Friday, November 13, 2020

El podcast chileno de Spotify “Caso 63”, convierte la ficción en una experiencia de audio única | Spotify

Luego de meses de producción, Spotify revela el podcast más grande de Chile hasta el momento: Caso 63. La nueva serie original, protagonizada por los reconocidos actores chilenos Antonia Zegers y Néstor Cantillana, atrapará a los oyentes en la enigmática y extraña historia de Pedro Roiter, que llega misteriosamente a la vida de la psiquiatra Elisa Aldunate. A través de sesiones médicas, se involucran en una trama con giros en donde el tiempo, el espacio y los eventos delirantes juegan con las mentes de los oyentes. Grabado desde los hogares de los protagonistas durante la cuarentena, Caso 63 es un verdadero hito tanto en la actuación, como en la creatividad.

“Caso 63 es una serie clave para Spotify”, dice Javier Piñol, director de Spotify Studios para América Latina y Estados Unidos LatinX. “Creemos que las historias pueden ir mucho más allá de las imágenes físicas y transformarse en imágenes mentales que realmente desarrollen la imaginación de la audiencia. El rostro de los protagonistas es creado por cada usuario en función de su percepción, los escenarios son diferentes para cada oyente, y esa es la magia que estamos creando con esta audio serie. Estamos abriendo nuestros sentidos y entregando contenido original de calidad, con una gran producción que se complementa perfectamente con la creatividad del equipo”.

El desafío actoral

Caso 63 implicó generar una nueva dinámica en el trabajo actoral. Los protagonistas grabaron desde sus casas, en contextos totalmente diferentes a los que están acostumbrados y con el desafío de transmitir emociones solo a través de sus voces.

“Es la primera vez que realizo una serie de audio, hacer que la historia y un personaje pasen por uno mismo, es increíble. El guión de Julio Rojas es monumental, leer cada capítulo fue realmente vertiginoso y no podía contenerme y esperar a que llegara el día para actuarlos”, comenta Antonia Zegers.

Por su parte, Néstor Cantillana dice que “grabamos desde nuestras casas, y era difícil conseguir el silencio así que nos enfocamos en trabajar por las noches. Fue una experiencia enriquecedora, nos reímos mucho y trabajamos en el desarrollo de nuestros personajes. Nos conectamos con la intimidad del universo del audio y el enorme desafío de transmitir todas las dimensiones de la historia a través de nuestras voces”.

La historia detrás de la historia

Desde el lado creativo, Case 63 nos presenta una apasionante historia de ficción y una experiencia inmersiva, donde la edición de sonido y la postproducción juegan un papel clave. “Fue una experiencia increíble poder escribir y crear un espacio narrativo con solo el sentido de la audición” – dice Julio Rojas, un destacado guionista chileno y creador de Caso 63. “Me hizo pensar que este tipo de narración es nuestro primer acercamiento a los cuentos de niños, cuando alguien te contaba una historia, y cerrabas los ojos e imaginabas la escena, los personajes, los espacios, las formas mucho más ricas que una experiencia audiovisual. Queríamos apostar por una historia donde el oyente se encuentra entre los protagonistas, es un observador activo que vive las sensaciones del actor. También favorecemos el factor sorpresa, los giros temporales de la trama y sensaciones acústicas que realmente te transportan a la escena”.

“En muchos sentidos, los podcasts son como la música: es contenido de audio que, como oyente, te conecta con la cultura de una manera profunda y personal”, dice Javier Piñol. “En Spotify, estamos comprometidos a convertirnos en un destino global de primer nivel para los podcasts, a crear el mejor contenido de podcasts en Latinoamérica con talento local y con la producción de contenidos de gran calidad en variedad de géneros. También buscamos evolucionar los formatos de palabra hablada que harán de Spotify el destino de todas las experiencias de audio.”

Caso 63, es una historia pionera de Spotify, que sin duda jugará con tu mente.

The post El podcast chileno de Spotify “Caso 63”, convierte la ficción en una experiencia de audio única appeared first on Spotify.

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Are rights holders missing the point with Twitch? | Music Industry Blog

Twitch has apologised to its users for the growing volume of rights holder takedown notices for music used in Twitch videos. Twitch is in an awkward transitionary phase with music rights holders, not dissimilar to where YouTube was when it was acquired by Google. 14 years on from that acquisition, YouTube’s relationship with rights holders is in a better place but short of where it should be. Article 17, weaving its way between the competing lobbying efforts of rights holders and tech platforms, is just the latest mile marker on a long and winding rocky road. Twitch, like YouTube, does not fit the licensing norms of most streaming services, resulting in repeated stand offs. But just like the music industry still hasn’t grasped the full potential of YouTube, it may be making a similar mistake with Twitch.

