & Stevie Wonder, No. 1 (7 weeks), May 15, 1982
4. “My Love,” Paul McCartney & Wings, No. 1 (4 weeks), June 2, 1973
5. “Coming Up (Live at Glasgow),” Paul McCartney & Wings, No. 1 (3 weeks), June 28, 1980
6. “Band on the Run,” Paul McCartney & Wings, No. 1 (1 week), June 8, 1974
7. “The Girl is Mine,” Michael Jackson & Paul McCartney, No. 2, Jan. 8, 1983
8. “Listen to What the Man Said,” Wings, No. 1 (1 week), July 19, 1975
9. “With a Little Luck,” Wings, No. 1 (2 weeks), May 20, 1978
10. “Live and Let Die,” Wings, No. 2, Aug. 11, 1973
11. “Let 'Em In,” Wings, No. 3, Aug. 14, 1976
12. “Junior's Farm/Sally G,” Paul McCartney & Wings, No. 3, Jan. 11, 1975
13. “Uncle Albert/Admiral Halsey,” Paul & Linda McCartney, No. 1 (1 week), Sept. 4, 1971
14. “Goodnight Tonight,” Wings, No. 5, May 19, 1979
15. “No More Lonely Nights,” Paul McCartney, No. 6, Dec. 8, 1984
16. “Spies Like Us,” Paul McCartney, No. 7, Feb. 8, 1986
17. “Another Day/Oh Woman Oh Why,” Paul McCartney, No. 5, April 17, 1971
18. “Jet,” Paul McCartney & Wings, No. 7, March 30, 1974
19. “Take it Away,” Paul McCartney, No. 10, Aug. 21, 1982
20. “FourFiveSeconds,” Rihanna & Kanye West & Paul McCartney, No. 4, Feb. 28, 2015
21. “Helen Wheels,” Paul McCartney & Wings, No. 10, Jan. 12, 1974
22. “Hi, Hi, Hi,” Wings, No. 10, Feb. 3, 1973
23. “Maybe I'm Amazed,” Wings, No. 10, April 2, 1977
24. “Venus and Mars Rock Show,” Wings, No. 12, Dec. 13, 1975
25. “Press,” Paul McCartney, No. 21, Sept. 13, 1986
26. “So Bad,” Paul McCartney, No. 23, Feb. 11, 1984
27. “My Brave Face,” Paul McCartney, No. 25, July 8, 1989
28. “Getting Closer,” Wings, No. 20, July 28, 1979
29. “Give Ireland Back to the Irish,” Wings, No. 21, April 8, 1972
30. “I've Had Enough,” Wings, No. 25, Aug. 5, 1978
31. “Girls’ School,” Wings, No. 33, Jan. 14, 1978
32. “Arrow Through Me,” Wings, No. 29, Oct. 13, 1979
33. “Mary Had a Little Lamb/Little Woman Love,” Wings, No. 28, July 22, 1972
34. “Letting Go,” Wings, No. 39, Oct. 25, 1975
35. “London Town,” Wings, No. 39, Oct. 14, 1978
36. “All Day,” Kanye West Featuring Theophilus London, Allan Kingdom & Paul McCartney, No. 15, March 21, 2015
37. “Tug of War,” Paul McCartney, No. 53, Oct. 23, 1982
38. “Only One,” Kanye West Featuring Paul McCartney, No. 35, Jan. 17, 2015
39. “The World Tonight (From “Fathers’ Day”),” Paul McCartney, No. 64, May 24, 1997
40. “Stranglehold,” Paul McCartney, No. 81, Nov. 29, 1986

Paul McCartney's Biggest Billboard Hot 100 hits chart is based on actual performance on the weekly Billboard Hot 100, through the June 24, 2017, ranking. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.

SPOTIFY Tem Agora 140 Milhões De Usuários, Acima De 100 Milhões Comparado Com 2016

SPOTIFY NOW HAS 140M ACTIVE USERS, UP FROM 100M A YEAR AGO

Spotify now has more than 140 million active users, but the company is not saying how many of them are paying for a subscription to the music-streaming service.

