Tag Archives: emusic

eMusic gets into the network

eMusic has a new plan to make its online service more accessible – and it is turning up the heat with the introduction of a slew of social networking features to help users find new music online.
In an implementation that’s expected to emerge early next week, eMusic’s new social features will see artist pages updated with Wikipedia biographies, original editorial content, and embedded YouTube videos. Fans will be able to embed parts of their favourite artist profiles, including streaming song samples, in their Facebook pages, and also recommend pages through services including Digg.
eMusic boss David Pakman explained his company hopes to attract music purchasers by providing deeper and constantly changing artist info through Web 2.0 sites.
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eMusic wants REM-declared ‘dead’ format

eMusic is attempting to secure deals to offer DRM-free video, while REM front man Michael Stipe declares music video a dead format.
It’s an interesting juxtaposition, I suppose, that eMusic CEO David Pakman wants to offer video through the service, but only so long as networks and studios agree to make it available in DRM-free MPEG-4.
eMusic already offers a succesful music subscriptions business, offering customers a quantity of downloads each month in exchange for a set fee. Now, Pakman wants to offer television shows, and, presumably, music videos. While the CEO seems pretty certain such services will happen, he anticipates it will be “at least a year” before eMusic can reach such deals.
Maybe, maybe not. Michael Stipe of R.E.M. says that the music video is dead, and that while he is not entirely certain what the future of music marketing is, he’s putting a lot of stock into the internet.
To promote “Accelerate,” the band ramped-up their internet activity, offering interesting clips such as those capturing the act working on songs, and also letting fans take REM clips to use in their own videos.
Stipe describes the move as one in which the band is empowering and enabling a creative response to the act’s work, rather than simple consumption of the finished product.
What’s also important here is that the move also enables a two-way relationship between band and fan, closing the circle between them in a way that’s likely to consolidate the relationship.
Is the music video dead?