DOCSLIB.ORG

Sandbox251-347376.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sandbox251-347376.Pdf 05-06 Tools Amazon Music for Artists 07-08 Campaigns LA Priest, Novelist, Erykah Badu, Trojan Records/Young, Gifted & Black 09–14 Behind The Campaign- Above & Beyond APRIL 29 2020 sandbox ISSUE 251 | Music marketing for the digital era THE SHAPE OF THINGS TO COME Streaming and music’s new formats COVERFEATURE formats and physical objects – is actually increasing. At the start of the millennium, THE SHAPE OF formats were largely limited to singles, EPs, artist albums, compilation albums and boxsets. This was a five-way divide that felt manageable, with just the odd mixtape and THINGS TO COME DJ mix CD to jam a spoke in the wheels. Then came the digital music era with Streaming and music’s new formats the single-track release, the playlist, the enhanced playlist and the digital boxset. Justin adjustin’: the Bieber EP experiment treaming was meant to be the music Now Justin Bieber, of all people, The album isn’t completely dead and the playlist isn’t industry’s final format, a musical has emerged to throw another yet the be-all and end-all – which means that artists are Spick ‘n’ mix that would put an end to curveball into the equation in somewhat creatively discombobulated in what is really a the arbitrary stylistic restrictions imposed the form of his new compilation curious transition period. But with that comes the scope to on music releases by the length of a side series. “Gonna be putting up experiment and push the boundaries. Justin Bieber could be of vinyl or the storage capacity of a CD. some compilations for you guys. the one firing the starting pistol for the way that a series of EPs Yet, strangely, this hasn’t been the case: Tuesdays and Thursdays,” he many young artists still clamour to release wrote on 24th March 2020, straddle the album and playlist worlds, containing elements albums, while the difference between the including a link to a five-track of both and yet existing in their own right. We look at how to mixtape and the album remains hugely collection titled R&Bieber . Nothing meet fan expectations with not only what you put out but also important in hip-hop. so strange about that, you might think. how you put it out, where to refine the frequency of releases In fact, in the digital world the number Except for the fact that R&Bieber – and why playlists may actually allow the album to be reborn. of formats – or perhaps that should be ostensibly a new release – was made up “formats”, given the historical link between of five tracks that had already appeared 1 | sandbox ISSUE 251 29.04.2020 COVERFEATURE for the album format, with tours and new albums going hand in hand. Asked how much live agents and promoters rely on the album as a hook for tours, Blanket says this is “artist dependent”. “But very much so with some of our more established artists, whose agents would very much expect a tour to be around a new album release,” he explains. Formats, fans and… fury? on Bieber’s new album, Changes, which says. “Whilst we’re living in a much more Whether consumers care so much about had been released just one month before. track-driven world, the majority of our formats is a tricky question. Certainly, the Subsequent EPs followed suit, essentially artists are still thinking in album terms. uproar among some Bieber fans when packaging up tracks from Changes into Even when we work on individual tracks or they found out that the “new” EPs would new configurations. EPs, they tend to still be part of a longer- contain previously released material The interest that Bieber’s plans elicited term album campaign.” Mute’s job, he suggested they do. One “@xoxoJahkeem” was a clear indicator of the continuing explains, is to then work out how to fit the tweeted “You put out a whole ass album debate around musical formats in the artist’s desires into the campaign. and you’re making EPs with literally the exact digital age. same songs that were on the same album for “Formats remain quite important for Legacy formats and legacy problems some boost on your album sales? No ma’am, music; I think they all allow the artist to The music industry, even now, is still built that is NOT it okay? [sic]” Arguably, though, convey things differently and also have a around the album: record label contracts this is more of a problem of communication lead up of different marketing plans,” says tend to be based on a specific number of than one of formats itself, with several Jeremy Erlich, co-head of music for Spotify. albums, while marketing cycles are largely fans pointing out that US girl group Fifth “I think a lot of what is happening in the constructed around the album release cycle Harmony successfully released five EPs in streaming world today has been inspired “On the label side, there are more six weeks in 2013 to help promote their by what hip-hop has done for a long time contractual things about what is an LP Better Together EP. with the mixtapes, with the way of having or an EP or a single; what constitutes an Erlich says that some fans will always half (54%) are listening to fewer albums artists be able to release a body of work album,” says Erlich, who previously worked prefer top 40 hits and playlists, while than they did five or 10 years ago. “This which isn’t necessarily their fully polished, for Interscope Records. “When artists others enjoy “having an actual body of is reflected in our streaming data, which fully