Podcasts about lastfm

Nick has a new game for us this week. Jay & Greg have to choose which of two artists had “Record Sales” in the past 30 days. The tricky part is that the list is based on sales from a used vinyl store in the UK (https://eil.com/features/topartistspage.asp).Song: Vulfmon & Evangeline - “Got To Be Mine”Next up, Greg recaps the his experience performing at The Congressional Record with elected members of the house and senate last week. Songs: The Congressional Record - “Let It Be”Astromax - “Treasure Island”Jay is still playing around LastFM and just discovered Scottish rock singer, Frankie Miller. We believe the algorithm has learned that Jay is a sucker for the ‘artist that suffered a major health event requiring more famous artists to contribute to their benefit album' genre.Songs: Frankie Miller - “Play Something Sweet (Brickyard Blues)”Frankie Miller - “Shoo-rah”Frankie Miller & Elton John- “Where Did the Guilty Go”

Achou ruim? Faz melhor! Agosto é mês de @festivalsarara e vocês já sabem o quão ratas de festival as Comadrinhas são. Mas entre elogios e reclamações, o line up é sempre o ponto de partida de qualquer comentário. E com uma curadoria baseada nos scrobbles do nosso Last FM e descobertas do SoundCloud, convidamos nosso querido @opedroneiva pra montarmos o nosso próprio festival. Compraria nosso lote no escuro? Acompanhe o Pedro Neiva nas redes sociais: https://www.instagram.com/opedroneiva/ Parceiros desse episódio: Flávia Biagini: https://www.instagram.com/flaviabiaginiof/ Handy Jardim - Beleza Integral: https://www.instagram.com/handyjardim/ O PodMadres é apresentado por: Carlos: https://www.instagram.com/carlosnoog Fersi: https://www.instagram.com/oifersi Siga o PodMadres nas redes sociais: @podmadres

Vor knapp 20 Jahren startet mit last.fm eines der ersten echten sozialen Netzwerke. Schon im Pre-Streaming und Pre-Social-Media-Zeitalter trackten wir unsere Musik und stellten somit unseren Geschmack und auch uns selbst aus. Web 2.0 sorgte dafür, dass das Internet von den User*innen selbst gefüllt und gestaltet wurde und Last.fm sorgte dafür, dass Fans ihren Geschmack teilten, Musik sichtbar machten und Informationen verbreiteten. Und das in der Hochzeit der mp3 und einer Musikindustrie im Wandel. Wir klären u.a. in der Folge: Inwieweit war last.fm seiner Zeit als soziales Netzwerk voraus? Welchen Einfluss hatte das Tracking und Auswerten unserer Aktivitäten und unserer Persönlichkeit auf das heutige Online-Verhalten? Warum sinkt die Relevanz der Seite, obwohl Jahr für Jahr die Menschen durchdrehen, wenn Spotify Wrapped angekündigt wird? Welche Rolle spielte last.fm als Online-Radio und Streaming-Vorreiter? Warum darf dieses kleine Online-Wunder niemals niemals niemals untergehen? [Setlist] - [00:00:00] Intro, Steady + Gast Kristoffer Cornils - [00:04:08] Zuletzt gehört: Isolée, Happy Birthday + Instra:mentals FabricLive - [00:08:24] Was ist last.fm eigentlich? Vom Scrobbeln und Vernetzen - [00:16:51] Mitte der 2000er: In welcher Phase der Musikindustrie und des Web 2.0 startete last.fm eigentlich? Von mp3s, Foren und dem Netz als neuen Raum der Selbstinszenierung
- [00:26:58] last.fm als musikalisches Tagebuch, wie wir den Vergleich suchen, wie es als soziales Netzwerk Pionierarbeit leistete
- [00:47:27] Die Auswertbarkeit und die Datenlage. Wieso drehen bei Spotify Wrapped jedes Jahr alle durch? - [00:52:57] Wieso hat last.fm so sehr an Relevanz verloren? Liegt es an der Kommodifizierung der Musik? 
- [00:57:13] Last.fm war 2008 der erste richtige Streamingdienst, bevor es Streamingdienste gab - [01:04:01] last.fm als Vorbild für das Nutzer*innenverhalten heute: Wir tracken Filme, Schritte, Bücher, Essen etc. - [01:10:53] Hätte last.fm seinen Niedergang überhaupt verhindern können? Wer nutz es heute noch? (Wir zum Beispiel)

INTENT:OUTTAKE is Dark Apocalyptic Electro project from Leipzig, Germany.It's melodic, danceable Dark-Electro, which is to stimulate thought with its lyrics. Andreas and Bastian sang in German and English of social deficits and the disintegration of mankind and its environment. The greatest enemy of man is man himself.There are some dates that will always have a special significance for Bastian and Andreas, including the 8th of June 2014. On that day, INTENT: OUTTAKE played their first concert at the 23rd WGT in Leipzig. As part of this gig, the two musicians presented their own songs to the interested audience in the K3 Lounge in Leipzig for the first time. Inspired by the invitation of this evening, the debut album "Wake Up Call", which was released in January 2015, was completed in the folgemonates.After the first release, the band was on tour in Germany and released the single "Neustart" in the same year as the forerunner of the second album. The album "About Halos" followed in 2016 and led the two musicians on various festival platforms, also in the European countries. (c) LastFM

We talk about last.fm a LOT on the pod – but what is it? Where does JEW rank on last.fm as a whole and in each of our accounts? Which are our most scrobbled songs? Which are the least? Let's get Scientific over on Patreon! Get some merchandise here Follow us on Instagram at @jimmyeatpodRead More

SURPRISE EPISODE!  Tim and Jay went to their Last.FM accounts (if you're not using Last.FM you're a SUCKER) to see what their listening reports look like for last year...do they match what their top album picks were?  Listen in and find out! Cheers! Instagram:  https://www.instagram.com/nubreed_podcast/ Email:  Nubreedpodcast@gmail.com Twitter:  https://twitter.com/nubreed_podcast Facebook Group:  https://www.facebook.com/groups/nubreedpodcast/ Tim Twitter:  https://twitter.com/timLSD Jay Twitter:  https://twitter.com/horsecow Youtube Channel: https://www.youtube.com/channel/UCrlK456FML4jtXN1YF7fxHg Spotify Playlists:  https://open.spotify.com/user/o0f47xzeolb7nk7yuq1by3rry/playlists

I dagens sending tar Skumma en helomvending. Lys blir tent, det er andre søndag i advent. Mens lyset brenner, kan du høre tre gode venner. Samtaler om julekalender, og hvilke følelser de sender. Så slå deg ned og hør, få den gode, gamle julestemning, akkurat som før.

