Google has launched its Play Music All Access subscription service in six new countries: Bolivia, Chile, Colombia, Costa Rica, Peru and Ukraine.
As usual, new members will receive 30 days free when they sign up and have access to a catalog of 20 million songs, including offline support from their Android devices.
Yesterday’s launch follows expansions to Germany, Australia and New Zealand, and Mexico last year. Here’s the complete list of countries that support the All Access subscription:
Australia, Austria, Belgium, Bolivia, Canada, Chile, Colombia, Costa Rica, Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Liechtenstein, Luxembourg, Mexico, Netherlands, New Zealand, Norway, Peru, Poland, Portugal, Russia, Slovakia, Spain, Sweden, Switzerland, Ukraine, United Kingdom, and United States.
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Let’s talk about YouTube.
We could talk about VidCon, which sold out 12,000 tickets a month in advance. We could also talk about the over-dramatized and sensationalized YouTube vs. indies misinformation war. However, it’s so much more constructive to focus on growing your audience, serving your audience and monetizing your audience. Not only is YouTube is the largest streaming music service in the world, it allows you to use video to connect directly with your fans in almost any way you can imagine.
I hear you: “But I’m on YouTube and I’m not getting any views!” Here are five of the most common reasons why your YouTube videos may be getting ignored:
One of the first things I learned when I began my career as a publicist was what the typical timeline for an album campaign is – in other words, the specific order of events from the moment an album is ready to be announced until its release.
Not all publicists adhere to a campaign of identical length. Some prefer to work more compressed, fast-paced timelines, whereas others like to space things out to gradually build anticipation and momentum. Whether you’re self-releasing a record, working with a freelance publicist, or working with an in-house label publicist, it’s important to have a grasp on the approximate timeline of events and know when new assets (songs, videos, album streams) should be shared with the world. Here’s a breakdown of the essential steps in this process, based on my own experience (though these may vary if you’re releasing a digital album instead of an LP, CD or cassette, or if you’re merely releasing an EP or 7” single).
There’s nothing new about the fact that streaming music has rapidly taken over traditional digital music sales in the US.
Just last week, Nielson SoundScan announced their mid-year numbers, and the chart below is a firsthand glance at the growth percentage for the first half of 2014 compared to the first half of 2013.
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You might be surprised to learn that the chart-topping duo Macklemore & Ryan Lewis are not signed to a major label. Neither are veterans like Peter Gabriel and Wilco. They’re all self-releasing albums.
But if you self-release, you still need someone to get your name out there, get your product into the marketplace, and get it sold. In other words, you need someone to do all of the stuff record labels used to do. You could do it yourself — or you could hire someone like Kevin Wortis of Girlie Action, a leading music marketing agency based in New York.
"Here we offer sourcing, distribution, sales. We also handle marketing, digital marketing, social media, press and radio promotion," Wortis says. "We have clients that come in who have chosen not to be with a record company; they want to control all the revenue and they want to do things in their own way."
Girlie Action’s clients include Pretty Lights, Amanda Palmer, and The Crystal Method. The French recording label Naïve hired the agency to provide label services for Marianne Faithful’s last record. Girlie Action is now working on its third album for Meshell Ndegeocello.
It’s 2 p.m., the Friday before Christmas 2012, on the 21st floor of the Leo Burnett building in downtown Chicago. Young executives, creatives, admins, and interns are all packed into a large meeting room, giddy and restless; today is special. Canadian sister folk-pop duo Tegan and Sara step onto a foot-high stage and play three songs — including the first two singles from their seventh album, Heartthrob, which they will release the following month. The fluorescent lights stay on, the city’s skyline splayed out behind them. Afterward, nearly all of the 200-odd employees in attendance will stand in line, phone at the ready, to pose for pictures with the band, just like fans after any concert.
