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Youtube 1 Youtube
YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc. -
Free Views Tiktok
Free Views Tiktok Free Views Tiktok CLICK HERE TO ACCESS TIKTOK GENERATOR tiktok auto liker hack In July 2021, "The Wall Street Journal" reported the company's annual revenue to be approximately $800 million with a loss of $70 million. By May 2021, it was reported that the video-sharing app generated $5.2 billion in revenue with more than 500 million users worldwide.", free vending machine code tiktok free pro tiktok likes and followers free tiktok fans without downloading any apps The primary difference between Tencent’s WeChat and ByteDance’s Toutiao is that the former has yet to capitalize on the addictive nature of short-form videos, whereas the latter has. TikTok — the latter’s new acquisition — is a comparatively more simple app than its parent company, but it does fit in well with Tencent’s previous acquisition of Meitu, which is perhaps better known for its beauty apps.", In an article published by The New York Times, it was claimed that "An app with more than 500 million users can’t seem to catch a break. From pornography to privacy concerns, there have been quite few controversies surrounding TikTok." It continued by saying that "A recent class-action lawsuit alleged that the app poses health and privacy risks to users because of its allegedly discriminatory algorithm, which restricts some content and promotes other content." This article was published on The New York Times.", The app has received criticism from users for not creating revenue and posting ads on videos which some see as annoying. The app has also been criticized for allowing children younger than age 13 to create videos. -
Youtube Decade: Cultural Convergence in Recorded Music∗
YouTube Decade: Cultural Convergence in Recorded Music∗ Lisa M. George Christian Peukert Hunter College and University of Zurich the Graduate Center, CUNY June 17, 2016 Abstract Digital technology has the potential to impact the diffusion of new goods both within and across markets. The net effect of technology on globalization is thus an empirical question. We study the role of YouTube in globalizing the market for recorded music. We consider the US, Germany and Austria, exploiting a natural experiment that has blocked official music videos on YouTube in Germany since 2009. We document a causal link between YouTube access and both global and local outcomes. YouTube increases overlap with US weekly top charts, a globalizing effect, but also induces greater chart penetration of domestic music, a local effect. We show that the dual result is driven in part by the dynamics of the market: YouTube increases chart turnover, which expands the market for domestic titles. Our results indicate that global platforms need not advantage global culture. Keywords: Digitization, Trade, Globalization, Media, Superstars, Natural Experiment JEL No.: L82, O33, D83 ∗The authors gratefully acknowledge the financial support of this research by the NET Institute, http://www.NETinst.org. Lisa M. George, Department of Economics, Hunter College, 695 Park Ave., New York, NY 10065. Email: [email protected]. Christian Peukert, Chair for Entrepreneurship, University of Zurich, Affolternstrasse 56, 8050 Z¨urich, Switzerland. Email: [email protected]. 1 Introduction Twentieth century innovations in media technology influenced the adoption and diffusion of new goods, and in some cases the industrial organization of product markets themselves. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) JUN CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 26 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 24 BIA HS 9; RP 25 J. COLE B200 10, 69; PCA 10; RBA 5, 35; RLP 5; SAM FISCHER DES 49 INDIA TSS 5 LEFTOVER SALMON BG 11 21 SAVAGE B200 175; H100 56; RBH 24; RP JUSTIN BIEBER B200 14; A40 7; AC 17, 19; H100 56, 84; RBH 24, 36; RP 13; RS 21 ELLA FITZGERALD JZ 15; HSS 6 INTERNET MONEY IND 43 LOS LEGENDARIOS LA 8; LRS 7; H100 93; 13; RS 21 DA 17; H100 5; HA 3; -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) JUL CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 31 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 22; RBH 48 THE BEATLES B200 101, 113; PCA 23, 32 CHVRCHES MO 23; RKA 34 -F- BECKY HILL DES 24 KENDRICK LAMAR B200 62, 120; PCA 8, 38; RBA 30; RLP 25 070 SHAKE DES 31 MARIA BECERRA LT 14 CITY GIRLS H100 94; RBH 38; RP 12 FABOLOUS DLP 6 HILLSONG UNITED CC 25, 28; CST 29 112 HD 24 BELLA POARCH H100 96 CJ LT 19 HILLSONG WORSHIP CC 29, 36 MIRANDA LAMBERT CA 23; -