We're joined in this show by Michael Horan, VP of Product at Last.fm, which is just about to hit a remarkable milestone: 20 years as a music tech company. In that time Last.fm has gathered an enormous amount of data on how people listen to music – and we wanted to talk to Michael about what Last.fm has learned from a music business that has changed dramatically in two decades. Last.fm has grown from a company that tracked what you were listening to in your mp3 and CD collection to what you listen to everywhere online, and in this podcast, part of a partnership between Music Ally and Last.fm, we ask Michael about what Last.fm has both witnessed in – and brought to – over 20 years in the music business. He talks about the changes in how data has been used, and what changes are needed so that data can continue to be used in innovative ways to build communities and connect audiences with artists. www.last.fm www.last.fm/music LinkedIn - https://www.linkedin.com/company/last-fm Twitter - https://twitter.com/lastfm Facebook - https://www.facebook.com/lastfm Instagram - https://www.instagram.com/last_fm/ --- Send in a voice message: https://anchor.fm/musically/message

This week, Chris endures a golf injury and Rob finds a loophole to Dry June. They also discuss the 30th anniversary of Faith No More's "Angel Dust", go through spindles of unlabeled CDRs from 20 years ago, Chris tries to guess Rob's top artits/albums as recorded by Last FM and Mercyful Fate has a new song out.......kind of.   Enjoy!!!

John had a little treat, they both get back into Last FM and Robb has a new bit of kit.Andy's Frozen Custardrknightuk's Music Profile | Last.fmjohnvoorhees's Music Profile | Last.fmNepTunes — micropixels softwareSleeve — Now playing on your DesktopMarvis Review: The Ultra-Customizable Apple Music Client - MacStoriesPortable Mini Microphone - Razer Seiren Mini

Due to the same unfortunate circumstance as last year this weeks Top 10 of 2021 episode was rescheduled to next week but luckily Fog stepped up to the plate in order to put an episode out for the fans this week! Enjoy this weeks very special Seola Day episode and look forward to next weeks top 10 countdown! See acast.com/privacy for privacy and opt-out information.

Last.Fm Podcast Submission/Distribution Services - SEOServiceinIndiaGet your podcasts listed on Last.Fm Podcast. We submit and distribute podcasts on Last.Fm Podcast. Increase brand awareness with high quality podcast submissions on Last.Fm Podcast.https://seoserviceinindia.co.in/product/last-fm-podcast-submission-services/Tags: Last.Fm Podcast Submission/Distribution Services

Thank you Marc Nathan for the intro to our guest today Max Niederhofer. Max is a Partner at Heartcore Capital. Heartcore Capital is europe's consumer tech VC focusing on investing in happiness investing in seed and Series A. Some of his investments include Italic, LastFM, and One Fine Stay. Previously Max was an investor at Accel and founded MyBlog. In this episode, we focus on investing in communities, the meaning of consumer, and some of the differences when investing in Europe vs. U.S. Without further ado, here's Max.Sponsor: This episode is brought to you by Gorgias. Gorgias combines all your communication channels including email, SMS, social media, livechat, and phone, into one platform and gives you an organized view of all tickets. Sign up here and mention the Consumer VC podcast for two months free.Click Here to sign up.And there you have it. It was pleasure having Max on the show, highly recommend following him on Twitter @maxniederhofer.Some of the questions I ask Max:What was your initial attraction to startups and innovation?Internet in 98 became part of your life?Interested in sub communitiesWhat are some of your learnings since when you founded Myblog and Qwerly?What does consumer investing mean to you and why did you choose to focus on it?What are some of the regions punch above their weightExcellent talent in Europe, it is raw.Way you build talent organicallyAfter you sold your companies, why did you decide to become an investor?Why do you enjoy investing at the early stages vs. growth stages?How do you analyze foundersFor American investors who want to invest in Europe - especially consumer focused companies - what have been some of the biggest misconceptions?How has the European startup ecosystem evolved since you began investing?Are there certain regions that have grown faster than others?What are some of the hurdles when investing in European consumer focused companies?How should European based companies think about growth expanding to other parts of the continent?What makes Europe complex?There's been alot of influx from American VC money into Europe. Do you think there's going to be a rise of more domestic based funds.Has Brexit changed anything so far related to the startup landscape?What are categories and markets that you think are big opportunities in technology that haven't come online?When you think about trends, do you think about what is exciting and interesting in other parts of the world that could be translated and work for Europe?What's your approach to analyzing consumer behavior and habits?How do you analyze founders?What's one thing you would change about venture capital?What's the best piece of advice you have for founders?What is next in consumer, what are you excited about

You Have To Hear This! is hosted by Ryan Terry, Lucas Cottet, and Evan Donnelly. This week, Ryan, Lucas, and Evan discuss Splendor & Misery by clipping., Some Rap Songs by Earl Sweatshirt, and Systematic Chaos by Dream Theater, as well as Last FM. Instagram: https://www.instagram.com/youhavetohearthispodcast/ Ryan's Instagram: https://www.instagram.com/ryanjackowskiterry/ Lucas' Instagram: https://www.instagram.com/mandarinjarritos/ Ill's Instagram: https://www.instagram.com/illsmusic/ Evan's Instagram: https://www.instagram.com/donnelly.evan1/ Evan's Twitch: https://www.twitch.tv/donnellyevan Violent Graffiti: https://linktr.ee/ViolentGraffiti Podcast art by Emilia Laraiso and Connor Bessey-Nolan. Music by Evan Donnelly. Ryan is also on the show Terry Talks Podcast, and similar shows worth listening to are You Have To Watch This! and Stories Worth Sharing, hosted by Clayton Terry. The next episode's albums are ...Like Clockwork by Queens Of The Stone Age, Come In by Weatherday, and I Want to Die in New Orleans by $uicideboy$.

