The Coachella festival always signals the start of Spring proper for me, I of course look forward to hearing some of my favourite bands play live, as well as seeing what advances YouTube / Google make in their coverage.
As far as the YouTube interface goes, I preferred last year’s version - with the Social Media shout-outs appearing to the right of the main video. I also felt the who’s playing and who’s on next was better done last year too. As per last year - shout-outs were evenly split between Twitter and Facebook, with Google+ messages barely 1 in 50.
What really stood out this year though was the ’Rebroadcast’ service YouTube provided - where they looped the live footage 2-3 times after each night. This is how I watched most of the acts - and it enabled me to dive right in and see who I wanted to see and skip those who did not spark my interest.
YouTube / Google are still fairly poor at the Video highlights / edit thing and the so-called ’Highlight Reels’ are attrocious. The BBC is far better at the editing thing - and providing full and set highlights per artist.
Obvious trend this year was the dominance of what the American’s like to call ’EDM’. In terms of legendary performances though, there were very few of these - Major Lazer put on a spirited show, but it’s really only dance music acts like Basement Jaxx and Groove Armada who know how to put on a proper show for this genre of music. However good James Blake’s music is, I’m not sure how well it works in a lively festival setting - I tend to agree with Glastonbury die-hards in that you need a proper spirited ’band’ mechanic for a live performance to really work - and on that basis, the standout highlight for me was Janelle Monáe. Of Monsters and Men, Yeah Yeah Yeahs, Grimes, Bat for Lashes, La Roux, Metric and Poliça were pretty good too...
I caught whole or partial sets by the following artists:
MySpace will try to re-assert itself versus Spotify and iTunes - some nice features in the recent update, but not sure if it’s enough to take on Spotify and become the defacto music discovery site - vs current front-runner YouTube
YouTube is still most likely to remain the dominant Musical discovery / promotion vehicle for most pop artists throughout 2013
iTunes and Spotify will hopefully bring out browser versions of their interfaces in 2013 - meaning we don’t need to continue using clunky desktop applications
We will see more mixing apps and utilities in 2013 - allowing you to create seamless fx-laden DJ mixes and compilations from your own digital collections, YouTube, Spotify and iTunes, something along similar lines to Turntable.fm - but simpler and more stand-alone
We are still waiting for genuine competitors to Spotify; - iTunes was feted to launch a streaming service in 2012 but nothing materialised - perhaps we will see something more promising this year - perhaps MySpace can have a real impact
Expect to see further advancements and refinements in musical services SoundCloud and MixCloud - both could do with better music discovery facilities
In 2012 almost all my Music Album consumption was digital - I only bought a handful of CDs for albums which I was unable to acquire digitally - still suprising to see that not everything is yet available universally in commercial digital formats
Amazon is set to become sole purveyor of mass-market solid format music (CDs really) with the demise of Play.com’s own products retail and HMV in dire trouble, digital music really is king (For me that means iTunes, Amazon, Beatport, Juno and even Spotify downloads on occasion)
Lady Gaga has announced a multi-media / apps extravaganza for her new album - along similar lines to Björk’s Biophilia, kind of surprised more artist have not followed suit already
What with cinemas now showing Live Theatre, Opera, Concerts and Sporting Events,
Doing business online is much bigger than any one website. You have to be where the people are, integrate your business hub with all the key sites out there, and make sure that everything integrates effectively with your back-end systems that you use day in and day out to get things done within your company.
Affino 7 integrates with over 100 systems, and of those 60 are out-of-the box integrations that you can simply enter your settings and connect to Affino. Affino also has a great API for connecting to any compatible system out there.
It’s impossible to select any seven key integrations. Below are some of the best known and most used ones. It all depends on what kind of online business you’re running:
Affino is integrated with a dozen Google services. Google’s Analytics and Maps are still the world’s benchmark, and the Google Merchant Centre continues to grow in influence. We do a great deal to optimise Affino for Google Webmaster Tools and to deliver great SEO.
Paypal is integrated directly into Affino’s store checkout. Affino’s PayPal integration supports direct / indirect, credit card / debit card / PayPal payments, single-page / offsite payment, one-off and renewable payments all just with PayPal. It is one of a dozen different payment systems supported.
You can drop any YouTube video anywhere into Affino by simply posting the URL. It doesn’t matter where you use it whether it is blogs, media library, articles, chat, comments, wherever. Same goes for all the other top video and other media sites.
I’m an avid follower of the world’s leading music festivals - specifically how they are broadcast and ’packaged’ for the digital audience. I’ve kept tabs on the BBC’s and YouTube’s coverage of music festivals over the last few years, and reported back on how each has evolved their offering - benchmark events have been Glastonbury in the UK and Coachella in the US. In this Olympic year, there is no Glastonbury, so we will use BBC 1’s Big Weekend extravaganza - the 2012 Hackney Weekend Music Festival as the UK benchmark.
