According to Apple, wearables accounted for as much as $10 billion of their most recent quarterly sales, up from $7.3 billion the previous year, with AirPods and AirPods Pro leading the charge. Apple doesn’t break out separate numbers for each of its wearable product lines, but Tim Cooke confirmed that the company is having trouble meeting demand for the Pro, due to the appeal of its smart, noise-canceling features. For comparison, wearables have now passed the entire Mac product line as a contributor to Apple’s topline numbers. Some analysts are predicting it will soon be a $100 billion-business—roughly the size of General Motors.
The site has a lineup of more than 30 podcasts, including “The Bill Simmons Podcast” and “The Rewatchables.” It publishes original articles daily and houses a video network, a film production division and a book imprint. Last year, Mr. Simmons told The Wall Street Journal that the site was profitable. In a statement on Wednesday, Mr. Simmons said he believed that “Spotify can take us to another level.”
In addition to announcing the agreement to buy The Ringer, Spotify reported a 29 percent rise in paid subscribers for its audiostreaming services in the fourth quarter of 2019, to 124 million, giving it a significant lead over its main rival, Apple. The company, which has its headquarters in Stockholm, has been moving away from its identity as a music-streaming service. Last year it acquired three podcast companies, including Gimlet Media, the maker of the podcasts “Crimetown” and “Reply All.”
There is something both thrilling and reassuring in following the story of a star who rises, falls, and then rises anew. It’s a narrative template recognizable to even the most casual viewer of documentary shows such as VH1’s “Behind the Music” or the E! network’s “True Hollywood Story.” Just last week, both Taylor Swift and Jessica Simpson—Swift in her new feature-length documentary, “Miss Americana,” and Simpson in her new memoir, “Open Book”—revealed their struggles with, and triumphs over, personal demons: an eating disorder in the case of the former, an addiction to alcohol and pills in the case of the latter.
“Fake” artists are impersonators who steal music from real, hard-working artists and upload the tracks on streaming platforms like Spotify and Apple Music under false names through unsuspecting distributors. This is nothing new, as these impersonators have been making millions of dollars in royalties, stolen from their rightful owners.
The Eilish siblings’ writing and production style is certainly unlike anything we’ve heard in recent mainstream hits, and Bad Guy is no exception. The song uses a variety of interesting vocal production techniques, including a stuttered vocal transformer effect and relatively dry, intimate vocals (as opposed to the more prominent reverb heard in most Pop songs), as well as pitch-shifted laughter and distorted breath sound effects. The song also contains several interesting compositional characteristics such as a highly differentiated bridge that turns the song on its head from danceable Indie Electropop to aggressive Trap, and multiple turnarounds that provide engaging contrast over the course of the song. However, despite its highly unique elements, other elements such as Bad Guy’s K.I.S.S. ME melody (Keep It Simple, Singable & Memorable), effective rhyme schemes, and an infectious combination of instrumental and vocal hooks give it the mainstream appeal it needed to easily connect and resonate with widespread audiences.
It’s been an interesting year in the music legal field. Some outcomes were positive steps forward for the music industry, and some, well, not so much. Here’s a recap of some of the most talked-about legal happenings of 2019, and what they could mean for 2020.
If you don’t have time to sit and read a physical book, is listening to the audio version considered cheating? To some hardcore book nerds, it could be. But new evidence suggests that, to our brains, reading and hearing a story might not be so different.
Back in January 2018, Roku announced a grand vision for parlaying its streaming TV success into a broader home entertainment platform. The plan was to power not just smart TVs and streaming boxes, but speakers and soundbars with whole-home audio, all of which would be orchestrated by a voice assistant.
Little of that plan has come to fruition since. The company released a set of wireless TV speakers last fall, but they were only compatible with smart TVs running Roku’s operating system, limiting their appeal. Meanwhile, TCL abandoned plans for a Roku-powered soundbar last year, and Roku seems to have scaled back its voice control ambitions.