Singer/songwriter Shannon Quinn talks about her career and her music including “Straight Shot”, Rearview”, and many megahits on Spotify, Last FM, etc. plus growing up in St. Thomas, PA and her amazing move to Nashville! Check out her amazing music on all major music platforms! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

Marco and Eli discuss New Year's follow-up and how their yearly themes are going. Then, they talk about TV/music streaming and close out with a segment about why sugary foods just aren't so sweet anymore. [CW (1:04:10 til the end): food, eating habits, overeating, *no mention of ED*] Notes from the show: CGP Grey's video on yearly themes: https://www.youtube.com/watch?v=NVGuFdX5guE Matthew Bowlin's Rental Space band insta: https://www.instagram.com/rentalspaceband/ Sign up for LastFM (highly recommended!): https://www.last.fm/home NBC's Peacock streaming platform *does* charge extra for more seasons of The Office: https://www.cnbc.com/2020/12/14/nbcuniversals-peacock-says-two-seasons-of-the-office-will-be-free.html

Singer/songwriter Shannon Quinn talks about her career and her music including “Straight Shot”, Rearview”, and many megahits on Spotify, Last FM, etc. plus growing up in St. Thomas, PA and her amazing move to Nashville! Check out her amazing music on all major music platforms!

It's the time of year when Swedes argue about which Julmust brand is the best! A much anticipated Cyberpunk-game was released, but how Punk is a game really if it doesn't work? How many squirrels does it take to entertain a quarantined Youtube-engineer? The christmas calendar challenge is closing in on it's last day and Simon is plotting his revenge. This and much more in the latest episode with your two favorite bananas!All links and such can be found on swedishbananas.com

Jeg har handlet meg utstyr for å behandle studioet mitt akustisk, og brukte alt for lang tid på det. Navn kan i blant lure deg, og jeg tar en kikk på min last.fm-historikk og ender opp med å snakke alt for lenge om musikk. Få mer ekslusivt innhold på Patreon!Support this show http://supporter.acast.com/tompratmedgunnartjomlid.

Conor Tripler joins us to remember the heyday of last.fm, how he got banned from Twitter, and what his rarest music files are... but not before recounting the most niche, underground catfish of all time: Landon Baker.Follor Conor on Twitter (he's back!) at @conor_tripler.Music: Beggin' Your Pardon Miss Joan - SasquatchBlack Nash - GuttermouthGvcci Hvcci - Bullet In The Head

Os serviços de streaming vem crescendo e ganhando cada vez mais espaço no mercado de música digital no mundo inteiro. Aclamados por uns e odiados por outros, o fato é que esses serviços nos oferecem uma praticidade nunca antes experienciada, chegando a convencer até mesmo os mais conservadores colecionadores de álbuns a assinarem. Por um valor que cabe no bolso, milhares e milhares de músicas podem ser reproduzidas tanto em seu computador quanto em seu smartphone pelo mundão afora. Entrando em uma briga feia contra a pirataria, esses serviços contribuem para que os artistas também embolsem uma parcela dessa grana referente aos direitos autorais por cada reprodução.Neste episódio João Paulo, Henrique Machado e Bruno Hiago bateram um papo sobre os serviços mais populares de streaming no Brasil, quais as principais diferenças entre eles e o que cada um traz de melhor, tentando responder assim a pergunta que com certeza está na cabeça de muitos musiqueiros por aí: Assinar ou não um serviço de Streaming?

Wherein we are pre-gig in MB’s car, talking about who’s who’s wuzza, Béyonce who?, feminism wins, Vili’s pies, DI was in SA (for dinner) We discuss a polite young man, a hurdy gurdy, driving a piano onstage, Last FM for setlists, Elton John’s Zimmer Frame to Heaven. Also; singers within their range, guitar touch goes first, 'he prayed fletless guitar’, Certain Types Of Places (An Accent). And: We play 'Add One Word To Make It Funner’, DI teaches MB about FB, MB buries the lead, Matt Shiny, DI sets up a virtual guitar. Plus: how we get gigs, life’s hard to get up, Tam dictates the length of the show, we do News, DI’s Christmas gift ideas, horseradish. www.trcduo.comwww.domitaliano.comwww.mattbradshaw.comemail: podcast@trcduo.comFB: facebook.com/trcduoFB: facebook.com/MattyBBradshawFB: facebook.com/dom.italiano.7Instagram: instagram.com/trcduoTwitter: twitter.com/trcduo

ПОДКАСТ ДЛЯ ОЛДОВ: СТАРЫЕ МУЗЫКАЛЬНЫЕ СОЦСЕТИ Это серия из двух выпусков, посвящённых музыкальным соцсетям. В ней мы расскажем о том, где когда-то давно можно было найти самую прогрессивную музыку своего времени, где рождались новые звёзды и где нужно было подписываться на своих любимых музыкантов в разные эпохи. В первой части ты узнаешь о том, какие социальные сети были популярны у музыкантов и их фанатов в нулевые и начале десятых. Вторая часть расскажет о том, где и как следить за звёздами сегодня. Сегодня в программе четыре названия: Ласт ФМ, Майспейс, Промодиджей и Вконтакте времён Павла Дурова. 0:47 Last FM 3:19 MySpace 8:05 PromoDJ 11:08 Вконтакте old version

