Brown dwarf aurora found; could inform exoplanet searches
Los Angeles Times
Scientists have detected a powerful glowing aurora in the atmosphere of a celestial body known as a brown dwarf, light-years away from our solar system. The discovery suggests that when it comes to the behavior of their magnetic fields, brown dwarfs …
For the first time ever, scientists spot an aurora outside our solar system
Outer space aurora puts Northern Lights to shame
Astronomers find aurora a million times brighter than the northern lights
Lynchburg News and Advance
New discovery: Was there a spy in Jamestown?
Lynchburg News and Advance
William Kelso, director of research and interpretation at Historic Jamestowne, kneels Saturday inside what was the 1608 church on Jamestown Island. A silver reliquary box was found buried on top of a casket in the gravesite marked by the cross, second …
Remains of 4 early colonial leaders discovered at Jamestown
Remains of 4 early colonial leaders discovered
Graves of Jamestown's lost leaders found after 400-year search
Google Translate app adds 20 more languages
By week's end, the Android and iOS app will offer instant translation in a total of 27 languages. by Lance Whitney · @lancewhit; 29 July 2015 5:52 pm BST. facebook. twitter. linkedin. googleplus. email. comments. more. reddit. pinterest. tumblr.
Google adds 20 languages to instant virtual translation. How?
Google Translate can help you with text in 20 new languages
Google Translate Now Supports Visual Translation For 20 More Languages
Yahoo Plays Catch-up in Messaging With Video Texting App
Imagine making a video call without other people being able to listen in. Yahoo is trying to make that happen with Livetext, a new app that seeks to make video calling as private as texting. Yahoo says video calls can be better than texts for …
Bits | Yahoo Offers New Mobile Chat Service Featuring Silent Video
Yahoo's new new messaging app is a Snapchatty, Periscopey video chat with no sound
Yahoo launches a monster of a messaging app
With the increased presence of “mood” playlists on streaming services like Spotify, musical compilations have been becoming more and more popular. These compilations could represent one of the best ways for an artist to gain notice in 2015.
Guest Post by Allison Pitts on The Daily Rind
Right now, compilations are more popular than ever before. Just open Spotify’s homepage and you will find a plethora of playlists including “Mellow Beats,” “Creativity Boost,” “The Indie Mix” along with hundreds of others to help get you through your day. How many times have you discovered new music through playlists like these? I know I have countless times.
The Orchard’s Compilations Team creates and releases a wide variety of albums throughout the year, spanning every genre imaginable that are sold and streamed through platforms including iTunes, Spotify and Amazon. With more and more labels signing up, our catalog is constantly growing. Here are the top 5 reasons why compilations should be high on your radar whether you’re a label or just looking to expand your musical horizons.
1. Gain Exposure For Your Artists (New and Old)
Compilation albums are a great opportunity for labels to spotlight artists they think should be receiving more recognition, whether this is a new artist that is about to blow up, or an overlooked veteran. Placing artists like these in a compilation album will expand their reach, exposing them to listeners who may not have noticed them otherwise.
2. Boost Catalog Visibility (and Track Sales)
Not only can compilations spotlight one artist, but they can also bring visibility to a label’s entire catalog, including those lesser-known gems. Adding a compilations component to a label’s music marketing strategy works as a sales boost for both their best-selling artists and their not so best-selling artists.
3. Facilitate Music Discovery
Can you think of a better way to discover new music? Think about it; you see an artist you like on a compilation, so you listen to the entire album and consequently have now been introduced to similar artists you didn’t even know existed. The benefits are obvious!
4. Find The Right Niche
Nearly every label’s catalog has that artist with a niche sound they are unsure how to market. Trust us when we say, there are people who want to hear it and we know who those people are. Whether it’s New Age, Classical or Hawaiian tunes, those songs can be placed into the perfect yoga, studying or meditation mix. It’s all about packaging a label’s music the right way so that listeners can find the music they are looking for and give your catalog a second listen!
5. Keep Up With The Trends
Compilations are everywhere. They are the present-day mixtape. If you’re not listening to them, you should be. If your artists aren’t on them, they need to be. In order to stay prevalent in this ever-changing industry, it is important to keep up with the trends, and the compilation album is a trend that is definitely here to stay.
Today in part 5 of his series, music business scholar and entrepreneur George Howard continues his exploration of Blockchain technology in a conversation with venture capitalist Any Weissman who shares his vision of how the technology could be used to create a music rights “Nirvana State”.