Now, Roku is taking a second shot at home audio with the Roku Smart Soundbar. Unlike a typical soundbar, this one also doubles as a Roku streaming video player, so you don’t have to use it with a Roku smart TV or even a separate streaming box. It’ll ship in mid-October for $180, and Roku will sell a subwoofer to pair with it for another $180. Unlike last year’s Roku wireless speakers, available only through Roku’s website, the soundbar will be on sale in Best Buy stores.
The demo house Amazon built inside one of the towers at its Seattle headquarters to show off its Echo smart speakers has a new room, and an important one: a garage. Inside the garage is a concept electric car—or, more specifically, the immobile insides of such a vehicle—that Amazon uses to show automakers the full spectrum of things its Alexa Auto software platform can do. That includes in-car versions of typical Alexa tasks such as audio streaming, messaging, voice calls, and reminders. And because it’s a car, Alexa can also do things like roll the windows up and down and control the cabin temperature, all at the verbal request of the driver. Amazon has been working hard on Alexa Auto for the past two years. Now it hopes to convince automakers to embed the platform into their new cars.
Hearing loss isn’t just the stuff of senior citizens: 1 in 5 teens will experience hearing loss — a rate that’s 30% higher than it was 20 years ago. You know what wasn’t around 20 years ago? Earbuds. At maximum volume, earbuds and AirPods can be as loud as 110 decibels, which is the equivalent of someone shouting directly into your ear. According to the CDC, being exposed to 85 decibels over a prolonged period, or repeatedly, puts you at risk of hearing damage. If you’re listening to your earbuds at the maximum volume of 110 decibels, you’re at risk of hearing loss after just five minutes — barely the length of two songs.
TikTok can feel, to an American audience, a bit like a greatest hits compilation, featuring only the most engaging elements and experiences of its predecessors. This is true, to a point. But TikTok — known as Douyin in China, where its parent company is based — must also be understood as one of the most popular of many short-video-sharing apps in that country. This is a landscape that evolved both alongside and at arm’s length from the American tech industry — Instagram, for example, is banned in China.
Under the hood, TikTok is a fundamentally different app than American users have used before. It may look and feel like its friend-feed-centric peers, and you can follow and be followed; of course there are hugely popular “stars,” many cultivated by the company itself. There’s messaging. Users can and do use it like any other social app. But the various aesthetic and functional similarities to Vine or Snapchat or Instagram belie a core difference: TikTok is more machine than man. In this way, it’s from the future — or at least a future. And it has some messages for us.
Pocket Operator [is] a device released four years ago by a Swedish company called Teenage Engineering. To date, the company has made nine different models of the same basic design, and it has sold more than 350,000 of them worldwide, making the Pocket Operator one of the most popular synthesizers in history. The Korg M1 — famous for producing the sound of Seinfeld’s slap bass and Madonna’s “Vogue,” and one of the best-selling and most influential synths of all time — is estimated to have sold 100,000 fewer units over nearly twice as much time. The “portable” version of one of the Pocket Operator’s earliest forebears — the telharmonium, constructed more than a hundred years ago — cost more than $5 million to build in today’s dollars, weighed 200 tons and required a team of specialists to achieve peak performance. A Pocket Operator costs about $60 and fits in the palm of your hand.
It’s no wonder that the phrase “everyone has a podcast” has become a Twitter punch line. Like the blogs of yore, podcasts — with their combination of sleek high tech and cozy, retro low — are today’s de rigueur medium, seemingly adopted by every entrepreneur, freelancer, self-proclaimed marketing guru and even corporation. (Who doesn’t want branded content by Home Depot and Goldman Sachs piped into their ears on the morning commute?) There are now upward of 700,000 podcasts, according to the podcast production and hosting service Blubrry, with between 2,000 and 3,000 new shows launching each month. In August William Morrow will publish a book by Kristen Meinzer, a co-host of the popular “By the Book” podcast. Its title: “So You Want to Start a Podcast.”
