Uma Demo Dos Beatles Nunca Lançado De 1963 Está A Venda No eBay

Unreleased 1963 Beatles Demo Up for Sale on eBay: Listen to a Snippet

A rare, unreleased demo of The Beatles song “What Goes On” is currently on sale through a listing on eBay, via the website Parlogram. This 1963 demo version predates the Beatles recording sung by Ringo Starr and released on the Rubber Soul album in 1965. This earlier version was sung by John Lennon, who wrote the song, and features Lennon singing different lyrics. According to an auction house spokesman, the demo also has Lennon on acoustic guitar and Paul McCartney on harmony on the chorus; a few piano notes are audible in the background toward the end of the track. An excerpt of the recording can be heard on the eBay auction listing. The sale will end Oct. 1.

According to Kenneth Womack's book The Beatles Encyclopedia: Everything Fab Four, Lennon has said the song was written in their earliest days. “That was an early Lennon, written before the Beatles when we were the Quarrymen or something like that,” Lennon told an interviewer. “And resurrected with a middle eight thrown in, probably with Paul's help, to give Ringo a song. And also to use the bits because I never liked to waste anything.”

The Beatles had originally wanted to record the song at their session on March 5, 1963, according to Mark Lewisohn in his books The Complete Beatles Recording Sessions and The Complete Beatles Chronicles, but the plan was scrapped. Ringo Starr was later given a co-composer credit for the new middle eight, which was added during the 1965 recording sessions. Author Steve Turner wrote that Ringo later described his contribution in 1966 as “about five words.”

The demo disc was first sold by the George Harrison family though Bonham's auction house in 2012 for $8,461, including buyer's premium. Under U.K. law, the track is now in the public domain since it hadn't been released within 50 years of recording.

Ultra Music Festival Domina A Ásia Com Mais De 400 Mil Pessoas No Evento Em 2017

Ultra Music Festival Dominated in Asia With More Than 400,000 Event Attendees in 2017

Anyone in dance music with a shred of business acumen is going gaga for Asian markets. It's the brave new frontier of the industry. From China to India to Korea, Asian kids clamor for the chance to see big-name international DJs drop heaters on massive stages the way Europe and North America have this last decade, and Ultra Music Festival just reaped the benefits.

The Miami-based brand has been international since 2008, starting in Brazil and working its ways through South America before breaking into Asia with Ultra Korea in 2012. As Asian markets exploded, Ultra has been there growing alongside, and 2017 was a hallmark year. 

From June to September, Ultra hosted 17 events throughout the continent, according to an UMF press release. It was the first time Ultra came to India. The brand opened its season in Indonesia with the first-ever "Bali Music Week," and of course, it capped its celebratory run with its big and beautiful Ultra Japan three-day festival.

More than 400,000 fans attended Ultra Asia events, and more than 25 million viewers tuned in to Ultra livestreams of China, India, Japan, and Singapore. Shows in Bali, Hong Kong, India, Japan, and Taiwan were sold out events, welcoming hundreds of thousands of eager Asians into electronic dance music's warm, PLURy embrance. 

How long will this Asian dance insanity last? Can't say, but we're pretty sure next year will only be nuttier. 

Vimeo Adquire Livestream E Lança Vídeo Ao Vivo

Vimeo Acquires Livestream, Launches Live Video Product

Vimeo is making a move into live streaming.

The ad-free video platform has acquired technology provider Livestream to power its own live video business. Terms of the deal were not disclosed but Vimeo says it is the largest acquisition in its history.

Brooklyn-based Livestream powers more than 10 million events a year for customers that include Dow Jones, the Philadelphia Eagles and Spotify. The company's technology will now power Vimeo Live, which will offer professional live streaming tools such as capturing, editing and archiving.

Live streaming was the top request among Vimeo's nearly 830,000 person creator community, according to CEO Anjali Sud. She notes that live streaming, combined with 360 video and other updates, brings Vimeo closer to offering "an end-to-end solution across a creator's entire vide workflow."

Vimeo Live joins a suite of products available to its subscribers — Vimeo's charges between $7 per month and $50 per month for access to its professional tools. As part of the Vimeo Live offering, Vimeo will provide tools for hosting, distributing and monetizing the live streams.