Guest post by George Howard.
I’m not sure what your stereotypical view of what a venture capitalist is, but it’s likely not someone who who quotes from Grant Hart and Ken Kesey on his blog pieces that have titles like, “No-Stack Startups” or “ The Chaos Theory of Startups.”
I don’t recall exactly how Andy Weissman – who is a Partner at Union Square Ventures – and I first got to know each other, but likely we bonded over music and books, and…maybe…we talked about entrepreneurship/VC too.
I always know I’m on to something when I post an article and Andy chimes in on Twitter, as he did regarding my recent interview withZoe Keating about her take on the Blockchain Summit and her thoughts generally on crypto as it relates to artists.
I’m enjoying my journey down the rabbit hole of Crypto, and am happy that I’m finding a lot of fellow travellers – like Imogen Heap,who presents a fascinating vision for her usage of the Blockchain to create a whole new system for music, which she calls Mycelia– who are raising the level of discourse on this confusing topic.
I took Mr. Weissman’s tweet as an invitation to follow up with him in order to get his thoughts on the Blockchain.
I’m glad I did. In the interview below, Mr. Weissman concisely lays out a framework for what he calls the “Nirvana State” for how we might apply the Blockchain to the music business.
Below is a transcript of my email interview with Mr. Weissman. It has been lightly edited for clarity and grammar. (Bonus points to anyone who – without googling it – can identify the band Mr. Weissman quotes at the end of the interview.)
George Howard: After your tweet, I reached out, and asked you to elaborate on your 140 characters. You quickly responded with one of the more succinct – as you call it – “Nirvana States” for the applicability of the Blockchain. I’m going to excerpt it here:
1. Assume no change in copyright laws in the US.
2. To afford yourself of those protections, you must “register” your copy on the Blockchain. In that way, the “rights” will be publicly listed. As those rights may be transferred, the chain of ownership will as well.
3. One benefit here could be that one could also stamp your own rules on that copy. Programmatically, we would see what you desire as to that piece of media and how it may be used. These of course could change over time, as you desire.
4. This would then be a decentralized registry, but even more as the rules would be machine-readable. This could enable apps and services to be built on top of them.
5. This could achieve the end state of being the nirvana music api.
So, I think I get it you up through about halfway in point four. You’re saying, I believe, that artists (or any holder of a copyright) would register that work on the Blockchain, and add in limitations (“rules”) around how others may or may not interact (create derivatives, reproduce, etc.) with the work.
But, from there, it gets hazy. Can you clarify the idea of building apps and services on top of them, and explain how this results in the “nirvana music api?”
Andy Weissman: Once the rights are publicly listed in this way – on the Blockchain – anyone would be able to see them. More so, they would be able to be read by a machine. And, a person – or a machine – could see the rules the artist expresses for that piece of media. Ian Rogers expressed it this way over 3 years ago – pre-Blockchain consciousness:
“You, the content owner, could set the rules and the prices. Which tracks are available for free download? Available for streaming? How long a streaming sample allowed? High definition? At what price points? The market could decide if the price you’re asking is fair: “My service only supports downloads with a wholesale price of $0.70.” “My service is only interested in free downloads.” “My service is only interested in content which is available for subscription streaming.”
So, the idea could be that a machine could read those rules – and then build a music service on top of that. No more interminable contract negotiations over these.
GH: As a venture capitalist part of your job is to look outward to a more ideal future, and to time your investments at or just before the intersection of market demand and technological development. Let me play devil’s advocate here for a second. What if the market does not demand what Crypto offers in any meaningful way, and the technology – be it the registry you reference, etc. – does not become a reality? I hope I’m wrong, and that you’ll disabuse me of these fears.
AW: Maybe you are wrong, maybe you are right. We have the advantage of a business model that provides us the opportunity to invest in companies that are trying to create a world we would like to exist.
Sometimes we are right about that, sometimes not.
But, an analogy: mobile apps didn’t exist before 2007 or 2008. Look how much has changed in just those few short years.
“Once in a while you get shown the light in the strangest of places if you look at it right.”