Facebook Timeline
Facebook Timeline 2003 October • Mark Zuckerberg releases Facemash, the predecessor to Facebook. It was described as a Harvard University version of Hot or Not. 2004 January • Zuckerberg begins writing Facebook. • Zuckerberg registers thefacebook.com domain. February • Zuckerberg launches Facebook on February 4. 650 Harvard students joined thefacebook.com in the first week of launch. March • Facebook expands to MIT, Boston University, Boston College, Northeastern University, Stanford University, Dartmouth College, Columbia University, and Yale University. April • Zuckerberg, Dustin Moskovitz, and Eduardo Saverin form Thefacebook.com LLC, a partnership. June • Facebook receives its first investment from PayPal co-founder Peter Thiel for US$500,000. • Facebook incorporates into a new company, and Napster co-founder Sean Parker becomes its president. • Facebook moves its base of operations to Palo Alto, California. N. Lee, Facebook Nation, DOI: 10.1007/978-1-4614-5308-6, 211 Ó Springer Science+Business Media New York 2013 212 Facebook Timeline August • To compete with growing campus-only service i2hub, Zuckerberg launches Wirehog. It is a precursor to Facebook Platform applications. September • ConnectU files a lawsuit against Zuckerberg and other Facebook founders, resulting in a $65 million settlement. October • Maurice Werdegar of WTI Partner provides Facebook a $300,000 three-year credit line. December • Facebook achieves its one millionth registered user. 2005 February • Maurice Werdegar of WTI Partner provides Facebook a second $300,000 credit line and a $25,000 equity investment. April • Venture capital firm Accel Partners invests $12.7 million into Facebook. Accel’s partner and President Jim Breyer also puts up $1 million of his own money. -
You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas Delisa
Brooklyn Law Review Volume 81 | Issue 3 Article 8 2016 You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas DeLisa Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Nicholas T. DeLisa, You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms, 81 Brook. L. Rev. (2016). Available at: https://brooklynworks.brooklaw.edu/blr/vol81/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. You(Tube), Me, and Content ID PAVING THE WAY FOR COMPULSORY SYNCHRONIZATION LICENSING ON USER- GENERATED CONTENT PLATFORMS INTRODUCTION Ever wonder about how the law regulates your cousin’s wedding video posted on her YouTube account? Most consumers do not ponder questions such as “Who owns the content in my video?” or “What is a fair use?” or “Did I obtain the proper permission to use Bruno Mars’s latest single as the backing track to my video?” These are important questions of law that are answered each day on YouTube1 by a system called Content ID.2 Content ID identifies uses of audio and visual works uploaded to YouTube3 and allows rights holders to collect advertising revenue on that content through the YouTube Partner Program.4 It is easy to see why Content ID was implemented—300 hours of video are uploaded to YouTube per minute.5 Over six billion hours of video are watched each month on YouTube (almost an hour for every person on earth),6 and it is unquestionably the most popular streaming video site on the Internet.7 Because of the staggering amount of content 1 See A Guide to YouTube Removals,ELECTRONIC fRONTIER fOUND., https://www.eff.org/issues/intellectual-property/guide-to-youtube-removals [http://perma.cc/ BF4Y-PW6E] (last visited June 6, 2016). -
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) MAY CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 15 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 23 BIG30 H100 80; RBH 34 NAT KING COLE JZ 5 -F- PETER HOLLENS CX 13 LAKE STREET DIVE RKA 43 21 SAVAGE B200 111; H100 54; HD 21; RBH 25; BIG DADDY WEAVE CA 20; CST 39 PHIL COLLINS HD 36 MARIANNE FAITHFULL NA 3 WHITNEY HOUSTON B200 190; RBL 17 KENDRICK LAMAR B200 51, 83; PCA 5, 17; RS 19; STM 35 RBA 26, 40; RLP 23 BIG SCARR B200 116 OLIVIA COLMAN CL 12 CHET -
D3.2 – Predictive Analytics and Recommendation Framework V2