Robert Kaye is the executive director of the MetaBrainz Foundation, the legal umbrella for MusicBrainz. He got started in the late 80’s and early 90’s hacking on some MP3 projects when most of the world hadn’t heard of MP3. The metadata on MP3s was terrible, so he started creating the database known as MusicBrainz. Robert talks about his business model for MusicBrainz. As time has progressed, more and more people have access to a laptop and cheap recording equipment. This constant churn of data gave them the ability to play gatekeeper. Their goal was to take that data and make it cleaner, better, and provide context. In 2003 they started a service called Live Data Feed, which allows anyone to set up a copy of MusicBrainz. Turning on Live Data Feed gets you updates to your copy of MusicBrainz. The idea was to take the recognition they had around Live Data Feed and created monetary value from a service around timely and convenient packs of data. In 2015, MusicBrainz realized that the actual value they had wasn’t in the data, but in the community of people editing the data took. So, they took a radical step and quit caring about code licenses. Now, it is based off memberships with monthly fee. This has worked spectacularly. They have taken to calling their customers ‘supporters’, because if the database is going to stick around then they need their support.  BookBrainz is a similar project to the MusicBrainz database, but applied to books. The project has grown large enough that Robert had to hire a full time engineer to work on it. They deal with disambiguation, deduplication, and conflicts in the  metadata so that organizations like internet archives and Open Library can build other tools on top. For the past 4 years MetaBrainz has also been working on two other projects. AcousticBrainz is machine learning analysis applied to individual songs to determine what music sounds like. It can determine acoustic characteristics such as male or female vocals, presence of certain instruments, and beats per minute. ListenBrainz tracks your listening history, similar to LastFM. In fact, you can import your LastFM history into ListenBrainz and it will do a metadata report on what you’ve listened to. Robert notes that if you choose to learn ListenBrainz your data will be public. These two projects form the perfect basis for building a collaborative filtering algorithm and give you personalized suggestions of what you may also like. They also have a program to work with AcousticBrainz to track what you listen to and the similarities between the songs. They are currently working on compiling the data, but this open source project will enable anyone to come in and create an open source music recommendation engine. When building a recommendation engine, the idea is if there’s a small/medium music label with one computer geek on staff, they can get access to MusicBrainz and download their recommendation engine and start getting their stuff out there, and have it personalized to the listener. Robert’s inspiration for these databases came from seeing a lot more recommendation engines that are entirely biased and want to push their content. He realized that these recommendation engines were designed to feed money back into the system and keep everyone inside the ‘walled garden’ of music. He got funding for these projects through his good relationships with other companies and because they were giving him the money for MusicBrainz, which is enough money, so the extra money is funneled towards other projects. The MetaBrainz Foundation emphasizes quality of life for their employees, and Robert and the panelists discuss how he reconciles this quality of life versus the desire to get all this stuff out the door. Robert believes that if you trust your team and empower them to do what needs done, they will do their job. He only really gets involved if it’s legal concerns, monetary issues, or the rare high priority assignment. His company has few deadlines, and he talks about how they organize their work. The panel compares their experience working for other open source companies. They discuss some of the drawbacks of remote work, such as difficulty coordinating meetings and never really being disconnected from work. The show concludes with Robert talking about where he wants to take MusicBrainz and MetaBrainz. His dream is to create more tools for an improved music listening experience. His hidden agenda is to get the small bands heard so that musicians can make more money, elevating the artists in the world to be able to earn a normal living. He hopes that by applying the concepts of open source to the music industry, it will be cleaned up and all musicians will get the exposure they deserve. Panelists Richard Littaur Pia With special guest: Robert Kaye Sponsors My Ruby Story Elixir Mix My Angular Story Links MetaBrainz Foundation Napster BookBrainz AcousticBrainz ListenBrainz LastFM Buffer Open Collective Follow DevChatTV on Facebook and Twitter Picks Richard Littaur: Brighde Chaimbeaul Pia: Snow Crush The Robot Museum Madrid Science and Technology Museum Robert Kaye: Passion by Peter Gabriel Casa de Papel Follow Robert @MayhemBCM and rob@metabrainz.org Special Guest: Robert Kaye.

