Podcasts about 7digital

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Glenn McDonald, author of the new book You Have Not Yet Heard Your Favorite Song: How Streaming Changes Music.I've followed Glenn's work for years now, and this book is the result of decades of work in the field, and comes from a perspective not only of technology's bleeding edge but also a sincere, personal love of music. We spoke about the mechanics of tracking genre data, how streaming has impacted listening trends, and how the model's economics are holding up.The book can be found everywhere books are sold.This interview has been condensed and edited. Glenn McDonald. Thank you so much for coming on. You are the author of You Have Not Yet Heard Your Favorite Song, which is a really compelling title all about the streaming revolution, but more importantly about this really fascinating moment in music data that for much of the past decade, you have been at the front seat for, or even in the driver's seat for. Your work goes back to a really interesting company called The Echo Nest.For new listeners and folks who maybe are unfamiliar with your story, can you just tell me a little bit of the history of this field and your place in it? The Echo Nest was a really fascinating company and I think more people ought to know about it.I had been doing software design for a long time and had worked on a bunch of different things that all had to do with making sense of data for people. None of them had been specific to music data, but I would always use my work tools on my record database or my other various music-related projects. Those were the things that I was really interested in.At some point I ended up tabulating the Village Voice critics music poll every year. This was what big data was for music in the era before streaming: It was like 800 music critics typing 10 album votes into blanks, with typos and everything. The companies I worked for kept getting acquired and my projects would get shut down or something, so every few years I'd need a new job.When this happened in about 2011, I just knew through contacts that there was this company in Somerville a couple of media lab people had started called The Echo Nest, which was trying to do something with music data because there suddenly was a lot more music data. The Echo Nest was trying to do recommendations and categorization stuff for streaming services. This was pre-Spotify launching in the U.S., so 7Digital and Rdio at the time were some of the existing players. And I had done enough music data things to convince them that I was a worthwhile person to add to this effort.I remember my first task at The Echo Nest. I showed up for my first day and they were like, “Oh, Glenn, you're here. Good. We're doing these radio stations for Spotify, this company we're trying to entice into using our services, and we're putting cartoon noises on the Franz Liszt classical station. Can you please figure out why we're doing that and make it stop?”So that was the beginning of the journey. We did not succeed initially at getting Spotify as a customer, because Spotify recognized, correctly, that to do a really good job we had to have listening data, and there was no way they were going to give us listening data when we were also powering their competitors, even though their competitors were small. I remember we tried really hard to convince them. We were like, “We'll keep your data on a server on the totally other side of the closet where we have our servers.” That obviously didn't fly. After a couple of years of doing a lot of other things along the way, it was a race to see whether Spotify would develop their own recommendations and not need us or whether they would just get enough money to buy us first.The money happened faster. We got acquired in 2014 and basically officially became the personalization team at Spotify. A bunch of the things we did had to do with understanding music and understanding taste so that you could do personalization, but it wasn't all directly involved with personalization.That's about when you got on my radar, because I was at the time doing pop culture stuff at 538. I think music was always a bit of an enigma to me, just because there was so much of it, and obviously all the challenges that you were facing at an industrial scale, I was facing on a journalistic scale.When I saw what you were doing — I don't think people really appreciate enough the moment when The Echo Nest got bought by Spotify. Very soon after, that's when you started seeing the level of personalization on the platform skyrocket. Do you want to speak a little bit about that?It was a combination of things, because some of that stuff was stuff that we brought, The Echo Nest, but that acquisition was also Spotify's moment where they bought into the idea that personalization was going to be a big part of this Spotify experience. Discover Weekly, for example, which came along shortly after that, was not an Echo Nest thing. That was done by people who had already been at Spotify, and some of them were annoyed that that feature was described as if it somehow came from the Echo Nest work.But basically everything that came about was because Spotify decided, “All right, personalization is going to be a thing.” At the same time, they acquired another company called Tunigo that was a playlist-making editorial company. And that was the beginning of, “All right, we're really going to have an editorial effort, too.” That was the beginning of both of those areas at once in Spotify's existence.A lot of the interesting stuff in your book comes out of the complications of using algorithms as opposed to taste, and just the serendipity of some of it. I want to play something, because I think it shows the moment that completely shattered something about how I thought about music and how I thought about what the tech was that y'all were building.I have a lot of Spotify playlists, just as anyone else does, and I was on a kick and I added a few songs in a row. The following week, all 10 recommended songs had this kick to start it. It's the “Be My Baby” kick. There's no way you could ask a DJ or even an expert, “Hey, can you find me 10 songs that all have this kick that I'm apparently into right now?”But lo and behold, I would go down this recommended songs list and it would all be that. And that showed me that, man, there's a level of depth here that not only could we never accomplish before, but that is going to change the way we really consume a lot of this stuff. I always found it really fascinating how you were really on the front of that for so much of the time at Spotify.One of the most interesting things to realize for me in this journey was that finding those patterns often comes about not the way you think.How did that happen?You imagine that the computer knows there are those drumbeats, it's found that you like them, and knows these songs contain them and lines them up. In fact, in this feature, that's not happening at all. It's just patterns of playlist making.That recommended feature at the bottom, it uses the playlist title when you don't have anything, but then as soon as you've got stuff in your playlist, it's really just doing a complicated search of songs and playlists from other people that overlap with what you put. Here's what else they did. I found over and over that it was more effective to basically mine listening for the implicit signal that people have created by listening in nonrandom ways than it was to try to find the thing you're actually looking for.If you try to find bands from Estonia, you get screwed up by metadata mistakes and missing data all the time. But if you can find a few bands that you know are from Estonia and use them to find an audience and use that audience to find what's different about those people's listening, then you find all the rest of the bands from Estonia without having to rely on metadata. Even the system doesn't know what it's doing. People have encoded that knowledge implicitly by listening.So I did find someone who'd been on a kick of listening to all the “Be My Baby” hooks in a row. It's fascinating stuff.I want to take it to the book now, because that speaks to a chapter specifically all about how you talk about genres and how genres don't really exist; they're just words that people use to talk about things. You describe them as “distributed communities of interest.” Do you want to speak a little bit about what genres are?We got into this genre thing at The Echo Nest because we promised somebody that we had genre radio. It was the era of Pandora. Algorithmic radio was mostly track and artists seated. That was how people mostly thought about it.We had some customer — I've long since forgotten who they were — who was like, that's too complicated. I just want like 16 buttons. It should just say rock and you hit it and it plays some rock music. And we were like, “Oh yeah, totally. We totally have that.” And then we went back to the office and we were like, we don't actually have that. But we better make it really quick.What we did have was this vast database of word frequencies. We knew what artists were written about in what vocabulary, so we were like, this will be fine. We'll just line up the artists for whom rock is a disproportionately occurring term and we'll sort them by popularity and hit play.We did that and then Rihanna came out and we were like, ah crap. People do say rock about Rihanna. I mean, she has a song called “Rockstar.” It's not crazy, but it was definitely not what these people wanted to have happen.So we had a few days, and I'm like, all right, there's cultural knowledge here. It's not complicated what rock is. We just have to mine this very basic cultural knowledge. We had a table full of interns from Tufts, so I'm like, “Here's what we're going to do. Interns, go for each of these 17 or however many genres we want to demo, and just go find a list of the most obvious artists. Look it up on Wikipedia or Google — don't do anything sophisticated. When someone says rock, what are they probably thinking of? Then we'll take five or 10 of those artists, and because we have this good graph of artist similarity, we'll say, what are the other artists that are collectively similar to those five or 10 seed artists for each genre? That'll probably get us close.”And that was right. That basically worked. If you feed in that what we mean by rock is The Who and Lynyrd Skynyrd and Led Zeppelin, you get a set of artists out. If you say, no, what I meant was The Black Keys and the Foo Fighters and Coldplay, then you get a different set of artists out. So that was where we began. I didn't have a theoretical framework for what I was doing; I just had a thing that we needed to produce really