D3.2 – Predictive analytics and recommendation framework v2 Αugust 31st, 2019 Authors: Thomas Lidy (MMAP), Adrian Lecoutre (MMAP), Khalil Boulkenafet (MMAP), Manos Schinas (CERTH), Christos Koutlis (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Vasiliki Gkatziaki (CERTH), Emmanouil Krasanakis (CERTH), Polychronis Charitidis (CERTH) Deliverable Lead Beneficiary: MMAP This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D3.2 Predictive analytics and recommendation framework supporting document title Type Report Dissemination level Public Publication date 31-08-2019 Author(s) Thomas Lidy (MMAP), Adrian Lecoutre (MMAP), Khalil Boulkenafet (MMAP), Manos Schinas (CERTH), Christos Koutlis (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Emmanouil Krasanakis (CERTH), Vasiliki Gkatziaki (CERTH), Polychronis Charitidis (CERTH) Reviewer(s) Rémi Mignot (IRCAM) Keywords Track popularity, artist popularity, music genre popularity, track recognition estimation, emerging artist discovery, popularity forecasting Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 25/06/2019 First deliverable draft version, table of contents Thomas Lidy (MMAP) V0.2 18/07/2019 Main contribution on track recognition estimation -
February 2018
Southside High School Newsletter February 2018 1 TABLE OF CONTENTS Announcements 3 Student Life 4 News 6 Entertainment 9 2 Tiger Times General Announcements February 18, 2018 By: Nabeeha Khan ● Spirit Week from January 29th- February 3rd ○ Monday: ○ Tuesday: Jersey Day ○ Wednesday: Superhero vs. Villians ○ Thursday: Throwback ○ Friday: Black-Out ● February 3rd: SHS Basketball vs Emerald ● February 3rd: Speech and Debate Tournament at Southside ● February 6th: SHS Basketball at Carolina ● February 9th-11th: State Beta Convention ● February 17th: Academic Team Tournament at Southside ● February 26th: Boys Soccer vs Travelers Rest ● February 27th: Girls Soccer at Greer 3 Tiger Times Student Life January 18, 2018 By: Nabeeha Khan A Beta Than Average Weekend After months of intensive fundraising, preparation, and exciting countdowns, Southside High Beta Club members finally went to the 2018 SC Beta Convention at Myrtle Beach -- and won some top prizes while there. Beta Club is a national society that promotes the ideals of academic achievement, character, service and leadership among elementary and secondary school students. The motto is: “Let us lead by serving others.” At the three-day long convention, students participated in various activities ranging from math competitions to scrapbook decoration contests. For the first time in history, Southside earned the Gold Key Growth award for having greater than 10 percent growth in Beta Convention attendance than the previous year. Students also did splendidly--sophomore Inaya Ebrahim won -
Design and Evaluation of a Probabilistic Music Projection Interface
DESIGN AND EVALUATION OF A PROBABILISTIC MUSIC PROJECTION INTERFACE Beatrix Vad,1 Daniel Boland,1 John Williamson,1 Roderick Murray-Smith,1 Peter Berg Steffensen2 1School of Computing Science, University of Glasgow, Glasgow, United Kingdom 2Syntonetic A/S, Copenhagen, Denmark [email protected], [email protected], [email protected] [email protected], [email protected] ABSTRACT To address these goals we built and evaluated a system to interact with 2D music maps, based on dimensionally- We describe the design and evaluation of a probabilistic reduced inferred subjective aspects such as mood and genre. interface for music exploration and casual playlist gener- This is achieved using a flexible pipeline of acoustic fea- ation. Predicted subjective features, such as mood and ture extraction, nonlinear dimensionality reduction and prob- genre, inferred from low-level audio features create a 34- abilistic feature mapping. The features are generated by dimensional feature space. We use a nonlinear dimen- the commercial Moodagent Profiling Service 1 for each sionality reduction algorithm to create 2D music maps of song, computed automatically from low-level acoustic fea- tracks, and augment these with visualisations of probabilis- tures, based on a machine-learning system which learns tic mappings of selected features and their uncertainty. feature ratings from a small training set of human subjec- We evaluated the system in a longitudinal trial in users’ tive classifications. These inferred features are uncertain. homes over several weeks. Users said they had fun with the Subgenres of e.g. electronic music are hard for expert hu- interface and liked the casual nature of the playlist gener- mans to distinguish, and even more so for an algorithm ation.