Robert Kaye is the executive director of the MetaBrainz Foundation, the legal umbrella for MusicBrainz. He got started in the late 80’s and early 90’s hacking on some MP3 projects when most of the world hadn’t heard of MP3. The metadata on MP3s was terrible, so he started creating the database known as MusicBrainz. Robert talks about his business model for MusicBrainz. As time has progressed, more and more people have access to a laptop and cheap recording equipment. This constant churn of data gave them the ability to play gatekeeper. Their goal was to take that data and make it cleaner, better, and provide context. In 2003 they started a service called Live Data Feed, which allows anyone to set up a copy of MusicBrainz. Turning on Live Data Feed gets you updates to your copy of MusicBrainz. The idea was to take the recognition they had around Live Data Feed and created monetary value from a service around timely and convenient packs of data. In 2015, MusicBrainz realized that the actual value they had wasn’t in the data, but in the community of people editing the data took. So, they took a radical step and quit caring about code licenses. Now, it is based off memberships with monthly fee. This has worked spectacularly. They have taken to calling their customers ‘supporters’, because if the database is going to stick around then they need their support.  BookBrainz is a similar project to the MusicBrainz database, but applied to books. The project has grown large enough that Robert had to hire a full time engineer to work on it. They deal with disambiguation, deduplication, and conflicts in the  metadata so that organizations like internet archives and Open Library can build other tools on top. For the past 4 years MetaBrainz has also been working on two other projects. AcousticBrainz is machine learning analysis applied to individual songs to determine what music sounds like. It can determine acoustic characteristics such as male or female vocals, presence of certain instruments, and beats per minute. ListenBrainz tracks your listening history, similar to LastFM. In fact, you can import your LastFM history into ListenBrainz and it will do a metadata report on what you’ve listened to. Robert notes that if you choose to learn ListenBrainz your data will be public. These two projects form the perfect basis for building a collaborative filtering algorithm and give you personalized suggestions of what you may also like. They also have a program to work with AcousticBrainz to track what you listen to and the similarities between the songs. They are currently working on compiling the data, but this open source project will enable anyone to come in and create an open source music recommendation engine. When building a recommendation engine, the idea is if there’s a small/medium music label with one computer geek on staff, they can get access to MusicBrainz and download their recommendation engine and start getting their stuff out there, and have it personalized to the listener. Robert’s inspiration for these databases came from seeing a lot more recommendation engines that are entirely biased and want to push their content. He realized that these recommendation engines were designed to feed money back into the system and keep everyone inside the ‘walled garden’ of music. He got funding for these projects through his good relationships with other companies and because they were giving him the money for MusicBrainz, which is enough money, so the extra money is funneled towards other projects. The MetaBrainz Foundation emphasizes quality of life for their employees, and Robert and the panelists discuss how he reconciles this quality of life versus the desire to get all this stuff out the door. Robert believes that if you trust your team and empower them to do what needs done, they will do their job. He only really gets involved if it’s legal concerns, monetary issues, or the rare high priority assignment. His company has few deadlines, and he talks about how they organize their work. The panel compares their experience working for other open source companies. They discuss some of the drawbacks of remote work, such as difficulty coordinating meetings and never really being disconnected from work. The show concludes with Robert talking about where he wants to take MusicBrainz and MetaBrainz. His dream is to create more tools for an improved music listening experience. His hidden agenda is to get the small bands heard so that musicians can make more money, elevating the artists in the world to be able to earn a normal living. He hopes that by applying the concepts of open source to the music industry, it will be cleaned up and all musicians will get the exposure they deserve.   Panelists Richard Littaur Piya With special guest: Robert Kaye Sponsors My Ruby Story Elixir Mix My Angular Story Links MetaBrainz Foundation Napster BookBrainz AcousticBrainz ListenBrainz LastFM Buffer Open Collective Follow DevChatTV on Facebook and Twitter Picks Richard Littaur: Brighde Chaimbeaul Piya: Snow Crush The Robot Museum Madrid Science and Technology Museum Robert Kaye: Passion by Peter Gabriel Casa de Papel Follow Robert @MayhemBCM and rob@metabrainz.org

Robert Kaye is the executive director of the MetaBrainz Foundation, the legal umbrella for MusicBrainz. He got started in the late 80’s and early 90’s hacking on some MP3 projects when most of the world hadn’t heard of MP3. The metadata on MP3s was terrible, so he started creating the database known as MusicBrainz. Robert talks about his business model for MusicBrainz. As time has progressed, more and more people have access to a laptop and cheap recording equipment. This constant churn of data gave them the ability to play gatekeeper. Their goal was to take that data and make it cleaner, better, and provide context. In 2003 they started a service called Live Data Feed, which allows anyone to set up a copy of MusicBrainz. Turning on Live Data Feed gets you updates to your copy of MusicBrainz. The idea was to take the recognition they had around Live Data Feed and created monetary value from a service around timely and convenient packs of data. In 2015, MusicBrainz realized that the actual value they had wasn’t in the data, but in the community of people editing the data took. So, they took a radical step and quit caring about code licenses. Now, it is based off memberships with monthly fee. This has worked spectacularly. They have taken to calling their customers ‘supporters’, because if the database is going to stick around then they need their support.  BookBrainz is a similar project to the MusicBrainz database, but applied to books. The project has grown large enough that Robert had to hire a full time engineer to work on it. They deal with disambiguation, deduplication, and conflicts in the  metadata so that organizations like internet archives and Open Library can build other tools on top. For the past 4 years MetaBrainz has also been working on two other projects. AcousticBrainz is machine learning analysis applied to individual songs to determine what music sounds like. It can determine acoustic characteristics such as male or female vocals, presence of certain instruments, and beats per minute. ListenBrainz tracks your listening history, similar to LastFM. In fact, you can import your LastFM history into ListenBrainz and it will do a metadata report on what you’ve listened to. Robert notes that if you choose to learn ListenBrainz your data will be public. These two projects form the perfect basis for building a collaborative filtering algorithm and give you personalized suggestions of what you may also like. They also have a program to work with AcousticBrainz to track what you listen to and the similarities between the songs. They are currently working on compiling the data, but this open source project will enable anyone to come in and create an open source music recommendation engine. When building a recommendation engine, the idea is if there’s a small/medium music label with one computer geek on staff, they can get access to MusicBrainz and download their recommendation engine and start getting their stuff out there, and have it personalized to the listener. Robert’s inspiration for these databases came from seeing a lot more recommendation engines that are entirely biased and want to push their content. He realized that these recommendation engines were designed to feed money back into the system and keep everyone inside the ‘walled garden’ of music. He got funding for these projects through his good relationships with other companies and because they were giving him the money for MusicBrainz, which is enough money, so the extra money is funneled towards other projects. The MetaBrainz Foundation emphasizes quality of life for their employees, and Robert and the panelists discuss how he reconciles this quality of life versus the desire to get all this stuff out the door. Robert believes that if you trust your team and empower them to do what needs done, they will do their job. He only really gets involved if it’s legal concerns, monetary issues, or the rare high priority assignment. His company has few deadlines, and he talks about how they organize their work. The panel compares their experience working for other open source companies. They discuss some of the drawbacks of remote work, such as difficulty coordinating meetings and never really being disconnected from work. The show concludes with Robert talking about where he wants to take MusicBrainz and MetaBrainz. His dream is to create more tools for an improved music listening experience. His hidden agenda is to get the small bands heard so that musicians can make more money, elevating the artists in the world to be able to earn a normal living. He hopes that by applying the concepts of open source to the music industry, it will be cleaned up and all musicians will get the exposure they deserve.   Panelists Richard Littaur Piya With special guest: Robert Kaye Sponsors My Ruby Story Elixir Mix My Angular Story Links MetaBrainz Foundation Napster BookBrainz AcousticBrainz ListenBrainz LastFM Buffer Open Collective Follow DevChatTV on Facebook and Twitter Picks Richard Littaur: Brighde Chaimbeaul Piya: Snow Crush The Robot Museum Madrid Science and Technology Museum Robert Kaye: Passion by Peter Gabriel Casa de Papel Follow Robert @MayhemBCM and rob@metabrainz.org

This show marks the end of our extended music pidcast season. It is music from our earliest shows starting in November if 2018 and us presented to be heard on the Labor Day. Holiday. We solute all the workers for the good work that you do. Music from FMA, NOISE TRADE, ART SERVER, and LAST FM and also ES EPIDEMIC SOUND. Programing by Twilight Music Odyssey and audio by Sound Revolutions Audio Works (in house programming) --- Send in a voice message: https://anchor.fm/choice-radio/message

last.fm che fine ha fatto ?