The company announced the milestone on the eve of advertising conference the Cannes Lions, where it will be courting brands and agencies – and thus where its overall reach will likely be a more important metric than its paying subscribers.

“This is a particularly meaningful development, as our brand partners now have a bigger opportunity than ever to activate Spotify’s free user base,” blogged its VP and global head of ads monetisation Brian Benedik.

“Spotify’s high-velocity audience growth cements our place as the leading media platform for music, fans and brands. As our global monthly active user number continues to climb, more consumers engage with us across their day and devices.”

The 140m milestone comes almost exactly a year after Spotify reached 100 million active users. Its most recent public figure for subscribers came in March 2017, when it passed 50 million subs.

(The company offered similarly-staggered milestones last year, announcing 30 million subscribers in March and then 100 million active users in June for the Lions conference.)

Adding 40 million active users in a year means – and no, we don’t need super-advanced maths for this – that Spotify has been adding an average of just over 3.3 million new users a month over that year.

Unsurprisingly, Benedik’s post focuses mainly on the advertising angle.

“It’s an exciting time for our Spotify global advertising business. We launched our free, ad-supported tier on mobile three years ago, and the business is still growing fast with more than 50% year over year growth in 2016,” he wrote.

“As brands are catching on, I’m really excited about the creative opportunity. Brands can mine new audience insights for inspiration and explore dynamic, innovative messaging. When you pair the emotional power of music, podcasts, and videos with engaging ad formats, the creative terrain is rife with possibility.”

There is also evidence that Spotify may be planning to allow brands to sponsor individual tracks within its service.

Music Ally contacted Spotify to ask about sponsored songs, and the company’s spokesperson provided this response: “We are always testing new ways of putting the right music in front of the right audiences. But we don’t have any more information to share right now.”

We suspect the topic will come up during Spotify’s meetings with brands and agencies in Cannes, however.

WaterTower Music Anuncia A Trilha Sonora De "Mulher Maravilha"

WaterTower Music Announces 'Wonder Woman' Soundtrack

WaterTower Music today announced the release details of the Wonder Woman soundtrack, which features an original score by composer Rupert Gregson-Williamsand the new end title track "To Be Human" by Sia Feat. Labrinth. The soundtrack to this epic action adventure film from director Patty Jenkins will be released both digitally and on CD on the same date that the film is in theatres, June 2.

"Patty and I worked together to find the themes for the movie," Gregson-Williams related. "She has a great ear, and guided me early on to colors she felt had an affinity with the characters."

"Engaging with the emotional language of music is a part of the filmmaking process that I deeply cherish, and its importance cannot be overstated," Jenkins explained. "With Wonder Woman, we had an exceptional undertaking at hand: bringing a legendary character to life with a score befitting one of the greatest Super Heroes of all time, while musically bridging three entirely different worlds. Not a small task for anyone, but not beyond the beauty and elegance of Rupert Gregson-Williams. He embraced the challenge and created an entire world of themes and textures that organically grew with Diana's storyline. He found her voice, her hope and all of her dreams, and brought them to life around her."

On his philosophy of the merging of the music with the storyline, Gregson-Williams expounded: "Wonder Woman is an origin story; we meet Diana before she understands her powers, so her theme needed to reflect her innocence and naiveté. She moves from young girl to a woman who knows her path through the journey of the film.

"I used a hybrid of orchestra and ethnic drums and vocals for the origin story, and as the character grew I introduced electric cello and more electronic colors," continued Gregson-Williams. "By the end of the movie I brought in orchestra, full choir, percussion, and a large palette of electronica."

"I am immensely proud of the score Rupert created and so grateful he was able to bring such integrity and beauty to the movie through his music," Jenkins elaborated. "He is a special and unique talent, whose art sings throughout our film."