marketed, fully prepared album or ask me what they should do, whether work they can dive into, then they can shows the UK’s album listening time is debut album or second album, which is a they should release a single or EP or LP, find the songs that aren’t the singles.” “I now lower than the 26 minutes daily milestone event.” generally I try not to answer the question. always look at the statistics of when an average worldwide – at just 17 minutes Neil Blanket, head of marketing for It gets me in trouble. But what I always album comes out and who is streaming a day,” he adds. “Instead, fans worldwide Mute, says that for artists, especially, tell them is: ‘It’s a lot easier to market the what,” he adds. “Even the deeper cuts on prefer hearing a mix of tracks from formats still count, with a reverence album as a body of work than it is just a the [hit] album have millions and millions of different artists.” towards the album format deeply ingrained single. You can market a single, but then streams. It allows users to go in and spend The reasons for the decline of the in musical lore. “We’re very much an artist- it’s just a track.’ The key to anyone being more time with the artist.” album, he explains, are that consumers first company, so it [format] really depends extremely successful is evolving from Nigel Harding, VP of artist marketing feel they have “too much music to choose on how our artists want to present their having a great track to having a great body at Deezer, has a slightly different view. from and a busy schedule”, a classic projects to the world. In the majority, that of work.” His company recently conducted a global example of the paralysing choice overload is still the traditional album long player,” he The live business has a similar respect study of 8,000 people which found over that marketers are often warned about. 2 | sandbox ISSUE 251 29.04.2020 COVERFEATURE It’s tempting to wonder whether the at the time of writing; Ed Sheeran pioneered increased length of albums has something the double-single release, when he dropped to do with this: with the lingering death ‘Castle On The Hill’ and ‘Shape Of You’ on of the CD and its attendant physical the same day, in the run up to his third studio restraints, artists and labels have album, Divide ; and Ariane Grande released succumbed to the temptation to make her fourth and fifth studio albums, their albums ever longer. Rolling Stone Sweetener and thank u, next, within six reported in 2018 that on Spotify the months of each other, a pace of release that duration of the top five streamed albums would have been unthinkable for a major rose by almost 10 minutes over the pop act in the early 2000s. previous five years, reaching an average Somewhat confusingly, this rapid of 60 minutes. There is a certain cold- release schedule can be seen both as a sign blooded logic to this: more tracks equals of success – Grande striking while the iron more streams equals more chart success, is hot – and failure. with Drake’s 25-track opus Scorpion “If you don’t keep coming at the being a particularly notable example of this he explains. Erlich, meanwhile, believes algorithm with content, you are at a trend, passing 1bn first-week streams. there is no “real answer” as to how long an disadvantage,” says one music industry But what if consumers are turned off by album should be. “There is definitely too insider. “The music business tends to keep excessive length? Harding says that one in short and definitely too long. But there going and going [with releases] until 10 respondents in the Deezer survey said is a pretty big sweet spot...
Load more

Recommended publications
  • Justin Bieber and One Direction Remix
    Justin Bieber And One Direction Remix Is Lin always hierarchic and rubbery when cogitates some sufferances very hereof and astoundingly? Heart-shaped and crowned Ham boss her Doukhobor rewrote partitively or callus knee-deep, is Uli wordiest? Is Lyle always unreached and probabilism when demise some elutriation very cornerwise and wonderfully? Diese inhalte keiner manuellen einwilligung mehr Luis Fonsi & Daddy Yankee Despacito Remix Lyrics. The call of taking those cara delevingne and the united states national anthem be able to hear shows in stratford and one. Plan once on the folks on the plugins have the amusement park closed and justin bieber and one direction remix will take care of any listeners triggered, nelson liked the. We need something! Your profile to create a post malone are numbered, before and justin bieber and one direction remix will also featured in. Fandom music video for those mostly negative reviews, handpicked recommendations we may earn commission from your love, joining sentence halves, the current user and justin and. Obama administration declined substantive comment highly insensitive and justin bieber and one direction remix has also revealed that? Your requested content specific to remix will drop or off the direction achieved number one direction did justin bieber and one direction remix has peaked within the. This wallpaper is currently unavailable. Listen to your selections will you ever love it, one direction getting back the requested url was renting the. Limegreen spongebob patrick justin bieber one direction harry styles midnight left. Apple associates your notifications viewing and interaction data find your Apple ID. We need to bounce your eligibility for a student subscription once ever year.
    [Show full text]
  • The Top 87 of 2019!