Where the BBC always excels is in the depth and breadth of its broadcast coverage, and in its archiving. For this year’s Coachella there was really just a smattering of play-back videos from the 3 days of live music, and no full sets. The BBC though has video highlights for pretty much every featured artist, including full sets for the festival headliners.
Watching live though was a different story, as YouTube’s Coachella coverage had better broadcast quality and a much superior interface - with full interaction! For Coachella, fans were able to connect via Facebook, Google+ and Twitter and do comments and shout-outs during the performances - on a live update feed - obviously comments are enabled for most content on YouTube. YouTube also cleverly includes the hashtag #coachellalive on all the updates posted - for maximum exposure. Moreover YouTube’s Coachella screen had a really clever rolling ’What’s On’ panel with dynamic thumbnails - which allowed you to mouse-over for live previews of each stage!
The BBC interface did not really makes the most of social media, and it was noway near as easy to organise your viewing schedule. I also noted that for last year’s Carlisle Big Weekend, the BBC was much better at posting up setlists on the artist overviews. Currently the write-ups are mostly sans setlists, which is something we kind of expected after last year!
It’s a tale of two very different approaches - as for live and direct coverage, YouTube’s system was most obviously superior, but in terms of being able to really ’catch’ the music - in terms of ’on demand access’ - then the BBC comes up trumps, as you can view after the fact - most of what you missed, which was not the case for
In yet another example of its failure to get a grip on Internet reality, the music industry - Germany’s GEMA Association this time round, has somehow managed to win a court case in Hamburg - where YouTube has been held to be fully accountable for its users’ uploads - at the point of upload.
The only model that can work for Social Media (User-Contributed-Content) - is post first, then screen and remove when copyright or other issue are reported; trying to screen everything at the point of entry just is not feasible or workable in any sense. YouTube is currently one of, if not THE most important Music discovery and promotion vehicles. The number of tracks / artists that YouTube has introduced me to is innumerable - and the amount of revenues I alone have contributed to said artists in singles / albums downloads surely pays for the odd track that is posted without permission from the copyright holder. The copyright holder can of course initiate removal requests for copyrighted material - which until now has been allowed to be actioned within 24 hours. The current system is fair and just, and most importantly is one that should work for all concerned - bar ignorant and greedy music industry types.
These Germans obviously don’t see the benefit of music promotion, which is possibly why so few German acts make it into the global mainstream. As a counter example, Sweden’s relatively tiny pop industry is immensely powerful in comparison to size of population - whilst Germany is the largest music marketplace in Europe, but contributes very few Internationally successful acts.
I have never been one to deny companies or artists a means of revenue - of course artists deserve to get paid for their work - but the process that GEMA is trying to introduce will ruin things for everyone - including their members. There’s lots of very successful record labels running their own YouTube Channels - and making ’reasonable’ revenues from them - a lot of labels are partly responsible for copyright infringed material - by failing to adequately service the latent need for their new music - like in any market, where there is demand, there needs to be supply - and people will generally orientate towards a quality product at the right price point.
The music industry has long felt the need to exert ’
Last year I blogged about catching the year’s first big music festival courtesy of YouTube - who broadcast live form the 5 stages over the 3 days. I raved about the really clever interface - how they included hashtags into their live updates - and how slickly the whole thing worked, including the uninterrupted streaming broadcast itself.
This year the layout of the interface was even better - with the current and upcoming bands listed in the centre, and the updates off to the right. It was interesting to see the addition of the ’Login with Google+’ option - although I never saw a Google+ originated post - they were about 70% Twitter Updates, with 30% Facebook - I even logged on myself to post updates during the Azealia Banks and Miike Snow sets.
I did not really start watching properly until the Saturday - and thus caught a mix of highlights and full live gigs by the following artists:
The Big Pink
Dr Dre & Snoop Dogg + Eminem, Fiddy, Warren G, Wiz Khalifa et al.
Florence & The Machine
Noel Gallagher’s High Flying Birds
Swedish House Mafia
I would have loved to have seen, but missed these:
I always compare YouTube’s coverage of this with the BBC’s coverage of its main music festivals. I think the actual live streaming and the social experience is better by YouTube, but overall the BBC still leads - as they provide so much better supporting materials - and actually post up much more of the video highlights - only 76 Videos are listed on YouTube’s Coachella Page - and these are individual tracks, whilst for the BBC there is normally an extended highlights (circa 30 mins.) plus a couple of individual great moments from nearly all the featured performers - a number of the videos on Coachella Live are not even the best moments from those sets.