quickly.But as I got into it and tried to extend this from 16 to 300 and then to 1,000, what I realized I was doing was scouring the planet to find communities, literal communities. Sometimes of artists, sometimes of listeners, usually of both but not always, and usually with some element of practice to them, but not like a list of criteria in the classic musical logical sense. You can describe the difference between Baroque music and ragtime in informal music theory terms, but that's not really helpful because people's interest is much more specific than that. You can't just say this is definitely formally a hip-hop song, and therefore you as a hip-hop fan are going to like it, because if it's in Turkish and you only speak Bulgarian, it's probably useless to you.Once I understood that, then it became easier to think about how we proceeded: that we're trying to find communities and show them back to themselves. And they usually have names for themselves. Sometimes we would find communities that didn't yet have a self-identification and we would have to make up names for them, but the goal of doing that was to be able to show those people, here you are, here's your taste. You're an audience, you have a taste. If you think of a name for it, tell me and I'll replace it. But I gave it a name so that we can at least talk about it.It also gets at a big issue with music in general. Even going back to radio times, there are a lot of genres that truly don't exist, that are entirely manufactured. Things like classic rock or oldies are referendums on not just what you played, but how long ago you played it. And even things like indie rock says more about the economics of the people who distributed your record than perhaps you yourself. But nevertheless, these communities are constituencies that have an expectation that if they press an indie rock button, they want to hear some indie rock.Indie rock is a great example where there are 12 good answers to that depending on who you are, and we couldn't call them all indie rock. Some of the exercise in making up names was like, all right, how am I going to differentiate between 12 historical, regional, philosophical variations that each think of themselves as indie rock? I have to tell the story a little differently.Yeah, I dig that. That's a really exciting challenge.I want to talk a little bit about some of the things that make streaming unique as a distribution format and a distribution medium. Whenever you have a new medium emerge, you have new intersections of how people work with that and consume it. You see it time and time again that technology can inform what's done.You have a whole chapter in your book about this: “Chill is the new music.” It talks about essentially background and foreground sounds, whether that's lo-fi hip-hop radio, which is fairly well known, or things like a peaceful piano playlist. Things that would not exist in any previous iteration of the music industry are now dominant forms of consumption for lots of people. Do you want to speak to how this emerged and how you assess the space?My favorite example of this is nature sounds. I had a CD of rainforest noises, and I would play it sometimes, but I was never going to buy another one. I think this is true of most people. I think most people had zero or one background noise CD in the CD era. The worldwide market of rainforest noises was probably a dozen, and you could compete between those dozen which was going to be the one that an individual user bought, but you couldn't go much further than that.Streaming has made it possible to have that for no additional costs. It's like, it's not that I was against hearing a different rainforest. Costa Rica was superior to Indonesia.Borneo is lovely this time of year.One of the finest rainforests to listen to. But we unlocked that because now I can just put on a playlist of rainforest noises and I can hear new rainforest noises.Does it really matter in rainforest noises? No, but it matters more in lo-fi hip-hop, where it is sort of a substance and you may prefer to hear new examples of the same form. That suddenly became totally viable. Peaceful piano is another one of those. I think a lot of people owned one classical CD and they would it put on when they needed something in the background. “I'll put on the classical music I own.”Not only did streaming unlock the rest of the classical catalog, but then suddenly people were like, not all classical music works that well. I can just make stuff that's perfect for this mode. It's the perfect size and it's exactly as soothing, and it's not going to do some interesting thing that Chopin did because Chopin was interesting. Let's make it all fit this need. And I think there are a lot of needs that you wouldn't have spent a lot of money to satisfy, but they're needs you will spend a little bit of time to satisfy if it's free and it's easy to find them.Fascinating. The rise of that has just been such an interesting side effect of the business model, in some way, but also a side effect in terms of how people want to listen to something pleasant in the background but not necessarily shell out for it. It just seems like it's a novelty of the distribution format that I enjoy, but can really only exist at this time in history.Yeah. And it's not just streaming, too, because it's a synergy of streaming and having phones with you and earbuds and the expectation of music in all parts of your day. The idea that not only do you have earbuds, but everybody has earbuds, so it's normal for you to have your music in a public environment without bothering other people.I want to talk a little bit about another side effect of the streaming model. This is one of the first times I've seen someone who was actually inside the house recount what this looks like, but streaming fraud has a lot of folks in the industry on edge or concerned —folks who are trying to manipulate the eventual rankings of things or the eventual performances of artists, whether it's for financial reasons, they want their artists to get more money, or they just want more people to see the person for whom they belong to the Army.I thought this was just a really interesting look inside a company that has to deal with this and how obvious it can look at you. You had a story about Beyoncé in there that was fascinating, but I would love to hear about what streaming fraud and Army-style tactics look like from the inside.I never intended to be involved in fighting streaming fraud at all. But as I explain in the book, I fell into it just because I was looking for patterns and sometimes the patterns that I'd find would make no sense. I'd be like, what? In one of the earliest examples, I was starting to try to look at what was different about listening in each city, and a lot of cities made sense. I could say, all right, I know what people in that region like and I can see it in the city.And then Buffalo, New York, was all church music. I've realized in this process that I don't know that much about the world, and I've been surprised many times by things that turn out to be real features of how people move around the planet. So I tried not to jump to conclusions. I was like, okay, maybe Buffalo's a really religious place and it's a really common usage to have organ music that you play off Spotify. That theory didn't hold up very long. It was obviously not what was actually happening. I found that a lot of times, whenever I would go looking for interesting patterns in small subsets of people, whether they be geographic or by age or demographic or whatever, some of them would be weird. I realized that I'd found a subset of accounts, but not a subset of people.Having spent 10 or 12 years at this, depending on how you look at it, if I wanted to live a life of crime, this is definitely the life of crime I am best prepared to enter into, and I would not do it. That's my message to aspiring fraudsters: shoplift, go do something else. Anything is better than this. This is a really bad way to try to earn money, because anything that you do that earns enough money forms obvious patterns and it's just trivially easy to detect. Sometimes it took me half an hour to figure out the exact pattern that some new cluster of bots was using to manipulate things in slightly different ways, but it never took long. It was always trivial to block them. It depended on the magnitude, whether Spotify would care and go after them in any punitive sense, but blocking whatever they were trying to do was never hard once it reached any magnitude where it would matter.I always knew, and have been saying for years, that Buffalo Bills-based organ music was an industry plant. Thank you for confirming that for me.That is actually a fun segue, because one of the most interesting chapters in here, I think, was about how the streaming model has winners and it has losers, and it has genres that are in fact losers. I know we've already agreed that genres are mere communities of sound, but for all intents and purposes, but let's go back to the more traditional sense here.You write a lot about how genres like jazz, classical, experimental music, these aren't really being well served by the streaming model. And you actually write a little about whether streaming actually makes discovery of this stuff easier or harder. What got you aware of this potential side effect of the model and how do you assess where it's at?This was always interesting to me because although I like Taylor Swift and I have some Ed Sheeran songs that I love, my taste includes a lot of obscure things. I'm very attached to those things existing and the people who make those things managing to somehow live in such a way that they get to keep making, you know, extremely florid gothic symphonic metal albums, or weird wedding music from Limpopo, or Filipino pop punk.As a human, I want all these things to be viable whether they are super popular or not. The genre project could have stopped at 300 if it only cared about the popular genres. It kept going to 6,000 because I think everything deserves to have the same chance to find its audience, whether that audience is small or not.As I say in the book, I think the way royalties work now in streaming is, in economic terms, actually slightly progressive. It's hard to guess this, but I didn't have to guess. I could run the numbers on the whole Spotify. I could run alternate economic models on literally all the Spotify data. That doesn't always tell you how the future will be, because sometimes when you change things, people change behavior, but I could definitely evaluate other proposals for how the existing money should be divvied up. What I found was that the model we're currently using is a slight subsidy of less popular artists by