"We're thrilled to join Vimeo's world-class platform, where we can accelerate the adoption of professional-quality live video by combining our tools and capabilities with Vimeo's video expertise and global scale," said Livestream co-founder and CEO Mark Kornfilt. "Together, we will be able to go faster and further in making live video a truly ubiquitous form of communication for businesses and organizations."

Live streaming has become popular in the last few years, with Facebook and YouTube both introducing tools for live broadcasts to its users. But Sud says Vimeo's offering is designed fo its professional creators. "They want to own their content and control th experience, they want higher quality and more reality, and they want the ability to archive their events and distribute and monetize them in th future," she says. "As more businesses and organizations are using real-time events as part of their communication strategy, from concerts to classes to conferences, the need for professional live streaming capabilities is only growing."

Vimeo's deal for Livestream is expected to close early in the fourth quarter.

‘Kingsman: The Golden Circle’ - Detalhes Da Trilha Sonora

‘Kingsman: The Golden Circle’ Score Album Details

The full details of the score album album for the action comedy sequel Kingsman: The Golden Circle have been revealed. The album features the film’s original music composed by Henry Jackman (Captain America: The Winter Soldier & Civil War, X-Men: First Class, Big Her 6) & Matthew Margeson (Miss Peregrine’s Home for Peculiar Children, Eddie the Eagle) who previously co-scored the first installment in the series. The soundtrack wll be released digitally tomorrow by Fox Music and physically next month by La-La Land Records. Visit iTunes to download the album and click here to order the CD version. Kingsman: The Golden Circle is directed by Matthew Vaughn and stars Colin Firth, Julianne Moore, Taron Egerton, Mark Strong, Halle Berry, Sir Elton John, Channing Tatum and Jeff Bridges. The movie is being released this weekend by 20th Century Fox. Visit the official movie website for more information.

Here’s the album track list:

1. Eggsy Is Back (5:50)
2. Memories of Harry (2:00)
3. The Golden Circle (1:18)
4. Poppy (2:17)
5. Incoming Missiles (2:56)
6. You May Shed a Tear in Private (3:02)
7. Tequila (2:09)
8. The Lepidopterist (2:16)
9. Rescuing Harry (1:45)
10. Statesman (1:48)
11. Gingerís First Test (1:15)
12. Whiskey’s Demons (1:02)
13. Tornado in a Trailer Park (2:30)
14. Poppy’s Terms (3:01)
15. Dancing Disease (3:05)
16. The Gondola Experience (6:30)
17. Cabin Ambush (4:13)
18. Horrific News Report (2:41)
19. Flying to Poppyland (5:09)
20. No Time for Emotion (2:51)
21. Temple Battle (6:54)
22. Viva Las Vegan (2:44)
23. Not in Vain (3:59)
24. A Man Who’s Honorable (2:41)
25. Kingsman Hoedown (2:17)

RIAA 2017- Relatório Do Semestre Da Indústria Da Música

RIAA Mid-Year 2017 Music Industry Revenue Report

The State of Music Mid-Way Through 2017

Today we report the state of the U.S. music business mid-way through 2017. Retail revenues for recorded music increased 17%, powered by 30 million music subscriptions and a talented array of artists and the professionals who support them. Our story continues to be one of great promise, but our footing is fragile, and a sustained, durable recovery is jeopardized by a fundamentally uneven playing field.

Two storylines continue to inform the narrative of the music business.

Music matters, music fuels

We’ve said it before, but it bears repeating and it is has never been more true: music is a ubiquitous presence that dominates our culture and commerce. That doesn’t happen by accident. Record labels continue to do their part, embracing new business models, partnering with more than 400 services worldwide to deliver music to fans instantaneously at the touch of a fingertip.

The pace of change embraced by record labels is staggering. Just two years ago, digital downloads was the largest format, and streaming was only beginning to take hold. Fast forward a few short years, and the business is already dramatically different.

More than any other creative industry, music is a digital business, with approximately 80% of our revenues coming from a wide array of digital services.