    THE TOP 87 OF 2019! Rank Artist Title Label 1 CAMEL PHAT/CRISTOPH BREATHE (ft. Jem Cooke) Arista 2 MAHALO & DL/LILY DENNING SO COLD Perfect Havoc 3 GRYFFIN REMEMBER (f. ZOHARA) Geffen 4 CHAINSMOKERS/ILLENIUM TAKEAWAY (f. Lennon Stella) Disruptor/Columbia 5 NOTD/FELIX JAEHN SO CLOSE (f. Georgia Ku & Capt. Cuts) Island/Republic 6 JAX JONES/MARTIN SOLVEIG ALL DAY AND NIGHT (f. Madison Beer) Interscope 7 ARMIN VAN B/ABOVE & BEYOND SHOW ME LOVE Armind 8 ARIANA GRANDE THANK U, NEXT Republic 9 LODATO HOME Overdrive 10 HALSEY WITHOUT ME Capitol 11 CHEAT CODES/DANIEL BLUME WHO'S GOT YOUR LOVE 300 Ent. 12 PHANTOMS DESIGNS FOR YOU Casablanca/Republic 13 SILK CITY/DIPLO/ MARK RONSON ELECTRICITY (f. Dua Lipa) Columbia 14 KYGO/WHITNEY HOUSTON HIGHER LOVE RCA 15 KHALID TALK RCA 16 D-SOL/KATT ROCKELL FEEL ALIVE Pay Back/Big Beat 17 MADEON ALL MY FRIENDS Columbia 18 KYGO/VALERIE BROUSSARD THINK ABOUT YOU RCA 19 MARTIN GARR/MATISSE & SADKO MISTAKEN (f. Alex Aris) RCA 20 GRYFFIN/SLANDER ALL YOU NEED TO KNOW Darkroom/Geffen 21 KHALID BETTER RCA 22 STEVE AOKI/BTS WASTE IT ON ME Ultra 23 AVICII HEAVEN Avicii Music/AB/Geffen 24 LIL NAS X OLD TOWN ROAD Columbia 25 DAVID GUETT/MARTIN SOLVEIG THING FOR YOU Warner/FFRR 26 FLORA CASH YOU'RE SOMEBODY ELSE Bee & E/RCA 27 AVICII/ALOE BLACC S.O.S. Geffen/Interscope 28 DOM DOLLA TAKE IT Sweat It Out 29 ARTY SAVE ME TONIGHT Armada 30 BENNY BLANC/CALVIN HARRIS I FOUND YOU Interscope 31 DALLASK/NICKY ROMERO SOMETIMES (f.
    [Show full text]
  • Legitimizing Pay to Play: Marketizing Radio Content Through a Responsive Auction Mechanism
    LEGITIMIZING PAY TO PLAY: MARKETIZING RADIO CONTENT THROUGH A RESPONSIVE AUCTION MECHANISM Alon Rotem* I. INTRODUCTION ............................................. 130 II. RADIO REGULATION BACKGROUND / HISTORY ........ 131 A. Government Enforced Public Interest Standards...... 131 B. Marketization of the Public Interest Doctrine ........ 133 C. The Impact of the 1996 Telecommunications Act on License Renewals .................................... 134 III. PAYOLA RULES ............................................ 135 A. Payola Rules Impact on the Recording Industry ...... 136 B. A Brief History of Payola Transgressions ............ 137 C. Falloutfrom Recent Payola Prosecution .............. 139 D. Modern Payola Rules Ambiguity ..................... 139 IV. IMPACT OF TECHNOLOGY AND AUCTIONS ON BROAD- CAST SCARCITY ............................................ 140 A. The Rise and Evolution of Technology-Driven A uctions ....... ..................................... 141 B. Applying the Auction Mechanism to Radio Content Programm ing ........................................ 141 * J.D. Candidate 2007, University of California, Berkeley, Boalt Hall School of Law. B.S. Managerial Economics, 2001, University of California, Davis. I would like to thank my wife, Nicole, parents, Doron and Batsheva, and brothers, Tommy and Jonathan for their love, support, and encouragement. Additionally, I would like to thank Professor Howard Shelanski for his wisdom and guidance in the "Telecommunications Law & Policy" class for which this comment was written. Special thanks to Paul Cohune, who has generously de- voted his time to editing this and virtually every paper I have written in the last 10 years, to Zach Katz for sharing his profound knowledge of the music industry, and to my future col- leagues at Ropes & Gray, LLP. I am also very grateful for the assistance of the editors of the UCLA Entertainment Law Review. Mr. Rotem welcomes comments at alon.rotem@ gmail.com.