the most popular artists in practice, which is the opposite of what some people surmise, which was interesting in itself.And really, the headline is that it's a small factor. It doesn't actually matter very much. But every medium, like you say, has winners and losers by the nature of the format. There was a sort of artist that would appeal to the people who bought the most CDs, and in the CD era, I spent thousands of dollars. I was one of those people that spent thousands of dollars a year in order to discover all the music I was curious about, because I had software jobs and I could afford it. Therefore, I had a lot of economic power in that model. People like me exerted a lot of economic power. As an artist, if you were the kind of artist that I bought, that was excellent.Now I spend $10 or $11 a month on streaming like everybody else, so that power has been distributed a lot more broadly. It's a lot less concentrated now, which I think is good on the whole. I think that's good for society. But it does mean there were people who thrived very specifically in the CD era, and they could put out limited editions and CD singles. This seems crazy to me in retrospect. I would spend $12 on an imported UK CD single to get one B-side that I hadn't heard, and now that's a whole month of my listening. The crazy part of that was the former state, paying $12 to hear one B-side. That's crazier than the current model.But it's true that with a lot of things, when individual artists tell a sad story of how they used to have a career and now they don't, sometimes it's for this reason. They had found a niche and that niche went away and there are new niches. The system overall is producing as much money and it supports obscure things in general just as readily, but they're not necessarily the same obscure things to the same level.Interesting. And that $12 single, you can't be alone. They released it for a reason. There must've been a critical mass that in the aggregate means now they have to spend another day on the road, or rely on superfans. The main way you can reach them these days, if everybody's only tithing $15 or so a month through their streaming, is through appearances or tours or other kinds of onerous things.It's true, but also availability is totally different now. I think people sometimes fall into the trap of trying to compare the money as if the behavior is the same. They're like, a person would have bought my CD for $10 at my show, and now they're going to stream my song once and I only get a third of a cent. Not very many people are going to come to your show, and of them, only a few are going to buy your CD, and the number of people who are going to buy that $12 CD single to hear that B-side is really small.That B-side now could be on a playlist and a million people who've never heard of you could come across it. The dynamics are now completely different, and not everybody adapts to them immediately, but you now have a very, very broad potential casual audience that is only going to spend a third of a cent on you, but there are a lot of them. Maybe 10% of them will spend 12 cents on you by listening to a whole album a couple times, and a few of them will listen to your whole catalog and they'll buy tickets to see you when you come.Overall it's about the same money. The music industry is, in absolute terms, now past the CD peak. Adjusted for inflation, it's not quite there, so we're not quite as far into the streaming era as the CD peak was in the CD era. It seems possible still that the CD peak will be surpassed by the streaming peak in overall money, which is good, I think.That's neat. To back out a little bit, the book is excellent. People can find it wherever books are sold, and it's called You Have Not Yet Heard Your Favorite Song.You are also known for another project, Every Noise at Once. You've since departed Spotify, and as a result of that departure, the availability of Every Noise was in jeopardy for a little bit there. You mentioned that you have a lot of physical media and I would love your view on this: How do we preserve our understanding of how music works at this point in time? Down the line, things are going to be fundamentally shifted, as the industry inherently does. You've been involved in a number of projects that have relied on some of these big players to fuel their data.Where do you come down on how we can preserve a lot of this discovery and a lot of this understanding moving forward, even if we are losing the data through our fingers as it comes in?Part of it is understanding what the data is and what we've accomplished. I got laid off from Spotify, and I'd been there for a good long time, so for me I could be like, that's fine. Twelve years is longer than I had at any other job. I can do something else now and that's all right.But it definitely hurt because I built this thing and my attachment to it was very heavily tied up in its ability to constantly change. We were still adding genres to it and one of my, and a lot of people's, favorite features of it was a thing that took every week's new release list and organized it by genre. That immediately stopped working, for no good reason. It's not confidential information that the Spotify API is not arranged in such a way that you can get the information out, even though it would be in Spotify's interest to have people better able to find new releases. When I worked at Spotify, I could route around the structural problem and just ship a CSV file to my website and then everybody could see those things.I lost that ability and initially I was like, oh, the website is dead, but then with 30 seconds more thought I realized that this is what happens to most things. They build for a while, and then they reach a state and that's the end of building them, but now they're real. That map of 6,200 genres remains a map of world listening up until 2023, and there's more music in that than you'll ever be able to listen to or discover; for practical purposes, if what you care about is exploring the world, it's still a very interesting map that will help you do that.If what you care about is organizing what happened last week, then for now I don't have the tools to help do that in public in a way that I wish I did. But I'm still hopeful that we'll get that back. We only need one music service to say, “All right, you can get a list of this week's new releases from our API now, and it's not limited to 1,000,” and then I'll be able to revive that.Amazing. Glenn, I really love the book. Why don't you tell folks where they can find it, where they can find you, and why they should check it out.It's on Bookshop.org and Amazon. The original publisher is British, so if you are in the U.K. you might be able to find it in stores. If you are somewhere else you might have to order it, but that's how most things get out now. There's a Kindle version if you don't care about paper, and if you do, it's got a blue cover. It's nice.It's a good-looking cover. Hey, thanks so much for coming on. I really appreciate it. Again, I've been such a fan of yours for so long, and just to see this finally come out is really cool.Thanks for reading.Edited by Susie Stark.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news.  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Shez Mehra is an award-winning creative entrepreneur, founder, strategic advisor, producer, and DJ. He specializes in audio branding, partnerships, entertainment, and experience design for some of the most celebrated brands and organizations in the world. Establishing his career in audio and sound as an open-format DJ, Shez formed his global-facing perspective on the power of music and how the manipulation of sound and experience can alter people's behaviors. He traveled the world extensively as an open-format DJ and performed at events for John Legend, The Weeknd, Usher, Lady Gaga, TIFF, Montreal Grand Prix, Paris Fashion Week, and LVMH, to name a few. During this time, Shez also worked as a producer, creating music with artists like Drake and Clipse, and is decorated as one of North America's top open-format DJs. Applying his knowledge of events and culture led Shez to establish The 194 Group, a firm that helps organizations produce live experiences, engage audiences and amplify brands. The 194 Group has helped create many amazing experiences, working alongside brands like Four Seasons, Google, Mastercard, Nike, BMW, Aston Martin, MLS, Rolls Royce, Harley-Davidson, Samsung, Shopify, TEDx, and more. Songtradr is the world's largest B2B music company, delivering the only full-stack solution for all business music needs. We're on a mission to change the music industry for good through technology, creativity, and transparency. Trusted by global businesses, agencies, and labels, our fully integrated products and services help amplify brands while enabling artists and rights holders to realize the full potential of their catalog. Whether with a classic song or a trending tune, a global music strategy or a sonic identity, we help translate ideas into powerful, ROI-driven solutions to ensure content always hits the right note. With the acquisition of Big Sync Music in 2019, Song Zu and MassiveMusic in 2021, and 7Digital in 2023, The Songtradr Group has become the largest network of music specialists for brands and advertising in the world. Thanks to our combined expertise, we offer a holistic music solution for brands and advertising agencies, ranging from strategizing the use of music and developing sonic identities for brands, to providing music creative, selection, and custom music creation, through to the negotiation and procurement of global hit songs for major advertising campaigns. Our approach balances the creative process with data-informed decisions providing clients with music-optimized content.   Shez's Links: https://www.linkedin.com/in/shezmehra/?originalSubdomain=ca https://www.songtradr.com https://www.linkedin.com/in/shezmehra?lipi=urn%3Ali%3Apage%3Ad_flagship3_profile_view_base_contact_details%3B%2FvEIFdW%2BTJGdOu9%2Bscn%2FXg%3D%3D http://audiobranding.ca/ http://rainamusic.com/ shez.mehra@songtradr.com   Please subscribe James Youtube channel here! https://tinylink.net/XSGqL   Featured song for this episode is "Ride On", check it out on Spotify here https://open.spotify.com/track/5VQzjlHv7qZzyZIOSGkhjU?si=eb0d5a683f2e43d8   For a custom-branded song you can reach James at james@thejamesoconnoragency.com   If you wish to have an appointment with James about coaching, use this link. www.calendly.com/dharmic Apple podcast review link Please leave us a 5 Star review, its easy to do, and really helps us out to grow the show! https://digitalhealthtoday.com/support/how-to-review-itunes/ Thank you for doing this my friends!