The labels we represent have also invested $4.5 billion in discovering, nurturing and promoting artists. We never lose sight of the most fundamental fact: great music drives everything. Look no further than the incredible artists who have garnered Gold or Platinum albums this year: 2 Chainz, Big Sean, Brett Young, The Chainsmokers, Chris Stapleton, DJ Khaled, Ed Sheeran, Future, Harry Styles, Imagine Dragons, Jay-Z, Kendrick Lamar, Khalid, Logic, Migos, Russ and Zara Larsson.

That investment, that innovation, that entrepreneurialism is welcome and hard-earned, but it should not be taken for granted. The fragile progress we have achieved so far is threatened by outdated or abused laws.

Not all streams are equal

We estimate that there may be a TRILLION streams in 2017, counting both on-demand services and digital radio (some 460 billion in first half of the year). Wrap your head around that staggering number. It is encouraging but also speaks to the foundational challenge that continues to confront the music community. To the fan, there is often little difference between the multitudes of services available, yet the payouts to creators are very different and vastly impacted by outdated or abused laws and regulations.

And that’s why a united music community continues to be incredibly animated about music’s “value gap” and calls upon policymakers — and our business partners — across the globe to do better and address these inequities (look no further than the massive response to YouTube’s recent self-congratulatory blog).

As you can see from the chart that my colleague Josh included in his summary of 2017 mid-year statistics, the amount of revenues that the three major categories of streaming generated is dramatically different, as is their disparate contribution to overall revenues.

Here’s another example of music’s value gap: how many hours of watching music videos would it take to generate a single dollar for music creators? An astonishing 58 hours.

We’re proud of the work we have done to foster a dynamic and diverse marketplace that serves the modern fan. We also realize there’s a lot more to do. For the second half of 2017, we look forward to more great music, and hope that that we can make more progress on addressing fundamental inequities that stymie music’s full potential.

Cary Sherman, Chairman & CEO, RIAA

Quantas Músicas Você Jogou Fora? Porque Falhas São Necessárias

How many songs do you throw away? (Why failure is necessary in songwriting)

Take heart, songwriters. Even Josh Ritter writes crappy songs.

As he says in this clip from a recent Berklee Online session, “The default setting for writing is failure to get what you want.”

He then quotes Jay-Z: “It isn’t a loss — it’s a lesson.”

Ritter talks about working through those failures, chipping away, until he finally arrives at the songs that made all the failure worth it. For some writers that might mean completing 100 songs to find the 10 best gems.

How many songs do you throw away? How do you know if a song is any good? Let me know about your process and what you do with the misses in the comments below.

Facebook Está Oferecendo As Gravadoras E Aos Editoras Centenas De Milhares De Dólares

Facebook Offers Music Labels and Publishers 'Hundreds of Millions' in New Licensing Agreement, Report Says

Facebook looks to be entering the music business. The site is offering major record labels and music publishers "hundreds of millions of dollars" so its users can legally include copyrighted music in videos they upload to the platform.

It's no secret that Facebook has been a strong advocate of video for some time, not-so-subtly incentivizing traditional media outlets to join the video marketplace. Already a major force behind certain sites' now-routine "pivot to video," the tech giant has continued to benefit from its relationships with advertisers, whose viewership metrics appear significantly higher for video content, at least according to reports from the platform itself. Facebook is already one of the biggest advertisers in the world, taking in over $26 billion in 2016 with steady quarterly increases so far this year.

At the same time, an agreement like this isn't without precedent. In 2016, YouTube paid $1 billion to record labels and publishers, a figure still significantly less than similar negotiations with Spotify and Apple Music. With payouts on YouTube already notoriously small, a similar deal most likely wouldn't favor musicians, even as streaming rates already leave many questioning their involvement with streaming and its increasing presence as a new industry standard.

"Getting into business with Facebook presents something of a Faustian bargain," write Bloomberg's Lucas Shaw and Sarah Frier. "Rights holders need a deal. Given the current legal framework for copyright online, users are going to upload video with infringing material no mater what. The onus is on rights holders to police those videos. A deal ensures they get something rather than waste resources tracking down all the illegal videos."