And Tegan and Sara, who eventually cracked the Top 20 with Heartthrob’s “Closer,” need to win over this audience just as they would at any concert. A track in the right commercial could bring about the kind of attention that magazine covers and radio play alone can no longer garner. Commercial placement, or a sync, has evidenced itself as the last unimpeded pathway to our ears — what was once considered to be the lowest form of selling out, of betraying fans and compromising principles, is now regarded as a crucial cornerstone of success. And as ads have become a lifeline for bands in recent years, the stigma of doing them has all but eroded. But with desperate bands flooding the market, the money at stake has dropped precipitously. Even the life raft has a hole in it.
“A tiny sliver of bands are doing well,” says the duo’s Sara Quin. “The rest of us are just middle class, looking for a way to break through that glass ceiling. The second ‘Closer’ got Top 40 radio play, we were involved in meetings with radio and marketing people who said, ‘The next step is getting a commercial.’ I can see why some bands might find that grotesque, but it’s part of the business now.”
Google has acquired music streaming service Songza after weeks of speculation around a potential buyout.
Songza uses information about the user and context to determine the best playlists for you at any given time, all of which are curated by music experts (DJs, Rolling Stone writers, etc.).
Very few services look to human curation to enhance the music experience — Pandora, Spotify, and other big players rely heavily on algorithms — making this one of the key selling points of the service. Plus, Songza has tons of data around what people like to listen to based on the time of day, the weather, location, and activity, which can be immensely valuable to a company like Google who is looking to seamlessly integrate technology into every corner of your life.
Originally, Google was reported to be targeting the $15 million mark for this acquisition, though the company has not officially disclosed the terms of the deal. However, we’ve heard that there was also a possibility that Songza was being approached by other suitors, raising the price tag considerably.
No matter what your band’s unique culture is, these 10 essential leadership qualities will help you navigate just about any situation you encounter with your bandmates.
Musicians are sometimes stereotyped as partiers or just downright unprofessional people, but any band with aspirations of making it big knows just how important it is to prove that wrong. As we all know, music is an incredibly challenging career that requires a ton of knowledge, years of practice, discipline, creativity and organization. The hard work behind it all can be taken for granted. One way to set the precedent for being respected and get the results you want is to maintain high standards of professionalism.
This includes scheduling rehearsals and shows in advance, being on time, being totally prepared for rehearsals, promoting your shows in advance replying to emails and phone calls in a timely fashion. Professionalism helps present the band in a positive light to the outside world while also setting an example for internal expectations.
Someone might be a brilliant songwriter and have lots of great ideas, but a good band member becomes an amazing band member if he or she is also on time, respectful, organized and prepared.
YouTube is by far the largest platform for online video viewership in the world. But frankly, it wouldn’t be anything without its creators. That’s why in a keynote at Vidcon, the company announced a wide range of new tools for the people that upload videos to the platform, all in the hopes that it will allow them to be more… creative?
For the creative community, the keynote was largely a preview into the future, as YouTube Director of Product Management for Creators Matthew Glotzbach and VP of Engineering for Creators Oliver Heckmann showcased features that would mostly be considered “coming soon.”
That decision to preview upcoming changes was intentional, as YouTube creators have consistently asked for more transparency around upcoming changes to the platform. After all, even features that are considered good for the overall community can still be disruptive to their workflow if they aren’t ready for them.
At the keynote, which featured new YouTube boss Susan Wojcicki, the key themes were helping creators making videos more awesome, reach a wider audience, and grow their businesses.
Here’s a quick rundown of the new creator tools and how they’ll help:
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Swedish music streaming service Spotify, with 40M users and 10M subscribers in 58 countries, launches in Canada in October.
Beats Music, the US-based subscription music streaming service owned by Beats Electronics, launches in Canada in January 2015.
These are facts shared with FYI by several well placed sources who say the new arrivals will shape the destiny of Canada’s music industry to an extent not seen since the launch of the compact disc 32 years ago, in 1982.
In 30+ countries, music industry revenues from streaming music services represent 23% of net income; whereas in Canada the take is closer to 5%. Spun out, that’s millions of dollars Canada’s music industry is missing out on.