Firstly, for sake of clarity, MIDiA firmly believes that copyrighted work should be used correctly and remunerated. We are not, in any way, suggesting that a platform should be able to use music without permission. However, the current licensing structures are:

  1. Not flexible and agile enough to truly capitalise on user-generated content (UGC) music (a market which will be worth $4 billion by year end – download our major new FREE report on UGC music here)
  2. YouTube and Twitch represent an opportunity to create new growth drivers, especially for artists, that can help fix the ‘broken record’

A lack of sync in sync

Let’s address the first point, well, first. Platform-native creators on YouTube, Twitch and TikTok create content so frequently they make the music industry’s volume and velocity problem look like child’s play. Usually, creators who want music in their videos have a choice: 1) get sync licenses, 2) get library music, 3) use music without permission and get taken down or demonetised. 

The problem with option one is that sync clearance is a lengthy process that can take weeks and cost a lot. Not a great fit for creators who create and upload videos the same day. Companies like Lickd are trying to fix this with catalogues of pre-cleared music, but the industry as a whole is moving too slowly. For the record, MIDiA’s preferred solution is for platforms securing large ‘sandboxes’ of pre-cleared tracks for creators and developers to work with. An early example of this is the NFL making all of its soundtracks available for creators on a Synchtank powered site.Unless music rights holders want to cede the growth in the music UGC space (which will be worth $5.9 billion by end 2022) to library music companies, they need to put alternative approaches at the core of their licensing strategy, not simply pursue them as interesting ‘edge’ experiments.

Going beyond the stream

However, the biggest music industry opportunity is not licensing music. It is monetising fandom. The #brokenrecord debate has shone a light on how streaming’s scale benefits do not trickle down at a sufficient rate to creators. Artists compete for tiny bits of highly valuable ‘real estate’ – playlists, artist profiles etc – but most often do not get enough to earn a living. While efforts like user-centric licensing and better songwriter rates will help, they will not change the underlying fundamentals of streaming economics. The counter argument is that scale will change everything, but:

  • Average revenue per user (ARPU) is falling. Spotify’s premium ARPU fell 34% between Q1 2016 and Q3 2020, a 34% decline
  • Streaming growth is slowing in developed markets
  • Consumption is slowing – last quarter Spotify reported an increase in consumption hours to pre-COVID levels but as there were 49 million new monthly active users (MAUs) compared to pre-COVID this implies a reduction in hours per user
  • Emerging markets are growing but a) ARPU is lower and b) domestic repertoire will drive most of the long-term consumption – so this means only a small uplift for Western creators

Before live stopped, streaming existed in a mutually beneficial ecosystem, giving artists more fans for concerts and merch. Now that live is out of the equation, streaming isn’t enough. 

This is where platforms like YouTube and Twitch can come in. They enable creators to build loyal fanbases of which they can monetise the loyal core to build sustainable careers. The idea of ‘1,000 True Fans’ was first put forward years ago by Kevin Kelly but now the dynamics of social platforms have made this a realistic possibility for any creator. Nevertheless, music artists are still way off the pace. 

Micro-communities

Twitch and YouTube enable creators to build (often small) loyal fanbases that can generate them income that far exceeds what artists get from streaming. MIDiA terms this dynamic ‘micro-communities’ and we think it will be one of the trends that will shape the music business in 2021 and beyond. As part of our creator tools research we will be exploring how platforms like Splice and Landr will be able to build their own artist-fan communities that can be as valuable to artists as Bandcamp is to many already. 

Streaming created a superstar economy where even within the non-superstars, superstars exist. For example, Tunecore states it has ‘thousands’ of artists that make more than $100,000 a year. A simple bit of arithmetic shows that this means the remainder make less than $100.

Micro-communities represent an opportunity for artists to fill the income gap that streaming leaves without live in the mix. This probably does not reflect a direct revenue opportunity for rights holders – indeed, that would be missing the point. Instead, they can ensure those platforms are supported to empower artist monetisation without speed bumps. Why? Quite simply, rights holders have a model that works for them (streaming), so now they need to support a model that works for their creators so that they can in turn continue to support the streaming model that works for rights holders. 

If the industry does not support this new virtuous circle ecosystem, then it could bring the streaming model crashing down due to creator discontent. 

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Sony/ATV signs publishing deal with Baby Shark creators Pinkfong | Music Business Worldwide

Sony/ATV Music Publishing has signed an agreement with SmartStudy, the global entertainment company behind children’s brand, Pinkfong, to publish their entire catalog of children’s songs, including the world-famous pop culture phenomenon Baby Shark.

