It’s the latest step in the company’s attempt to make some money from the huge traffic YouTube receives, and the company has begun deploying the links below videos relevant to music and videogame partners, but this reach is set to spread. Continue reading
Last.fm has introduced a second version of its Last.fm application for the iPhone, introducing a range of features and improvements.
Here’s the feature breakdown:
– vastly improved user interface all around (tap to zoom album art included)
– Ability to tag songs
– Personal tag radio
– Calendar based events view
– Common artists when viewing a user profile
– Many other usability and back-end features
The application is available in the US, UK, Canada, Germany, Spain and France. The company is also working to make streaming more reliable on slower connections, revealed Toby Padilla on the Last.fm blog.
Universal Music boss Jean-Bernard Lévy, CEO of Vivendi and owner of Universal Music told the Financial Times that label revenues climbed 5% in the first half of 2008.
He seemed pretty optimistic, pointing to the flurry of new music services the company is involved with, he said “I really believe we are at the turning point for the music industry and I didn’t say that two years ago.”
Other innovations with potential to increase revenue included possible future deals with companies such as Apple, as well as existing arrangements with the social networking site MySpace, announced last spring, he suggested. Continue reading
The Daily Mail is reporting Apple plans to introduce an smaller, cheaper ‘iPhone nano’ in time for Christmas 2008.
The report claims the new device will retail at up to £150 for pay-as-you-go customers and will be available exclusively from O2 in the UK. The Daily Mail cites industry sources for its claims.
eMusic today implemented the social discovery and Web 2.0 features of its independent music retail website, in hope of taking more chunks from the low interaction offered by the world’s largest music store, iTunes.
The service confirmed reports earlier this week that it planned to implement a host of new Web 2.0 features. These are designed to offer eMusic customers more musical context than any other site by pulling in relevant content from around the web and allowing them to share their finds with their friends on major social networks, bookmarking sites and blogs.
The benefits to musicians of having their videos available on YouTube go way beyond immediate promotion of new singles – that, at any rate, is the view of Public Enemy’s Chuck D, long one of digital music’s most outspoken proponents, as he explained recently to Distorted Loop.
“Public Enemy has been helped immensely by YouTube,” he explains, “because people have seen videos they’ve never seen before.”
The controversial group’s career was rejuvenated in 1999 when they split from their career-long label, Def Jam, after a row over online distribution. Chuck had made his feelings on digital distribution clear as early as 1994: a track on the band’s Muse Sick-N-Hour Mess Age album, Harry Allen’s Interactive Superhighway Phone Call to Chuck D, laid out a blueprint for a wired future years before any other musicians were thinking such thoughts. But it was the release of Swindlers Lust as an MP3 – in which Chuck berated Def Jam’s Russell Simmons and Lyor Cohen for failing to grasp the opportunities of the new era – that made the band crusaders for net music activism. What happened in between helps explain why.