Nesta edição Henrique recebe o jornalista musical Clebber Facchi, criador do blog Miojo Indie e integrante do podcast Vamos Falar Sobre Música? para um papo divertido e ~~eclético~~ sobre as transformações da música na última década. Partindo de um papo sobre crítica musical, a morte do indie enquanto identidade e como isso se conecta à forma como consumimos música, rapidamente chegamos em histórias reveladoras, tais como a incapacidade do Henrique de dançar funk ou a fuga de Cleber aos 17 anos para ver a Björk.Participantes:Henrique SampaioClebber FacchiTemas abordados:05:21- Crítica musical15:18 - ~~Dreampop~~16:35 - O que restou da identidade indie23:20 - De Last.fm ao Spotify37:49 - Músicas difíceis42:03 - Henrique não sabe dançar funk48:34 - Como Cleber ouve 200 álbuns por dia55:11 - Hegemonia do pop01:03:28 - Música negra01:11:50 - Melhores álbuns de 2019 até agora01:20:44 - Artistas brasileiros sem visibilidade01:28:47 - Bandas indie dos anos 2000 que ainda são boas01:34:01 - Cleber fugiu de casa para ver a BjörkAgradecimentos:- Lucas Picoli- Luciano Mendes

Nesta edição Henrique recebe o jornalista musical Clebber Facchi, criador do blog Miojo Indie e integrante do podcast Vamos Falar Sobre Música? para um papo divertido e ~~eclético~~ sobre as transformações da música na última década. Partindo de um papo sobre crítica musical, a morte do indie enquanto identidade e como isso se conecta à forma como consumimos música, rapidamente chegamos em histórias reveladoras, tais como a incapacidade do Henrique de dançar funk ou a fuga de Cleber aos 17 anos para ver a Björk.Participantes:Henrique SampaioClebber FacchiTemas abordados:05:21- Crítica musical15:18 - ~~Dreampop~~16:35 - O que restou da identidade indie23:20 - De Last.fm ao Spotify37:49 - Músicas difíceis42:03 - Henrique não sabe dançar funk48:34 - Como Cleber ouve 200 álbuns por dia55:11 - Hegemonia do pop01:03:28 - Música negra01:11:50 - Melhores álbuns de 2019 até agora01:20:44 - Artistas brasileiros sem visibilidade01:28:47 - Bandas indie dos anos 2000 que ainda são boas01:34:01 - Cleber fugiu de casa para ver a BjörkAgradecimentos:- Lucas Picoli- Luciano Mendes

Wednesday April 10th not only saw my 26th wedding anniversary but the meeting of the minds that was Digital Orlando 2019 at Orlando’s Science Center on Princeton Avenue. Digital Orlando was a half day of speakers, panels and exhibits that saw Orlando and Tampa’s most visible business leaders come together to discuss issues regarding our economy and what it’s like to live in such an open and creative environment. Some of the diverse panels included Startup and Innovation Culture, The Business of Blockchains and Cryptocurrency and Creating a Community of Innovation. The evening was capped off by words from Orange County Mayor Jerry Demmings. We tried something different with episode 21. We set up shop at Digital Orlando and invited a few panelists and participators to chat with us about their businesses and their thoughts on the state of affairs here in Orlando. Here’s the breakdown of those included in this episode. 9:41 - David Glass - Founder / Digital Orlando - Orlando iX16:00 - Ron Nation - CEO / Ryn Software20:28 - Shannon Pastizzo - Director Business Development / Synapse29:43 - Mike Felix - Co Chair / Black Orlando Tech37:46 - Avani Desai - President / Schellman and Company46:26 - Kelli Murray - Founder / Med SpeaksI can’t thank you all enough for taking the time to chat with us and share your thoughts and vision for our community. You all work tirelessly for the betterment of our region. Your philanthropic efforts do not go unnoticed and your willingness to give back really does touch the lives of so many. Be sure to listen to the episode for all the specifics. I apologize to those we had to cut for the sake of time but perhaps we could revisit for future episodes? As always, my gratitude to Carlos for his direction, enthusiasm and willingness. A better man you will not find. Need help with your podcast? Shout at us. I will forgo the links moving forward as you will find This Is Orlando wherever you get your podcasts. Google Play, Itunes, Stitcher, LastFM and Spotify for sure. If you don’t see it in your app let us know so we can fix it.