Rionの楽曲「おだやかなやさしさ」3月16日から追加で配信開始♪Spotifyなどは既に配信済です。 サブスクリプション配信 Apple Music (2023年03月16日) LINE MUSIC (2023年03月16日) AWA (2023年03月16日) Amazon Music Unlimited (2023年03月16日) 楽天 MUSIC (2023年03月16日) Deezer (2023年03月16日) Anghami (2023年03月16日) JioSaavn (2023年03月16日) Mixcloud (2023年03月16日) Pandora (2023年03月16日) SoundCloud (2023年03月16日) ダウンロード配信 iTunes Store (2023年03月16日) ドワンゴジェイピー / animelo mix / K-POP Life / ビルボード公式 / ドワンゴジェイピー for スゴ得 (2023年03月16日) 7Digital (2023年03月16日)

The topics, stocks and shares mentioned/discussed include: The TwinPetesInvesting Challenge Top 20 Stocks picked TwinPetes Menphys Charity Appeal please make a donation on the TwinPetes Investing Challenge 2023 Just Giving Page https://www.justgiving.com/fundraising/twinpeteschallenge23 Future plc / FUTR Ceres Power / CWR Sosandar / SOS Custodian Property Income REIT / CREI FTSE100 New All time high AIM 100 Concerns for the retail space 7Digital / 7DIG InSpecs Group / SPEC Sureserve / SURE EKF Diagnostics / EKF Tekcapital / TEK More takeovers / More Profit warnings Eurasia Mining / EUA SpaceAndPeople / SAL Relx / REL JTC Group / JTC STV Group / STVG Polar Capital Technology Trust / PCT Dividends Investing Trading & more. The Twin Petes Challenge 2023 / Charity fundraise for the MENPHYS Charity. Have you enjoyed one or more of these podcasts. Yes . Then please make a donation , every pound will help. JUST GIVING TWIN PETES FUNDRAISING FOR THE MENPHYS CHARITY https://www.justgiving.com/fundraising/twinpeteschallenge23 Thank you. The Twin Petes Investing podcasts will be linked to and written about on the Conkers3 website and also on the WheelieDealer website . Thank you for reading this article and listening to this podcast, we hope you enjoyed it. Please share this article with others that you know will find it of interest. PLEASE SUBSCRIBE TO THE TWIN PETES INVESTING PLATFORM THAT YOU ARE LISTENING TO THIS PODCAST ON. THANK YOU.