Samsung sensor puts 16-megapixel cameras into slim phones
Wondering how Samsung manages to cram a 16-megapixel camera into seemingly wafer-thin phones like the Galaxy A8? By developing a brand-spanking new sensor that fits, that's how. The Korean company has built an ISOCELL-based CMOS imager that …
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[UPDATE] Tom Windish built his booking agency from nothing to a global powerhouse in 10 years, with clients including alt-J, Diplo, The War On Drugs and Lorde. But in a nod to an entertainment industry still driven by tv, film and big media, he’s joined forces with full service agency Paradigm.
Paradigm Talent Agency announced that they have acquired EDM powerhouse The Windish Agency.
The Windish Agency, which boasts an impressive roster of artists, joins forces with Paradigm and their partner agencies, AM Only and London-based CODA Music Agency, under the Paradigm Music Division. Together they represent a combined roster that includes such acclaimed artists as Aerosmith, alt-J, Coldplay, Dave Matthews Band, David Guetta, Diplo, Disclosure, Ed Sheeran, Imagine Dragons, Lorde, Phish, Skrillex, Tiësto, Toby Keith, and Zedd, to name a few.
Financial terms of the acquisition were not disclosed, but Windish Agency head Tom Windish told Billboard that the deal was a partnership.
“It’s a partnership.” As a proven success in artist development with a robust roster of acts active at festivals and hard ticket shows, Windish Agency has long been believed to be ripe for acquisition, but, “it really has nothing to do about money with me,” Windish told Billboard’s Ray Waddell. “I don’t have big plans to go on vacation or something. It’s more about who do I want to pair up with that can help my clients and the people that work at my company get to places they’ve never been before and they want to be.”
Chip Hooper, head of the Paradigm Music Division, added, “Whether hiring employees or forming partnerships we have always been unwaveringly committed to working with the most talented and creative people, and most importantly, with people who share similar goals and those with impeccable character. After spending quite a bit of time getting to know Tom and his staff, it became clear this partnership makes perfect sense for everyone.”
Sam Gores, Chairman and CEO of Paradigm, added, “The common thread in building Paradigm Music has been to invest in strong, visionary leaders who are universally respected by their peers and committed to building careers the right way. From the moment I met Tom Windish I was impressed with his business acumen, integrity, leadership, taste, and unique way of thinking. Over the years Paradigm has established a pattern of successful partnerships that together have formed a unified culture that I am proud of.” – via Celebrity Access
Drake has fired another salvo in his feud with Meek Mill after that rapper called Drake’s “Charged Up” diss track “baby lotion soft.” Three days later, Drake has responded again with “Back to Back Freestyle,” and there’s nothing soft or vague about this diss track as the Toronto rapper lays into Meek Mill.
The cruelest barbs in “Back to Back Freestyle” come when Drake attempts to emasculate Meek Mill for serving as opening act for his girlfriend Nicki Minaj’s Pinkprint Tour. “You love her then you gotta get a world tour / Is that a world tour or your girl’s tour?/ I know that you gotta be a thug for her / This ain’t what she meant when she told you to open up more,” Drake says. (Incidentally, Meek Mill showed up 90 minutes late and was promptly booed when the Pinkprint Tour hit Drake’s native Toronto Tuesday night.)
Drake then takes aim at Meek Mill’s decision to beef through social media. “Trigger fingers turn to Twitter fingers,” Drake raps. “You’re getting bodied by a singing nigga.” Drake then warns all his “boss bitches” – but likely Minaj especially – “make sure you hit him with a pre-nup.”
The feud between Drake and Meek Mill stems from Mill’s accusations that Drake employed a ghostwriter for his guest verse on “R.I.C.O.,” a track off Meek Mill’s new album Dreams Worth More Than Money. An Atlanta rapper named Quentin Miller was then identified as Drake’s ghostwriter, though Miller and Drake’s producer Noah “40” Shebib denied the ghostwriting allegations.
“When I look back, I might be mad that I gave this attention / But it’s weighing heavy on my conscience / And fuck, you left me with no options,” Drake says on the new track. “I’m not sure what it was that made y’all mad / But I guess this is what I gotta do to make y’all rap.”
Meek Mill previously shared his own Drake “diss track” titled “Beautiful Nightmare” which just featured 15 seconds of moaning.
Microsoft Is About to Make PC Gamers' Dreams Come True
We've known for a while that Xbox One owners can stream games from their console to their PC once they upgrade to Windows 10. But could they ever reverse the stream, letting players enjoy PC games on their Xbox One console? Microsoft's Xbox division …
Xbox One will eventually stream your PC games
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