We are your fun time feel good music podcast for all seasons. We are a multi genre podcast that is unbiased in our music programing. We are your music alternative. Jump in feel the splash. Let Ys liven up whatever you're doing. Music from FMA, CC MIXTER, LAST FM, and the now defunct ARTIST SERVE Audio by our own Sound Revolution Audio Works and track programing by our own Weekend Wrecking Crew Received live in our studio, Studio One Jamz in Greensboro North Carolina.Note: Sound Revolution Audio apologizes for the poor quality of the Audio on this cast due to system issues. --- Send in a voice message: https://anchor.fm/choice-radio/message

Episódio piloto do podcast discos & girafas. Links e informações mencionadas no podcast: Twitter do D&G: @discosegirafas Mande suas sugestões de álbuns, dúvidas e feedbacks pelo nosso e-mail: discosegirafas@gmail.com IG Caio Freitas: @caio.artficial IG do Renan Preto: @pretorenan LastFm do Pedro Jales: thanosreigns Discos que vamos ouvir, resenhar no próximo podcast e que foram indicados pelo Caio: Tortoise - Millions Now Living Will Never Die (1996) Teto Preto - Pedra Preta (2018)

The Podcast Crew talks to Tasha of BreeziesPieces (IG) who explains how to track our streaming using Last.FM FRESH STARTMusic by Joakim Karud http://youtube.com/joakimkarud

Tras varias semanas de uso de YouTube Music, os cuento cómo funciona el servicio y lo comparo con Google Play Music. PD: Cuando hablo del reproductor de Pandora, realmente me refería al de Last FM. Notas Es YouTube… Usa tu perfil de YouTube Listas compartidas Si guardas un álbum te crea una lista Me Gustas ... Leer más 177. Análisis YouTube Music (vs Google Play Music): mayor catálogo, peor servicioEl contenido 177. Análisis YouTube Music (vs Google Play Music): mayor catálogo, peor servicio se publicó primero en Elías Gómez.

Tras varias semanas de uso de YouTube Music, os cuento cómo funciona el servicio y lo comparo con Google Play Music. PD: Cuando hablo del reproductor de Pandora, realmente me refería al de Last FM. Notas Es YouTube… Usa tu perfil de YouTube Listas compartidas Si guardas un álbum te crea una lista Me Gustas ... Leer más 177. Análisis YouTube Music (vs Google Play Music): mayor catálogo, peor servicioEl contenido 177. Análisis YouTube Music (vs Google Play Music): mayor catálogo, peor servicio se publicó primero en Elías Gómez.

In this latest episode of Creep host Bronwyn Isaac interviews the hilarious comedians and storytellers Melody Kamali and Ali Clayton, who just so happen to be dating. The charming couple shares a story of ultimate stalking revenge on a bully, going the lengths for a Last FM crush, what happens when you send nudes to family, how to shut down a heckler with period blood, and tips for having sex while sharing a hotel room with your mom. --- Support this podcast: https://anchor.fm/someecards/support

Bill and Brian are joined by musician Tom Losito () to discuss the Posies' Frosting on the Beater (1993, DGC). Tom tells the gents about discovering the band via a LastFM deep dive. Then Bill, Brian, and Tom discuss what "power pop" means to Tom, the Posies' lack of a signature sound and evolution through the years, Jon Auer's cool guitar tones, Ken Stringfellow's pop sensibility, the band's signature harmonies, Mike Musburger's killer drums, and more as we make our way through the album track by track! This week's sponsor is the very lovely . Check'em out!

Boom Bap Vibes from The Artist, Emcee, Producer & Prolific Houston DJ Joe B. This was recorded live during a Cosmic Cuts recording party in Space City back in Feb.2018. The mic was left on to capture the ambiance of the room. Unfortunately we don't have a playlist for you. Stay tuned for more Infrasounds! Help to Keep the Show Going! Please Make a PayPal donation to www.paypal.me/cosmiccutsmusic Cover Art: Joe B Joe B Links! Facebook: https://www.facebook.com/joeb.rebelcrew Instagram: https://www.instagram.com/joebrebelcrewArt/ Mixcloud: https://www.mixcloud.com/joebrebelcrew/ Last FM: https://www.last.fm/user/joebrebelcrew Bandcamp: https://rebelcrewsound.bandcamp.com/music Juno Download: https://goo.gl/p8tHhL

FEATURING: (00:01:38) New Business - Puyo Puyo Tetris. (00:17:54) The Jackbox Party Pack 3. (00:28:20) Mario Kart 8 Deluxe. (01:01:42) Super Mario Land series. (01:11:42) Shadows of the Empire.(01:18:26) Listener Mail - The future of Download Play. (01:27:24) Zelda? In MY Xenoblade? (01:46:52) Lindemann Syndrome.

Agency is a tricky thing, and none know it better than the female stars of Penny Dreadful and Westworld. Join Dawn and Jen as they discuss the highs and lows of demon brides, blank slates and hosts as they navigate their worlds and discover that sometimes, agency comes at a price. At the end, a special tribute to a recently lost artist, and to lighten the mood some cartoon and television recommendations! Thanks always to The Shape for the intro music. This episode's outro was "Devil, Devil" by Izzy Cox. If you liked that, you can check her out on You Tube (https://www.youtube.com/user/izzycoxmusic) or on Last FM (https://www.last.fm/music/Izzy+Cox/+tracks).  We are now available in iTunes, Google Play, Stitcher, and all your favorite podcatchers. You can also get our RSS feed on Soundcloud! Please rate and review us, we love to hear from you all. And support us on our Patreon (www.patreon.com/womenincaskets)! Sign up to access exclusive monthly podcasts and other special events and help us bring you even more crazy Women In Caskets content!

Lewis has been using last.fm for 5 years; he discusses his most listened tracks. It's a journey of self discovery, bizarre listening habits and challenging band names. Keep in touch with us at http://castironshow.co.uk/ and @castironshow on Twitter.

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. 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Steve and Matt talk NBA, NFL playoffs, and the scandal gripping pro tennis. All that plus the Tweet Zone and Sports Madness; it's the hottest stories in sports that have you talking!Twitter: @thesportsappealEmail: sportsappealshow@gmail.comAvailable on iTunes, TuneIn Radio, LastFM, the Rivet News Radio app, Stitcher Radio app, audio-podcast.fm, Blubrry, WGTRadio network ( wgtrlive.com ), and Spreaker.Music provided by Full Service. Find all their music on Spotify, iTunes, and their Youtube channel (Full Service Music).