A Gay And A NonGay is 300 episodes old... or thereabouts

AnCasti kaheksandas podcastis arutavad Artto ja Reimo terve mõistuse teemal. Terve mõistus küsib õige koha peal vajalikke küsimusi, mitte ei usalda kõike ettesöödetavat pimesi.Juttu tuleb mandela efektist, lausikust/lamedast maast, ajaloopettusest, dinosaurustest, hiiglastest, evolutsiooniteooriast ja muust põnevast. Saate eesmärk on pakkuda mõtteainet, panna kuulajaid mõtlema oma peaga ja tegema oma uurimist.Ancast Estonia Telegramishttps://t.me/AncastEstoniaOdysee: https://odysee.com/@ancastestonia:1BitTube: https://bittube.video/c/ancast_estonia/videosYouTube: https://www.youtube.com/channel/UCcJerboVGwYyjT7TNtb6xTAAncast Estonia audiopodcastinaSpreaker: https://www.spreaker.com/show/ancast-estoniaiTunes: https://podcasts.apple.com/ee/podcast/ancast-estonia/id1588078603Spotify: https://open.spotify.com/show/7Gz7Y7L6AkUa50JnluwLOG?si=A5ASuVqMSJOYtY6BEDJYJwMandela efektBrian Staveley temaatiline pleilist paljusid erinevaid Mandela efekte ja jäänukeid käsitlevate videotega:https://www.youtube.com/playlist?list=PL9On8wg264bwTtyNVPqFi1sJhpqTO00KxLausik MaaDavid Weiss: https://www.theflatearthpodcast.comEric Dubay: https://ericdubay.wordpress.comJeran Campanella: https://rokfin.com/jeranismRob Skiba: https://www.youtube.com/c/RobSkibaBob Knodel: https://rokfin.com/GLOBEBUSTERSSpacebusters: https://www.youtube.com/channel/UCeLFL5kXWuv66Uh9tWJYi2AODD TV: https://www.youtube.com/c/ODDTV1/videosFlat Earth Sun, Moon and Zodiac Clock app: https://qrco.de/bbizVAPeidetud ajaluguhttps://stolenhistory.orgJon Levi: https://www.youtube.com/channel/UC5vXBfxN7rxKeJHJxS8dNDwConspiracy-R-Us: https://www.youtube.com/user/gzpg6bCambell Purvis: https://www.youtube.com/channel/UCSsz5hijS79cioRCJcZpW2AEvolutsioon ja dinosaurused:Eric Dubay: https://www.youtube.com/watch?v=DtCIp9sgiE0&list=PLUrnnkvyMBf8MhWdcIccnTSnRiuqwpp4C&index=108Jeran Campanella: https://rokfin.com/post/69832/ARCHIVE-A-LOST-WORLD--Soft-Tissue-Exposes-Evolution-As-A-Religious-Dogma-of-ScienceODD TV: https://youtu.be/vf0LoBUQMmcEric Dubay (hiiglased): https://youtu.be/-TqxF5m9QV8VabaenergiaSpacebusters: https://www.youtube.com/watch?v=PzzudRKsYy4https://stolenhistory.org/articles/19th-century-radium-heating-systems.27/Tuumarelvadhttps://theunexpectedcosmology.com/the-atomic-bomb-was-a-hoax-architects-of-hiroshima/Eric Dubay: https://odysee.com/@EricDubay:c/NukeHoax:5KütusetüngSpacebusters (eesti subtiitrid): https://www.youtube.com/watch?v=cgaEfmB3gEE&list=PL3iIM2ZUzfRWiXccOGdQucexNQufEofp2&index=34KliimamuutusSpacebusters (eesti subtiitrid): https://www.youtube.com/watch?v=0MYjaGjh2nk&list=PL3iIM2ZUzfRWiXccOGdQucexNQufEofp2&index=27KaksiktornidBrian Staveley: https://rokfin.com/post/45480/911--The-Empty-Towers--Much-Deeper-Than-No-Planes-No-Victims-100-Hollywood-TrickeryTerrorilavastusedOle Dammegard: https://lightonconspiracies.comPisikuteooria vs keskkonnateooriahttps://www.telegram.ee/teadus-ja-tulevik/1918-aasta-inimkatsed-kas-nakkushaiguste-teooria-on-laborivaliselt-toestatudhttps://www.telegram.ee/teadus-ja-tulevik/kuidas-levivad-viirused-inimeste-vahel-teadlased-ei-teaEli Martyr: https://www.youtube.com/watch?v=HktVEdBtRN4Andres Lindmäe kirjutised allopaatilisest meditsiinisüsteemist:https://web.archive.org/web/20141107155251/http://www.terviseportaal.com/index.php/meditsiinMuusikavideoConspiracy Music Guru: https://www.youtube.com/watch?v=BJZ9sqvH9dYTitle: Puppet ShowArtist: Conspiracy Music GuruSong available to download from all the following digital stores:iTunes, Apple Music, YouTube Art Tracks, Spotify, Amazon Music, Google Play, Deezer, Groove, iHeartRadio, Napster, Simfy Africa, MediaNet, VerveLife, Tidal, Gracenote, Shazam, 7Digital, Juke, Slacker, KKBox, Akazoo, Anghami, Spinlet, Neurotic Media, Yandex, Target Music, ClaroMusica, Zvooq, Saavn, NMusic, 8tracks, Q.Sic, Musicload, Kuack, Pandora, Boomplay Music Reimo lingidYoutubehttps://www.youtube.com/channel/UC20Eb4X9EC9iN0H0nqech5Q/featuredOdyseehttps://odysee.com/@flatearthancap:aBitChutehttps://www.bitchute.com/channel/bMBOzECU32z9/Instagramhttps://www.instagram.com/flatearthancap/Telegrami kanalhttps://t.me/flatearthancap

7digital (AIM: 7DIG), the global leader in B2B end-to-end digital music solutions, announced that it has signed an initial 12-month contract with Apex Rides Limited (“Apex”). A cutting-edge high-performance smart bike and in-home fitness platform, to service music for its virtual exercise classes. In an exclusive partnership with London-based boutique fitness pioneer Boom Cycle, new-to-market Apex provides a full home exercise connected bike and subscription service with live and on-demand interactive classes. With hardware pricing at a fraction of the leading market competitors and premium class content planned to attract and retain customers, Apex’s solution is designed as an accessible alternative for the mainstream market. Apex is using 7digital’s in-house licensing services to negotiate and finalise rights to millions of premium tracks. Through 7digital’s catalogue and playlisting tool, instructors will have access to fully cleared and compliant music for programming their classes, making it easy to create custom playlists curated by genre, tempo or music theme in line with the emotional connection and spirit of each class. In addition to playlisting and catalogue curation, 7digital will also provide the backend label and publishing reporting. Paul Langworthy, CEO of 7digital, said: “We are delighted to be partnering with Apex Rides, which has music at the core of its virtual cycling experience, to help drive further growth into the exciting home fitness space. A core pillar of our business strategy centres on the flexibility of our technology, products and services to not only serve established markets but also new and emerging verticals that will create diversified music streaming business models. As this sector heats up, we are proud to provide the end-to-end services that can support innovators such as Apex Rides to forge new frontiers in the fitness market with new formats for music licensing use cases.” https://www.share-talk.com/paul-langworthy-ceo-of-7digital-group-plc-7dig-l-podcast/

Vickie Nauman is a consultant to music startups, the former President of 7Digital and head of business development for SONOS. "You build the right model, you build the right infrastructure, and you get it right from the beginning with a smaller collection of music and then you can gradually grow that over time." The post 86. Vickie Nauman – Music Software Law Product appeared first on MTF Labs.