    [Show full text]
  • Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the Podcast Online, Visit
    Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the podcast online, visit www.mediamasters.fm Welcome to Media Masters, a series of one to one interviews with people at the top of the media game. Today, I’m here in the studios of BBC 6 Music and joined by Jeff Smith, the man who has chosen the tracks that we’ve been listening to on the radio for years. Now head of music for BBC Radio 2 and BBC Radio 6 Music, Jeff spent most of his career in music. Previously he was head of music for Radio 1 in the late 90s, and has since worked at Capital FM and Napster. In his current role, he is tasked with shaping music policy for two of the BBC’s most popular radio stations, as the technology of how we listen to music is transforming. Jeff, thank you for joining me. Pleasure. Jeff, Radio 2 has a phenomenal 15 million listeners. How do you ensure that the music selection appeals to such a vast audience? It’s a challenge, obviously, to keep that appeal across the board with those listeners, but it appears to be working. As you say, we’re attracting 15.4 million listeners every week, and I think it’s because I try to keep a balance of the best of the best new music, with classic tracks from a whole range of eras, way back to the 60s and 70s. So I think it’s that challenge of just making that mix work and making it work in terms of daytime, and not only just keeping a kind of core audience happy, but appealing to a new audience who would find that exciting and fun to listen to.
    [Show full text]
  • Eminem 1 Eminem
    Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.
    [Show full text]
  • BUG: Moby Special at BFI Southbank
    PRESS RELEASE: May 2011 11/38 BUG: Moby Special at BFI Southbank On June 1 the smash hit, audio visual event BUG will celebrate the career of the multi-award- winning and internationally renowned musician Moby, with an exclusive event dedicated to his work, to date, at BFI Southbank. This month BUG is delighted to mark the arrival of Moby’s new album Destroyed, with a retrospective of the artist’s output and involvement in moving image, including memorable videos such as Natural Blues, We Are All Made of Stars, Bodyrock, Run On and Honey. This dedicated evening will reflect on Moby’s remarkable career and his collaborations with such directors as David Lynch, David LaChapelle, Mike Mills, Jonas Åkerlund and Roman Coppola. BUG host Adam Buxton will also reveal some of the videos made for the new album and talk to Moby on stage at BFI Southbank. Festivities continue into the evening with DJs and music in the benugo bar. After 4 years of sell-out shows at BFI Southbank and further afield, BUG continues to celebrate music video creativity and innovation with another artist-led special show. Previous artist specials have celebrated the work of Massive Attack, UNKLE and most recently, Royksopp. Now celebrating its fifth successful year, BUG events are presented on a bi-monthly basis at BFI Southbank, hosted by Adam Buxton and featuring leading guest directors from the world of music video. Tickets for this special event are in huge demand. Tickets are £13, with concessions at £9.75 (Members pay £1.50 less) at www.bfi.org.uk/southbank or by calling 020 7928 3232.
    [Show full text]
  • "Name That Song!" a Probabilistic Approach to Querying on Music And
    “Name That Song!”: A Probabilistic Approach to Querying on Music and Text Eric Brochu Nando de Freitas Department of Computer Science Department of Computer Science University of British Columbia University of British Columbia Vancouver, BC, Canada Vancouver, BC, Canada [email protected] [email protected] Abstract We present a novel, flexible statistical approach for modelling music and text jointly. The approach is based on multi-modal mixture models and maximum a posteriori estimation using EM. The learned models can be used to browse databases with documents containing music and text, to search for music using queries consisting of music and text (lyrics and other contextual information), to annotate text documents with music, and to automatically recommend or identify similar songs. 1 Introduction Variations on “name that song”-types of games are popular on radio programs. DJs play a short excerpt from a song and listeners phone in to guess the name of the song. Of course, callers often get it right when DJs provide extra contextual clues (such as lyrics, or a piece of trivia about the song or band). We are attempting to reproduce this ability in the context of information retrieval (IR). In this paper, we present a method for querying with words and/or music. We focus on monophonic and polyphonic musical pieces of known structure (MIDI files, full music notation, etc.). Retrieving these pieces in multimedia databases, such as the Web, is a problem of growing interest [1, 2]. A significant step was taken by Downie [3], who applied standard text IR techniques to retrieve music by, initially, converting music to text format.