Steve and Matt get into the big move to LA by the Rams before digging into the NFL playoffs. The toughest questions get answered in our exclusive interview with Mark Perlman of the Associated Press before a crushing round of Sports Madness. It's the hottest stories in sports that have you talking!Twitter: @thesportsappealEmail: sportsappealshow@gmail.comAvailable on iTunes, TuneIn Radio, LastFM, the Rivet News Radio app, Stitcher Radio app, audio-podcast.fm, Blubrry, WGTRadio network ( wgtrlive.com ), and Spreaker.Music provided by Full Service. Find all their music on Spotify, iTunes, and their Youtube channel (Full Service Music).

Sports Appeal is back and kicking off the new year with this solid football episode. Matt and Steve start out with college ball before going head to head and diving into the NFL. It's all about the hottest stories in sports that have you talking!Twitter: @thesportsappealEmail: sportsappealshow@gmail.comAvailable on iTunes, TuneIn Radio, LastFM, the Rivet News Radio app, Stitcher Radio app, audio-podcast.fm, Blubrry, WGTRadio network ( wgtrlive.com ), and Spreaker.Music provided by Full Service. Find all their music on Spotify, iTunes, and their Youtube channel (Full Service Music).

This episode: songs commissioned for James Bond movies, and what makes them awesome and what does not. Plus, Google Voice Mail Transcription Karaoke, another installment of *NSYNC Fan Fiction and you joining us in laughing ourselves silly. A small sampling of relevant subtopics in Ray of Blight #4 James Bond Themes: the extravagantly fabulous Dame Shirley Bassey, Gladys Knight in a tux, Tina Turner having a stroke, the likening of Sheryl Crow's thin voice to that of a dying cat, Goldfinger, Mr. Bond being expected to die instead of being expected to talk, live and let pie, Eartha Kitt, Madonna's request that Dr. Freud analyze her defiance of ego, Diamonds Are Forever, Nick Rhodes looking like Bonnie Tyler, the Alicia Keys & Jack White screech fest, Bon Simon LeBon mugging, speculation of potentially mandatory a-ha font, Whedonistas, The Pretenders, The Living Daylights, pauvre Scott Walker, whispering during R. Kelly's Whitney Houston tribute, Jewel Staite, throat singing and cattle calling, Alanis Morissette cramming as many words as possible into a sentence, Lace And Leather vs When Doves Cry, Nancy Sinatra's recording tribulations, correlation vs causation, the mandatory art of "selling it," John Barry, Cher Lloyd grunting, Tom Jones passing out, Adele's Skyfall, Moonraker, Dusty Springfield, Casino Royale, Last FM scrobbling with Wings, Lulu vs Alice Cooper: The Man With The Golden Gun, and much, much more! During this episode we talk about a few things that we said we would post pictures of. Here they are! Shirley Bassey, the Queen of James Bond Themes, Performing Goldfinger A sampling of stills Discussed From the View to a Kill Video a-ha's opening credit font Tom Brokaw vs DAMEJUDIDENCH you're welcome!

Because I am away I have decided to post some old or CLASSIC episodes of the podcast to keep you all interested, hopefully.... This podcast first went live 22nd February 2010 and has all the classic features. I won't spoil the surprises but I will post the original notes below. Please remember that this is over two years old and some of the information, websites etc, do not exist and/or may have changed. ENJOY Some of the best music you have never heard! In no particular order you can hear Rainer Straschil, Matt Stevens, The Wilton Project, Fernwood and ME! Watch With Mothers review tunes by Vega, Funky Poets and Hamilton I chat to Matt about Last FM and Myspace The winner of last weeks First Fifteen Sunna Gunnlaugs get their track played in full and James Leblonde comes up with a jingle for this weeks.  

This week, Dwayne DeFreitas & Andrew Sorcini analyze the latest hardware and operating system updates from Apple's 2012 World Wide Developer Conference, held this week in San Francisco, and then we take a look at the complex, ambiguous (and sometimes embarrassingly funny) minefield of policing copyright infringement. But first, the headlines...more leaked password woes at Last.fm, Twitter introduces branded pages for hashtags via their first television ad, and ICANN launches the 'great internet landgrab'! Headlines Verizon Intros Share Everything Plans: Unlimited Talk/Text And Shared Data For Up to 10 devices Last.fm Advises Password Change in Latest Security Breach Twitter airs first ever TV ad promoting its brand new hashtag pages ICANN criticised over 'commercial landgrab' of internet Audible Book of the Week Redshirts: A Novel with Three Codas by John Scalzi Musical Interlude #1 Hot Topic: WWDC 2012 Apple Introduces iOS 6, Coming This Fall Apple - iOS 6 Preview Maps in iOS 6 will require A5 processor for 3D “flyover,” navigation New OS X Mountain Lion details announced Apple announces next-generation MacBook Pro: Retina display, 0.71-inches thin, shipping today for $2199 Apple announces refreshed MacBook Air: Ivy Bridge processor, USB 3.0, shipping today Apple Spokesperson Confirms New Mac Pro and iMac Designs Likely Coming in 2013 Apple just declared war on these products Musical Interlude #2 Final Word: Policing Copyright Infringement Pinterest Just Hired A Big Name Lawyer From Google To Deal With One Of Its Biggest Threats Lawyer demands $20,000, so webcomic raises $100,000 from the Internet Subscribe The Drill Down on iTunes (Subscribe now!) Sign up here to be alerted by SMS when the podcast is live! Geeks Of Doom's The Drill Down is a roundtable-style audio podcast where we discuss the most important issues of the week, in tech and on the web and how they affect us all. Hosts are Geeks of Doom contributor Andrew Sorcini (Mr. BabyMan), VentureBeat editor Devindra Hardawar, marketing research analyst Dwayne De Freitas, and Startup Digest CTO Christopher Burnor. Occasionally joining them is Techmeme editor Lidija Davis.

Some of the best music you have never heard! In no particular order you can hear Rainer Straschil, Matt Stevens, The Wilton Project, Fernwood and ME! Watch With Mothers review tunes by Vega, Funky Poets and Hamilton I chat to Matt about Last FM and Myspace The winner of last weeks First Fifteen Sunna Gunnlaugs get their track played in full and James Leblonde comes up with a jingle for this weeks.