The Black Mans Bible by THEGOD720 Site: http://www.payloadz.com/go/sip?id=294... www.TheBlackMansBible.com for $25.00 The RAWDOG Edition 440 pgs 64 pix Signed w/ The Mon$ter Sndtrck (2 Disc) Donate: https://tinyurl.com/y6v3523p Stream The Monster Album: @Spotify, @ITunes, @AmazonMP3Music, @GooglePlayMusic, @iHeartRadio, @TIDAL, @Pandora, @SoundCloud, @ReverbNation, @Napster, @Bandcamp, @MicrosoftGrooveMusic, @AWAMusic, @7Digital The Black Mans Bible Has Been VALUED AT $2,500.00 by Amazon This is the first book of it’s kind. The Black Man’s Bible details a young black males struggles with the world, religions, drugs, crime, money and sex. Throughout his life he studies advanced scholarly material which changes his view of the world over and over again as he matures. He battles health issues after he goes through a traumatic experience with the delivery of his first child. So he delivered his second son at home. The video of the home delivery can be seen at TheBlackMansBible.com. In the book he details how he finds himself in history repeatedly in different times periods. He also gives vivid descriptions of his experiences with Love and Women. Then, after becoming an online Entrepreneur, he travels to Germany and China for free. He has struggles with finding a career and ends up becoming an Author. He covers many subjects that are not popular to the modern day world. He has compiled a multitude of experiences that are dissected through the abstract different types of black males. THIS IS THE BOOK OF THE CENTURY. THE TRUE GUIDE FOR BLACK MALES LOST IN THE WESTERN WORLD. Also at: @Amazon, @BarnesnNoble, @Ebay, @Alibris, @Target, @CambridgeUniversity, @Harvard, @Yale,@Stanford, @Princeton, @Sears, @Berkley, @UCLA, @HBCU, World BUY ALL OF THE GOD 720'S ALBUMS COMING SOON! July 4th, 1776 The Money Religion $9.00 19 songs The Immortal Spectacle $9.00 14 songs The Mon$ter (Double Disc) $9.00 The Black Mans Bible Soundtrack 25 songs The ONYX Tablet $9.00 Real Nigga Etiquette Soundtrack 9 songs Negro Please $9.00 13 songs PURCHASE HERE: https://www.amazon.com/s/ref=nb_sb_no... STREAM ON: @Spotify, @ITunes, @AmazonMP3Music, @GooglePlayMusic, @iHeartRadio, @TIDAL, @Pandora, @SoundCloud, @ReverbNation, @Napster, @Bandcamp, @MicrosoftGrooveMusic, @EMusic, @AWA Music, @7Digital #lasvegas #losangeles #consciousness #tidal #spotify #itunes #soundcloud #legend #onstage #concert #screwedup #label #unsignedartist #artist #entertainment #bass #musician #hiphop #trapmusic #dj #music #radio #studio #rap #dirtysouth #producer #musicmanagement #bars #lyrics #memorialday

Kurtis Parks - Episode 366About Kurtis Parks:Having written over 1,200 songs across several musical genres, Kurtis Parks has been a top 50 American Idol (fourth season) finalist, been featured on the Fox Morning Show, BET's Bobby Jones Gospel Hour, and had his “Forever Changed” song (written for his beloved Virginia Tech community after the April 2007 tragedy) featured on NBC News and CNN. Sharing the stage with such well-known artists as John Mayer, Howie Day, Sanctus Real, Reliant K, Gungor, Ben Folds and many more, Parks' worship choruses are also sung around the world in churches every weekend. Producing over 50 albums for various Christian artists nationwide and serving as worship director from 2010 to 2017 at Washington, DC-based National Community Church (NCC), Parks founded Bridges Nashville church in 2018 where he serves as lead pastor. He also released his first book in 2016, Sound Check, a book on authentic worship, as well as his first Kurtis Parks and Friends kids album, Story Songs from Scripture. Speaking, leading worship and preaching at conferences and festivals nationally, He and his wife Sarah are based in Nashville and have two children, Norah and Moses. Worship team members from downtown Nashville, Tennessee-based Bridges Nashville church spent the week of March 23, 2020 recording video and audio from their respective homes for their new single "Jesus You Are" releasing today (Good Friday, April 10) from Venture3Media (V3M). The song is available now at Apple Music, iTunes, Spotify, Google Play and additional digital and streaming outlets globally. A Bridges Nashville: Jesus You Are Deluxe Version is also available as exclusives from Apple Music and iTunes. Following back-to-back hardships faced by the church planted Sept. 2018 by Kurtis Parks in partnership with National Community Church, a multi-site church led by Pastor and NY Times best-selling author Mark Batterson, “Jesus You Are” has been an anthem for the church to sing over the last couple months. “Worship songs can become altar-moments to God's faithfulness, even in a tough season,” shares Parks, Bridges Nashville's lead pastor and co-writer of the song with worship leader Delaney Ramsdell. Over the last couple months, the church, which gathers at The Listening Room Café in downtown Nashville, had all of its signage, worship and production equipment stolen followed a week later by a devastating tornado that ripped through the areas of Nashville the church serves. Now dealing with the Covid-19 pandemic, Bridges Nashville's worship team remotely gathered online from their sheltering locations across the US to record the song from their homes. “From Texas to Virginia, and all in between, while social distancing, we were unified in worship,” shares Parks. With Travis Flynn editing the resulting iPhone video and Patrick McDermott and Cordell Bay mixing the audio, Bridges Nashville initially shared the “Jesus You Are” recording on its Facebook page April 3, which was quickly viewed by tens-of-thousands and shared hundreds of times. “We knew that this is a song for right now, for our world and what we are all going through,” says Parks in the song story video at www.youtube.com/watch?v=tGmQuY2csxw&feature=youtu.be. “The words of the bridge say that Jesus is the Prince of Peace and the Son of Truth. If there are two things our world needs to be reminded of right now, it's that God is peace in the midst the storm and Jesus is the way, the truth and the life even among confusion and much doubting. I pray that as you listen to this song, it's an inspiration and hope-filling for you today.” Prince of peace, Son of truthMaker of all things newJesus You are, Jesus You areMore of You, less of meWho is worth everythingJesus You are, Jesus You are (“Jesus You Are” bridge.) For all the latest Bridges Nashville news, visit www.bridgesnashville.com, Instagram, Facebook, Twitter and YouTube.About Bridges Nashville:A community-driven, Gospel-centered church meeting at The Listening Room Café downtown Nashville, Bridges Nashville combines music and message, teaching the Scriptures through song and focusing on discipleship, relationship and worship. With shorter, TED-style sermons on Sundays, the church engages in mission and community work throughout the week and is dedicated to seeing the residents of urban Nashville discover the love of God, the hope of Christ and the power of the Holy Spirit.About Venture3Media:Venture3Media is a global music label and song publisher with sales, marketing, promotional, radio, television and movie expertise. V3M provides distribution platforms across all digital channels, including but not limited to Spotify, Apple Music, iTunes, Amazon, Deezer, Tencent, 7Digital, Google Music, Facebook, Pandora, Tidal, Sirius and Rhapsody. Physical distribution includes online retailers such as Amazon, national retail chains, sub-distributors and internationally through well-established licensee's and distributors. Looking for some music during your time at home?Buy Rick Lee James Music on Bandcamp: www.RickLeeJames.Bandcamp.comor on Amazon: https://amzn.to/3abA3po  ----more----  Become A Patron of this Podcast at the Rick Lee James PATREON PAGE: https://www.patreon.com/bePatron?u=134988&redirect_uri=https%3A%2F%2Frickleejames.com%2F&utm_medium=widget ----more----As Always...Thank You For Listening To Voices In My Head  About Your Host: Rick Lee JamesFor more information on Rick Lee James, visit www.rickleejames.com, or follow him on Twitter and Facebook. Listen to his official podcast at www.voicesinmyheadpodcast.com, and get a daily dose of wisdom from Mister Rogers at @MisterRogersSay.“Welcome To The Neighborhood: A Mister Rogers Tribute Podcast” podcast can be heard HERE.Request the “Thunder Radio Special” at www.crwradiopromotions.com. Official Web Site: www.RickLeeJames.comGet Rick Lee James Latest Album: https://fanlink.to/RLJThunderIn partnership with CRW Radio Promotions, singer, songwriter and worship leader Rick Lee James debuts a brand new radio special. The “Thunder Radio Special” can be heard exclusively on James' official YouTube channel or his website. It was also recently added to Spotify and Apple Music. Radio stations interested in airing the “Thunder Radio Special” can contact Kathryn Ambrose at CRW Radio Promotions at kathryn@westarmediagroup.com.----more----For Booking Inquiries  Click Hereor contact Gary StriplingBy Phone: 904.745.9151By Email: gary@themanagementagency.comManagement General Office Hours:Monday – 11Am – 5PMTuesday – 11Am – 5PMWednesday – Office closedThursday – 11Am – 5PMFriday – 11AM – 5PMSaturday – 11AM – 5PM This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rickleejames.substack.com/subscribe