And yet the frequency with which podcasts start (and then end, or “podfade,” as it’s coming to be known in the trade) has produced a degree of cultural exhaustion. We’re not necessarily sick of listening to interesting programs; but we’re definitely tired of hearing from every friend, relative and co-worker who thinks they’re just an iPhone recording away from creating the next “Serial.”
Old and new meet when classical music and virtual reality come together in performance. Technology is often touted as the long-awaited saviour of the classical music scene. With virtual reality, it opens up entirely new ways of thinking about — and experiencing — performance. Dutch composer Michel van der Aa recently premiered his mixed reality opera Eight in Amsterdam, followed by a run of performances at the Aix Festival in France in July 2019. It’s being touted as a “breakthrough” work that integrates technology and music in new ways, while eschewing peripheral gimmicks designed only to impress. “We’re surrounded by electronics and multimedia technology,” Van der Aa told The New York Times. “So it would feel artificial to not allow that on an opera stage.”
Google employees are systematically listening to audio files recorded by Google Home smart speakers and the Google Assistant smartphone app. Throughout the world – so also in Belgium and the Netherlands – people at Google listen to these audio files to improve Google’s search engine. VRT NWS was able to listen to more than a thousand recordings. Most of these recordings were made consciously, but Google also listens to conversations that should never have been recorded, some of which contain sensitive information.
The ad reads “Dance like nobody’s paying” above a pitch that Spotify Premium is free for the first 30 days. “Dance like nobody’s paying because we aren’t,” tweeted singer/songwriter David Poe in response. “Keep in mind that it takes 380,000 streams a month on @Spotify for an artist to earn minimum wage,” wrote musician and advocate Blake Morgan. “Meanwhile, the average @Spotify employee earns $14,000 a month. Nobody’s paying? We musicians are, with our lives. #IRespectMusic” “That is simply awful,” added one fan. “Just think, the ad agency employee who came up with that tone-deaf (pun intended) foolishness is paid more than the vast majority of artists on Spotify.”
The whole essence of fandom is being turned upside down. An emerging crop of streaming-native artists is finding its audience in a much more targeted and efficient way than via the traditional music marketing. Instead of blowing a huge budget on carpet bombing TV, radio, print, online artists and their teams are finding their exact audiences, focusing on relevance and engagement rather than reach and scale.
The traditional model is great at creating household brands but so much of that brand impact is wasted on the households or household members that are not interested in the artist. Niche is the new mainstream. Targeted trumps reach. But too many label marketers fear that unless they use the mass media platforms, they will not be able to build national and global scale brands. They might be right, at least in part, but this is how the future will look and new marketing disciplines and objectives are required.
There are many streaming services in the world, but none of them can compare to the size and influence of Spotify. With more than one-hundred million subscribers, the Swedish based company has nearly double the audience of its closest competitor (Apple Music). The company has grown so popular, in fact, that it has become a kind of shorthand for streaming music. People say, “Do you use Spotify,” instead of, “do you subscribe to a streaming music platform?”
Spotify has revolutionized how artists make money from their music. The company pays, on average, between $0.006 and $0.0084 per song stream. A single stream is counted when the listener has played thirty-seconds of the track. If the listener finishes the song, that’s great, but it doesn’t change the amount of money the stream earns for the artist. With this in mind, it’s easy to understand why many industry experts claim Spotify has changed the sound of music. The ‘Spotify Sound,’ as it has been dubbed, refers to artists who waste no time getting to the heart of their song. The days of lengthy introductions or slow-burning tracks has been replaced by immediate choruses or other attention-grabbing tactics.
Wade in the Water is a 26-part series, originally released in 1994, that celebrates African American sacred music and traditions. When it first aired on NPR member stations, the world was different. Many of the voices featured in the series were alive, and were generous with their support. Today, some of those voices have been stilled. But this series, documenting African American sacred music traditions spanning more than 200 years, remains vital because of them.