Pinkfong’s Baby Shark became a breakout sensation after launching on YouTube in November 2015.

The video has amassed 7.1 billion views, becoming YouTube’s most-viewed video in history.

The Baby Shark single also recorded a 20-week-streak on the Billboard Hot 100 and was recently RIAA Diamond-certified for selling over 11 million records.

Due to its massive success, Pinkfong has expanded the Baby Shark brand into merchandise, games, live musical shows, and an upcoming Nickelodeon animated television series.

Pinkfong has over 5,000 songs and stories within its vast library of children’s content, which can be accessed across various platforms including Apple’s App Store, Google Play, YouTube and Amazon Video.

Pinkfong’s accolades include the Amazon Video Direct Star, YouTube’s Diamond Play Button and Google Play’s Best Family App from 2014-2017

“We are thrilled to partner with Pinkfong as we work to expand the Baby Shark universe across all media.”

Cathy Merenda, Sony/ATV 

Cathy Merenda, Sony/ATV Senior Vice President, Broadcast and Media Rights said: “We are thrilled to partner with Pinkfong as we work to expand the Baby Shark universe across all media.

“Their song has become a global sensation with unlimited potential, and I’m confident we will give Pinkfong and ‘Baby Shark’ the best opportunities for future success.”

“Baby Shark is beloved by not only children, but also by families all over the world, and we are very excited to be working with Sony/ATV, a company with a wide global footprint and the perfect home for Baby Shark.”

Bin Jeong, Pinkfong 

Bin Jeong, Pinkfong USA Chief Executive Officer, added: “Baby Shark is beloved by not only children, but also by families all over the world, and we are very excited to be working with Sony/ATV, a company with a wide global footprint and the perfect home for Baby Shark.”Music Business Worldwide

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This Virtual Charity Concert on November 24 is raising money for good causes – including those affected by COVID-19 | Music Business Worldwide

The music industry’s at its best when it’s doing good – and Let Me Help does a lot of it.

The US-based charitable foundation raises money through music-focused events that it then spends on helping those whose lives and livelihoods have been affected in some way by an unforeseen circumstance or illness.

To date, Let Me Help’s donations have supported causes including The American Cancer Society, as well as anti-bullying campaign Creative Visions for #iamnojoke plus specific projects helping those diagnosed with prostate cancer via the Prostate Cancer Foundation.

For obvious reasons, Let Me Help is now directing funds towards COVID-19 relief efforts in the United States. Later this month, Let Me Help will host an ambitious four-hour online event to benefit those left shattered by the impact of Coronavirus, as well as the other aforementioned good causes.

Presented by Let Me Help inc founder John Pasquale (aka SohoJohnny), the Let Me Help inc Virtual Charity Concert takes place on Tuesday, November 24, starting at 7pm ET.

Those billed to appear include the likes of Sir Patrick Stewart, Ozzie and Sharon Osbourne, Henry Rollins, Jeff Goldblum, Jane Lynch, Julian Lennon, Mickey Burns, Howard Bloom, Scott Page, Kenny Lee Lewis, Fred Schneider and other surprises.

Musical performances are booked from John Lodge, Jasmine Kara, Kim Sledge, Leland Sklar and The Immediate Family, Natalie Shay, Leon, Rick Wakeman, ShaNaNa, Stephen Perkins, Suzie Quatro, Ten Years After, Thomas Claxton, Kenny Aronoff, Will Crewdson, Juliana, and many others

You can donate to Let Me Help and the Virtual Charity Concert in the lead-up to and during the event.

Here, the Let Me Help team – philanthropist, recording artist, and producer John (SohoJohnny) Pasquale; friend and mentor to SohoJohnny, CEO of MD25 Entertainment and veteran entertainment executive, John Velasco; and iconic music journalist Eileen Shapiro – explain the foundation’s aims, and the ambitions of the Virtual Charity Concert…


How did Let Me Help come to be and what is the mission of the foundation?

SohoJohnny: I’ve always had a strong affinity for music. It makes people joyful.

I created Let Me Help, Inc not only to uplift the human spirit but use it as a platform to help those less fortunate. Our mission is simply “To spread music, joy, and illumination to the human soul and spirit while helping others.”


Eileen, How and why did you get involved?

Eileen Shapiro: I met Johnny nearly two years ago and was immediately touched by his kindness, generosity and authenticity. Sadly during this pandemic Johnny lost his mom to the virus, and years before he lost his dad to cancer. As an empath SohoJohnny felt a need to do something for those suffering loss like he did.

“Sadly during this pandemic Johnny lost his mom to the virus… he felt a need to do something for those suffering loss like he did.”