Kurtis Parks - Episode 366 About Kurtis Parks: Having written over 1,200 songs across several musical genres, Kurtis Parks has been a top 50 American Idol (fourth season) finalist, been featured on the Fox Morning Show, BET’s Bobby Jones Gospel Hour, and had his “Forever Changed” song (written for his beloved Virginia Tech community after the April 2007 tragedy) featured on NBC News and CNN. Sharing the stage with such well-known artists as John Mayer, Howie Day, Sanctus Real, Reliant K, Gungor, Ben Folds and many more, Parks’ worship choruses are also sung around the world in churches every weekend. Producing over 50 albums for various Christian artists nationwide and serving as worship director from 2010 to 2017 at Washington, DC-based National Community Church (NCC), Parks founded Bridges Nashville church in 2018 where he serves as lead pastor. He also released his first book in 2016, Sound Check, a book on authentic worship, as well as his first Kurtis Parks and Friends kids album, Story Songs from Scripture. Speaking, leading worship and preaching at conferences and festivals nationally, He and his wife Sarah are based in Nashville and have two children, Norah and Moses.   Worship team members from downtown Nashville, Tennessee-based Bridges Nashville church spent the week of March 23, 2020 recording video and audio from their respective homes for their new single "Jesus You Are" releasing today (Good Friday, April 10) from Venture3Media (V3M). The song is available now at Apple Music, iTunes, Spotify, Google Play and additional digital and streaming outlets globally. A Bridges Nashville: Jesus You Are Deluxe Version is also available as exclusives from Apple Music and iTunes.   Following back-to-back hardships faced by the church planted Sept. 2018 by Kurtis Parks in partnership with National Community Church, a multi-site church led by Pastor and NY Times best-selling author Mark Batterson, “Jesus You Are” has been an anthem for the church to sing over the last couple months.   “Worship songs can become altar-moments to God’s faithfulness, even in a tough season,” shares Parks, Bridges Nashville’s lead pastor and co-writer of the song with worship leader Delaney Ramsdell.   Over the last couple months, the church, which gathers at The Listening Room Café in downtown Nashville, had all of its signage, worship and production equipment stolen followed a week later by a devastating tornado that ripped through the areas of Nashville the church serves. Now dealing with the Covid-19 pandemic, Bridges Nashville’s worship team remotely gathered online from their sheltering locations across the US to record the song from their homes. “From Texas to Virginia, and all in between, while social distancing, we were unified in worship,” shares Parks.   With Travis Flynn editing the resulting iPhone video and Patrick McDermott and Cordell Bay mixing the audio, Bridges Nashville initially shared the “Jesus You Are” recording on its Facebook page April 3, which was quickly viewed by tens-of-thousands and shared hundreds of times.   “We knew that this is a song for right now, for our world and what we are all going through,” says Parks in the song story video at www.youtube.com/watch?v=tGmQuY2csxw&feature=youtu.be. “The words of the bridge say that Jesus is the Prince of Peace and the Son of Truth. If there are two things our world needs to be reminded of right now, it’s that God is peace in the midst the storm and Jesus is the way, the truth and the life even among confusion and much doubting. I pray that as you listen to this song, it’s an inspiration and hope-filling for you today.”   Prince of peace, Son of truth Maker of all things new Jesus You are, Jesus You are More of You, less of me Who is worth everything Jesus You are, Jesus You are  (“Jesus You Are” bridge.)   For all the latest Bridges Nashville news, visit www.bridgesnashville.com, Instagram, Facebook, Twitter and YouTube. About Bridges Nashville: A community-driven, Gospel-centered church meeting at The Listening Room Café downtown Nashville, Bridges Nashville combines music and message, teaching the Scriptures through song and focusing on discipleship, relationship and worship. With shorter, TED-style sermons on Sundays, the church engages in mission and community work throughout the week and is dedicated to seeing the residents of urban Nashville discover the love of God, the hope of Christ and the power of the Holy Spirit. About Venture3Media: Venture3Media is a global music label and song publisher with sales, marketing, promotional, radio, television and movie expertise. V3M provides distribution platforms across all digital channels, including but not limited to Spotify, Apple Music, iTunes, Amazon, Deezer, Tencent, 7Digital, Google Music, Facebook, Pandora, Tidal, Sirius and Rhapsody. Physical distribution includes online retailers such as Amazon, national retail chains, sub-distributors and internationally through well-established licensee’s and distributors.   Looking for some music during your time at home? Buy Rick Lee James Music on Bandcamp: www.RickLeeJames.Bandcamp.com or on Amazon: https://amzn.to/3abA3po    ----more----   Become A Patron of this Podcast at the Rick Lee James PATREON PAGE: https://www.patreon.com/bePatron?u=134988&redirect_uri=https%3A%2F%2Frickleejames.com%2F&utm_medium=widget   ----more---- As Always...Thank You For Listening To Voices In My Head    About Your Host: Rick Lee James For more information on Rick Lee James, visit www.rickleejames.com, or follow him on Twitter and Facebook. Listen to his official podcast at www.voicesinmyheadpodcast.com, and get a daily dose of wisdom from Mister Rogers at @MisterRogersSay. “Welcome To The Neighborhood: A Mister Rogers Tribute Podcast” podcast can be heard HERE.Request the “Thunder Radio Special” at www.crwradiopromotions.com.  Official Web Site: www.RickLeeJames.com Get Rick Lee James Latest Album: https://fanlink.to/RLJThunder In partnership with CRW Radio Promotions, singer, songwriter and worship leader Rick Lee James debuts a brand new radio special. The “Thunder Radio Special” can be heard exclusively on James’ official YouTube channel or his website. It was also recently added to Spotify and Apple Music. Radio stations interested in airing the “Thunder Radio Special” can contact Kathryn Ambrose at CRW Radio Promotions at kathryn@westarmediagroup.com. ----more---- For Booking Inquiries  Click Here or contact Gary Stripling By Phone: 904.745.9151 By Email: gary@themanagementagency.com Management General Office Hours:Monday – 11Am – 5PM Tuesday – 11Am – 5PM Wednesday – Office closed Thursday – 11Am – 5PM Friday – 11AM – 5PM Saturday – 11AM – 5PM