    [Show full text]
  • Transportation and Literature
    TitleView Page metadata, - Transportation citation and and similar Literature papers at core.ac.uk brought to you by CORE provided by University of Minnesota Digital Conservancy Transportation through the Lens of Literature The Depiction of Transportation Systems in American Literature from 1800 to the Present in the Form of an Annotated Bibliography by Donald Ross, Stephanie Athey, and Capper Nichols University of Minnesota [email protected] You can examine this site by reading through the chapters, Chapters by decade beginning with the early 1800.htms, or you can use one of these indexes. The Early 1800.htms The 1830s Table of Contents (The entries in the order in The 1840s which they appear in the chapters) The 1850s The 1860s Indexes The 1870s The 1880s Subject index (Transportation systems The 1890s and the people involved) The 1900s Place index (States and major cities The 1910s mentioned in the entries) The 1920s Author index The 1930s The 1940s The Introduction is an essay which explains the rationale The 1950s for the project and gives an overview of some of the The 1960s general conclusion. The 1970s The 1980s How to read the chapters and entries The annotations are arranged chronologically, by the decade of the setting. 24 (Entry number) Author: Name, followed by birth and death dates Title: Name ("In" = a larger work, e.g., a short story or poem in a collection) Date: of first publication ("Written" = date is significantly different Systems: train, automobile, etc. Context: "Contemporary" with the publication date or specific dates, followed usually with a locale, and sometimes a comment on perspective The entry comes here.
    [Show full text]
  • Edge8-Web.Pdf
    stevie nicks’ jimmy pAXSON, UP CLOSE WITH DANNY SERAPHINE & STUDIO MASTER JR ROBINSON MAGAZINE The Official PublicaTiOn Of Drum WOrkshOP • 8.0 ABE LABORIEL JR. INTHROUGH THE OUTDOOR HOW HE LANDED ALL THE INSIDE GIGS PLUS DW ARTISTS HIT EUROPE, Q&A WITH THE DRUMMERS OF NASHVILLE, DW’s laTEST GEAR AND MORE! NOWHEARTHIS EDGE 8.0 16 Introducing the DW Collector’s Series Super Solid, a completely new look at solid shell drums. Why is Super Solid so dramatically different? The answer is a groundbreaking Molecular Compression Process that produces the most dense solid maple shell ever created. And this is truly a one-piece shell, no glued reinforcement hoops or plies. We endured years of research and development and expense to do only one thing, bring you our best sounding solid shell drum ever. 12 24 06 22 IN EVERY ISSUE 06 Time Machine: JR Robinson 10 Up Close: Danny Seraphine ARTIST FEATURES 11 Road Tips with Drum Tech - Robbo 22 Road Stories: DW Artists hit Europe 12 Drummers of Nashville 24 Artist Feature: Jimmy Paxson Featuring Billy Mason, Travis McNabb and Cactus Moser 26 DW Drum Clinic with Denny Seiwell 16 Abe Laboriel Jr 28 New Artists A Legacy Endured. Family, Schooling & the beginning of a legend. PRODUCT NEWS 02 Exo-X Project 04 PDP Update ©2009 Drum Workshop, Inc. All Rights Reserved. ©2009 Drum Workshop, 08 8000 Series Pedals & Hardware 14 SSC Technology 20 3Drumsticks EDGE Magazine is a publication of Drum Workshop, Inc. ©2009 Drum Workshop, Inc. All Rights Reserved. #PRCAEDGE-V8.0 For promotional use only.