Full of positivity, Johnny started doing various concerts and events for charity which led to Let Me Help. Sometimes creativity comes from the darkest corners… Johnny has room in his life for everything that matters.


There are some starry names due to contribute to the online event on November 24. How did you get bookings like Ozzy, Patrick Stewart and Ten Years After?

John Velasco: Andrew Cole is the founder of #IAMNOJOKE, an anti-bullying campaign to raise awareness. Andrew is a fabulous musician who filmed a documentary collaborating with superstars including those you mentioned and more. We are lucky to have all of these illumination superstars.


What could the wider music industry be doing to better support your efforts?

SohoJohnny: Many Artists show their inner beauty through the divine creation of heartfelt music connections, however it takes a vulnerability and empathy to have that quality emanating nakedly from their souls. Point is they feel the pain of the world since they are turned inside out to show us their humanity. It’s based on love, need and dependency.

“It’s based on love, need and dependency.”

That being said we thank the wider music industry and hope that they will continue to be the philanthropist that they are. Many of us live in our private purgatory but have so much love inside.


What would you like to achieve with the Virtual Concert?

Eileen Shapiro: First and foremost we want people to enjoy the concert and all of those artists who have given their time. We would love to be able to raise enough awareness and funds to help these causes in every way possible.

We’d like everyone to take an enforced visit to an imaginary realm in this fractured world and give from your heart.Music Business Worldwide

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Out Today by The Orchard: Darkovibes, O. Torvald, Sophie Ellis-Bextor | The Daily Rind

Out Today by The Orchard: Darkovibes, O. Torvald, Sophie Ellis-Bextor

As music lovers, we can all agree that 2020 has been a rough year for artists, with live performances and concerts being, for the most part, put on hold. While social distancing measures were put in place, the creativity from our distributed artists made the show go on. Some artists, like Sophie Ellis-Bextor, even pulled all her live-streams together to create a full-length album. Read on to find out what new releases are out today, and how our artists around the world used creativity to change the format of live performances. 

O. Torvald – Ракамакафо (BEST MUSIC)

Ukranian rock band O. Torvald is back with a new EP, Ракамакафо. The EP consists of three variations of the New Year’s song “Ракамакафо” and a bonus track “Новий день.” With a rock version, acoustic version, and a remix, O. Torvald gives listeners the opportunity to enjoy “Ракамакафо” for any style and occasion! What we can already tell you about O. Torvald is that they are creatives by definition. Earlier this year during social distancing measures, the band figured out how to safely host a concert for fans: they simply flipped the concert on its axis. Read more about the band’s awesome social distancing concert here and listen to their new EP Ракамакафо out now. 

Darkovibes – The Cornerstone (Paul Nii Amu Andrew Darko pka Darkovibes) 

Ghanian artist Darkovibes has been making big waves not just in Ghana, but around the world. Earlier this year, his single “Inna Song (Gin & Lime)” reached #1 on YouTube’s trending videos in Ghana and #1 on the Apple Music Ghana Top 100 chart. While he’s a member of the Acra collective La Même Gang, Darkovibes has been exploring his solo career – the latest form is his new EP The Cornerstone. If his earlier 2020 release Kpanlogo explored Darkovibes’ musical heritage & roots, The Cornerstone shows the diversity of a true artiste who spans many genres, and whose influence knows no international boundaries. The 8-track EP sees special features from Sarkodie, Humble Dis, DJ Vision, and RJZ. Check out The Cornerstone now on all streaming platforms. 

Sophie Ellis-Bextor Songs from the Kitchen Disco: Sophie Ellis-Bextor’s Greatest Hits (Cooking Vinyl Limited) 

British artist Sophie Ellis-Bextor, known for hit singles such as Murder on the Dancefloor and her recently released single Crying at the Discotheque, releases her new album Songs from the Kitchen Disco: Sophie Ellis-Bextor’s Greatest Hits. During the lockdown measures, Sophie live-streamed performances from her home with her family, providing virtual escapism for hundreds of thousands of fans and listeners tuning in. The album pulls those live performances together into one full collection, now available to listen to everywhere! As Sophie says, “So here we are… an album called Songs from the Kitchen Disco inspired by one of the strangest times any of us have ever lived through. 2020 has been a crazy year.” 

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Friday’s Endnotes – 11/13/20 | Copyhype

Senator Thom Tillis Seeks Suggestions for Reform of Digital Millenium Copyright Act — Jem Aswad at Variety reports on an open letter sent by North Carolina Senator Thom Tillis, who recently won relection against Democratic candidate Cal Cunningham, to stakeholders addressing efforts to reform the Digital Millenium Copyright Act. Tillis has held a series of hearings on the law over the past year, and the letter identifies a number of issues in sections 512, 1201, and 1202 of the Copyright Act which may be ripe for reform and seeks input on how to address those issues.