He was the drama student who aspired to be a Radio 2 producer - but emerged as a key commercial radio innovator and business leader as the industry began to find its feet, make money and exploit new technology.  In this hour of RadioMoments Conversations, Simon Cole tells of the opportunities and frustrations of BBC local radio - before moving to produce and manage programming at Piccadilly, where he pioneered commercial content and built PPM before leaving to found Unique Broadcasting; a move prompted by Owen Oyston’s acquisition of Piccadilly. He shares his role in the stories of commercial inventory bartering, DAB, Audioboom, One Word; and 7digital, where he was chief exec until Spring 2019. Simon opens up about those who have inspired him; the pain of corporate deals; the lessons of entrepreneurship; and outlines his view of a wholly disrupted future for the business of radio.  In his own words, this is the Simon Cole story. Hear the whole ‘RadioMoments Conversations’ series  here (https://podfollow.com/1459316952) – and sign up for the regular podcast for this ongoing series. Music by Larry Bryant (http://www.larrybryant.com/) .

Simon Cole is Co-Founder and CEO of 7digital Group PLC. The company powers a huge amount of streaming and radio brands behind the scenes, providing both content and technology, serving 85 countries from four global offices with 150 employees, and a catalogue of 60 million songs. A self-confessed “radio industry lifer” he started out as an ambitious teenager working at BBC Radio Blackburn, and in 1989 he started the Unique Broadcasting Company, which became the market leader in network commercial radio production, creating iconic brands such as ‘The Pepsi Chart Show’ among the way. In this in-depth interview, Simon predicts how the next generation of digital music will combine both streamed and curated services, discusses the implications of the UK government’s plans to switch off the analogue signal altogether, and passionately makes the case for radio’s long-term future.

The new Divorce Gun album “The Waning Days of the World” is available now! iTunes, Apple Music, Amazon, Spotify, 7Digital, iHeartRadio, Napster, Tidal, Rdio, Deezer, Pandora, Shazam, and in-store at Challengers! Diane Nelson has stepped down from her role as President of DC Entertainment. Spider-Geddon seems way too soon to have yet another Spider-Crossover. Game Stop is going to start selling monthly comic books. Maybe. I mean, they haven’t officially announced it, but it’s a thing we talk about. Looking back at Steve Geppi’s Keynote Address from this year’s C2E2 Diamond Retailer Breakfast, was he trying to tell us something? And how would we survive if Diamond went away? As ever, we have a few new events to talk about, including asking your opinion on a Mike Norton event for the LIL’ DONNIE collection. DC is relaunching their Vertigo imprint. We’re so excited for it that almost don’t even mention it.

Minter Dialogue Episode #197 — This interview is with Pete Downton, Deputy CEO of 7Digital, a publicly traded agency that has a digital music platform, with nearly 50 million tracks powering 50 music services around the world. In this podcast, we discuss the state of the music industry, some of the most important trends in music, including the role of the DJ, as well as MQA and the technological advancements in digital music quality, what it takes for musicians to succeed today and more. Meanwhile, please send me your questions as an audio file (or normal email) to nminterdial@gmail.com; or you can find the show notes and comment on minterdial.com. If you liked the podcast, please take a moment to go over to iTunes to rate/review the podcast. Otherwise, you can find me @mdial on Twitter. Support the show (https://www.patreon.com/minterdial)

Ben Drury, Founder of 7Digital, joined Seedcamp’s Dave Haynes for this interview talking through his journey as an entrepreneur. From starting in the first dot-com boom within early online music tech to building 7Digital during the dot-com crash, Ben discusses everything from building new services for a new era of technology, acquiring and selling other companies, to 7Digital’s own IPO.

Andrea Leonelli from Digital Music Trends interviews Vickie Nauman from 7Digital. The post SXSW 2014: Vickie Nauman, Pres. of North America at 7Digital. appeared first on Digital Music Trends.

New York, NY- March 3, 2014 - Jahna Sebastian's critically acclaimed EP "The Edge of Love" is now available on iTunes, Amazon, eMusic, GooglePlay, XBox Music, 7Digital, Spotify, Sony Music Unlimited and many other retailers. Ms. Sebastian wrote, produced, arranged and recorded every track of the EP in her studio Multivizion Music.    When asked about “The Edge of Love” EP Ms. Sebastian states, “It tells a story of being on the borders between love and hate, strong emotions. I am a very passionate person, it's all or nothing for me. It is about sudden changes that a relationship brings and the journey of immediate transformation through them. It is the dialogue between the extremes. It has a bit of Nietzsche, a bit of Kafka and a little bit of cyberpunk.”   The EP features seven tracks “The Edge of Love”, "One Day”, “Poison”, “Desert”, “Running”, “Love Letter” and “Desert Remix”.  Four music videos were filmed : “One Day”, “Poison”, “The Edge of Love” and “Desert” with a very talented young director Kevin Hudson. She also wrote the treatments for two of them, she stated, “They are all like chapters of the same book unfolding in various ways”. 

Larry Killip talks about his album When I Was A Boy, Larry features four songs from the album and sings the first line of each song live in the podcast studio then blends in the recorded version.. ‘When I Was A Boy’ is a real throwback to good old fashioned “pop” – each song is a pure gem – great pop tracks which you will love the minute you hear them. Franklin Bishop Elite Lifestyle magazine Larry Killip is an artist/producer downunder with several album releases to his name. The album "When I Was A Boy" was released by Gap Music (www.gapmusic.co.uk) and is available on 7Digital.com, iTunes, Rhapsody.com, Amazon.com and many others.