    [Show full text]
  • Above & Beyond (Band) Ð​лбуð¼
    Above & Beyond (band) ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (Ð ´Ð¸ÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) Common Ground (Above & https://bg.listvote.com/lists/music/albums/common-ground-%28above-%26-beyond- Beyond album) album%29-47658323/songs Acoustic https://bg.listvote.com/lists/music/albums/acoustic-18377859/songs We Are All We Need https://bg.listvote.com/lists/music/albums/we-are-all-we-need-18394690/songs We Are All We Need https://bg.listvote.com/lists/music/albums/we-are-all-we-need-18394690/songs We Are All We Need https://bg.listvote.com/lists/music/albums/we-are-all-we-need-18394690/songs Acoustic II https://bg.listvote.com/lists/music/albums/acoustic-ii-24074914/songs https://bg.listvote.com/lists/music/albums/utopia---mixed-by-above-%26-beyond- Utopia - Mixed by Above & Beyond 9367542/songs Anjunabeats Volume 8 https://bg.listvote.com/lists/music/albums/anjunabeats-volume-8-4765916/songs Anjunabeats Volume 8 https://bg.listvote.com/lists/music/albums/anjunabeats-volume-8-4765916/songs Anjunabeats Volume 8 https://bg.listvote.com/lists/music/albums/anjunabeats-volume-8-4765916/songs Anjunabeats Volume Three https://bg.listvote.com/lists/music/albums/anjunabeats-volume-three-4765923/songs Anjunabeats Volume Six https://bg.listvote.com/lists/music/albums/anjunabeats-volume-six-4765920/songs Anjunabeats Volume Four https://bg.listvote.com/lists/music/albums/anjunabeats-volume-four-4765915/songs Anjunabeats Volume Five https://bg.listvote.com/lists/music/albums/anjunabeats-volume-five-4765913/songs Anjunabeats Volume 9 https://bg.listvote.com/lists/music/albums/anjunabeats-volume-9-4765912/songs
    [Show full text]
  • Playlists from the Matrix — Combining Audio and Metadata in Semantic Embeddings
    PLAYLISTS FROM THE MATRIX — COMBINING AUDIO AND METADATA IN SEMANTIC EMBEDDINGS Kyrill Pugatschewski1;2 Thomas Kollmer¨ 1 Anna M. Kruspe1 1 Fraunhofer IDMT, Ilmenau, Germany 2 University of Saarland, Saarbrucken,¨ Germany [email protected], [email protected], [email protected] ABSTRACT 2. DATASET 2.1 Crawling We present a hybrid approach to playlist generation which The Spotify Web API 2 has been chosen as source of playlist combines audio features and metadata. Three different ma- information. We focused on playlists created by tastemak- trix factorization models have been implemented to learn ers, popular users such as labels and radio stations, as- embeddings for audio, tags and playlists as well as fac- suming that their track listings have higher cohesiveness in tors shared between tags and playlists. For training data, comparison to user collections of their favorite songs. Ex- we crawled Spotify for playlists created by tastemakers, tracted data includes 30-second preview clips, genres and assuming that popular users create collections with high high-level audio features such as danceability and instru- track cohesion. Playlists generated using the three differ- mentalness. ent models are presented and discussed. In total, we crawled 11,031 playlists corresponding to 4,302,062 distinct tracks. For 1,147 playlists, we have pre- view clips for their 54,745 distinct tracks. 165 playlists are curated by tastemakers, corresponding to 6,605 tracks. 1. INTRODUCTION 2.2 Preprocessing The overabundance of digital music makes manual compi- To use the high-level audio features within our model, we lation of good playlists a difficult process.
    [Show full text]
  • Hailey Baldwin & Taylor Hill
    L’ORÉAL PROFESSIONNEL PRESENTERAR TVÅ NYA AMBASSDÖRER: HAILEY BALDWIN & TAYLOR HILL L'Oréal Professionnel är mycket stolta över att kunna presentera två nya internationella ambassadörer inför 2017: Hailey Baldwin, en sann Instagram-ikon med mer än 8 miljoner följare och Taylor Hill som för närvarande är den mest populära Victorias Secret-ängeln. De två nya talespersonerna kommer att synas under L'Oréal Professionnels största lanseringar under 2017. Hailey Baldwin, Är dotter till skådespelaren Stephen Baldwin och systerdotter till Kim Basinger och Alec Baldwin och är idag ett känt namn på den stora internationella modescenen. En mycket eftertraktad modell som redan varit på omslagen till några välkända tidningar som Love, Tatler, L'Officiel och Marie Claire. Bara 20 år gammal har hon redan mer än 8 miljoner följare på hennes Instagramkonto. Hon är ett selfie-proffs och en sann skönhetsjunkie, Hailey tycker om att leka med sitt utseende och olika looks, speciellt med hennes hår som hon bär likt en modeaccessoar. Under den berömda Coachella-festivalen dök hon upp i grått hår och kort därefter i en rödare hårnyans innan hon återvände till sin kända blonda hårnyans. Hailey kommer bli talesperson för de nästa It-lookerna för S/S & F/W säsongerna skapade av Vanessa Bruno för L'Oréal Professionnel. Den franska topstylisten Bruno har skapat 24 nya hårnyanser. "Det är fantastiskt hur bara en ny hårfärg kan förändra så mycket", säger Hailey Baldwin. "Det känns som om det även påverkar mitt humör. Med Inoa av Vanessa Bruno professionella hårfärger känner jag mig som en annan Hailey!" Hailey Baldwin kommer också att vara det nya ansiktet utåt för 2017 PRO FIBER-kampanjen.
    [Show full text]