Administration Issues Joint Strategic Plan on Intellectual Property — The U.S. Intellectual Property Enforcement Coordinator this week issued its Joint Strategic Plan for 2020-2022. The plan, which the IPEC is required to release every three years, focuses especially on trade-related efforts to enforce U.S. intellectual property as well as the sale and distribution of counterfeit and pirated goods on e-commerce platforms and other intermediaries.

Mandatory Deposit of Electronic-Only Books — The U.S. Copyright Office this week issued a final rule amending its regulations to make electronic-only books published in the United States subject to the Copyright Act’s mandatory deposit provisions if they are affirmatively demanded by the Office. The final rule largely adopts the language set forth in the Office’s June 2020 notice of proposed rulemaking, with one additional clarification regarding the rule’s applicability to print-on-demand books.

Enda: Kenya’s first home-grown running shoe — From WIPO Magazine: “We work with Kenyan athletes to design running shoes and sell them to runners around the world. Most running shoe companies are based in the United States or Europe. Enda is unique; it’s the only company of its kind in Africa. We are not simply testing or marketing technical running shoes made by others, we are actually making our own shoes. . . . Intellectual property (IP) is king. Without IP rights, we would have no legal means of defending ourselves against copycats or other unscrupulous operators. IP rights enable us to protect Enda’s business interests and grow the company, ensuring that when people buy our shoes, they get an authentic, high-quality product.”

Google Takes Down Repositories That Circumvent its Widevine DRM — “GitHub has removed several repositories that helped to bypass Google’s Widevine DRM, which is used by popular streaming services such as Netflix and Amazon. Google requested the code to be removed as it would violate the DMCA. . . . Google sees the code, which was explicitly published for educational purposes only, as a circumvention tool. As such, it allegedly violates section 1201 of the DMCA, an allegation that was also made against the youtube-dl code last month.”

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Fausto, Podcast de Crímenes Reales Original de Spotify, Regresa en una Segunda Temporada con un Caso Escalofriante | Spotify

En octubre del 2019, Spotify estrenó el primer podcast original de crímenes reales en Latinoamérica: Fausto, con un éxito rotundo. Ahora, con la segunda temporada, llega otro caso real para desvelar: la historia de un asesinato frío, diestro y organizado. 

En noviembre de 2004, la señora Elena desapareció de su casa en la Ciudad de México.  Solo dos personas estuvieron con ella: su hija y su primo. Y versiones contradictorias sobre la presencia de un misterioso hombre abandonando la escena son sólo el principio de una sinuosa investigación. Desde la noticia del crimen hasta la cronología de los hechos es revelada, la segunda temporada de Fausto mantendrá a los oyentes en el borde de la silla.

Tal como sucedió con la primera temporada, el equipo de Spotify Studios recreó la historia con base en una detallada investigación, el acopio de los documentos del juicio y las declaraciones de los responsables del caso: fiscales, policías, peritos y testigos del proceso penal. 

A diferencia de la primera temporada, que construyó la historia con base en expedientes judiciales, esta entrega se fortalece con el testimonio de personas muy cercanas al asesino. La inconfundible voz del actor Damián Alcázar y el estilo narrativo del guión, hacen de Fausto un podcast imprescindible. Incluso los más fanáticos del género de crímenes reales se sorprenderán con el desenlace.

“Narrar la realidad es la cosa más dura, pero Fausto nos propone una manera disfrutable de escuchar estas atrocidades, la ficción nos lo permite.”, dice Alcázar “Y es ahí donde yo me engancho con las historias que tocan la sensibilidad creativa de las personas”, comparte Damián Alcazar.

“La potencia que tiene la narrativa de hechos reales captura la imaginación, poniendo al oyente en esas circunstancias y adentrándose en la complicación de los seres humanos siempre es atractivo”, añade. “Y el audio es un medio muy poderoso para contar esas historias”.   

“Estamos orgullosos de presentar una nueva temporada de Fausto, la serie de crímenes reales más escuchada de Latinoamérica y que el pasado año se convirtió en un referente del género y del formato podcast, gracias al trabajo de Damián Alcázar como narrador”, dice Javier Piñol, Head de Spotify Studios para Latinoamérica. 

¿Estás listo para una aventura? Escucha la nueva temporada de Fausto aquí.

The post Fausto, Podcast de Crímenes Reales Original de Spotify, Regresa en una Segunda Temporada con un Caso Escalofriante appeared first on Spotify.

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