On my somewhat dodgy Talk Talk connection, I was astounded to get a totally seamless experience over the whole event - did not drop out once - and switching between the 3 live feed options was butter smooth!
We people want to be involved in everything today - we want our say, we want our opinions to be heard and shared, and we want to be able to express ourselves artistically through clever parodies, skits and remixes of popular social media.
There’s a brilliant, brief TED talk (below) by YouTube’s Trends Manager - Kevin Allocca - where he tries to identify how out of millions of hours of video - phenomena ’Nyan Cats’, ’Double Rainbow’ and ’Rebecca Black’s Friday’ managed to stand out. Of course there are a myriad of causal factors there, but the obvious one is that of a shared experience and the ease of interaction and parody. Universally, we now live in the age of parody - as best exemplified by long-running animated shows ’The Simpsons’ and ’South Park’ where nothing is holy any more - everyhing is deconstructed, ridiculed and parodied - and the people love it!
A great part of the success of the aforementioned trio is the ease with which people could relate to them and parody them. Pretty much every decent pop song gets ’covered’ in a million different ways within weeks of hitting the tops of the charts - punk versions, skiffle band folk versions, multi-tracked-acapellas, 2Cellos version, the ubiquitous dubstep remix etc. etc.
Twitter and Facebook’s ubiquity in the ease of commenting, liking, re-tweeting and sharing is what makes them work, and what looks like a sound basis for new site Pinterest. Yet there are still forces out there that think that they can totally ’tailor’ a user’s experience - limit the amount of input, interaction and participation, and still create a successful marketplace - I’m not so sure any more.
By nature we humans are usually highly suspicious, increasingly cynical and often lonely and lacking in confidence in various aspects of our lives - we need regular interaction, recognition, support and approval - much as Abrahm Maslow identified all the way back in 1943. Much has been written about key influencers in human motivations, and one thing is for sure - and that is that complex communities of personal interactions are what best influence behaviour. Everything has to happen within a context and within the subjectivity of a person’s activities, interests and tastes - yet the undeniable truth is that we are all
It seems MySpace is still very much in catch-up mode, as its latest offering does not really offer up anything close to the scene-changer that MySpace so desperately needs. I remember the older MySpace Player quite fondly - with its animated EQ bars and customisable colours; since then we have seen Spotify, Soundcloud, Tomahawk, Last.fm and even YouTube stealing a march on MySpace’s former lead in the online music promo sector.
As a Music Player, it probably owes most to Spotify - in terms of its overall look and feel / usability, and recommended similar artists, playlists and ’radio’ functions. Spotify though is much further ahead with all its really clever apps and integrations.
With Justin Timberlake’s involvement in MySpace, I had high hopes that they would do something radical to try to take a leading stake in the music industry again. This Music Player is just an also-ran though, it really does not do anything better than what’s already out there, and there’s no cool function or even tiny detail touch which makes you sit up and take notice.
I’m not saying that MySpace is wholly doomed yet, but they have to do a lot better than this to make themselves relevant and worthy of our attentions once more. In the past I used to check in regularly with MySpace to listen to various artists’ latest tracks - particularly new and up-and-coming artists. Nowadays, most artists make use of Tumblr or just upload a static image to YouTube to accompany their latest promo singles. I do regular record reviews, and the number of artists who use MySpace as a primary resource is dwindling fast, these days, music artists are more likely to lead on Twitter, Facebook and YouTube. It used to be the case that new music artists broke though on MySpace - a la Lily Allen, nowdays though it’s YouTube a la Justin Bieber!
I have always said that for MySpace to succeed, they need to focus on the music-discoverability angle, which now has been largely taken over by sites like Last.fm and even Spotify, as I mentioned previously. MySpace has to come to market with something cleverer and slicker than what already exists - they need to be moving ahead, not toeing the line. If you compare the MySpace Music Player to Tomahawk for instance, MySpace is several steps off the pace, even though its presentation is more elegant. I have already
I’ve been playing around with the Tomahawk Social Media Player desktop app for about a week now - since brother Markus introduced me to it - it exists in both PC and Mac flavours, with the latter being slightly more seamless an experience at the moment. This is definitely NOT a replacement for Spotify, more of a useful addition to it - as the largest library of quality music media comes from Spotify itself (requires Premium account).
Out of the box, Tomahawk does not do much more than play back files you already have on your desktop or network. To really get it working, you need to configure a number of ’Resolvers’ which include the following:
Spotify (Requires Premium Account,as well as specially downloaded extension from Tomahawk site)
For Spotify Premium account holders (Windows Users) you need to download a separate Spotify Resolver from the Tomahawk site. All these Resolvers are only semi-official, so chances are some of them could get blocked at some stage in the future, but essentially the system allows you to search by all these resources and play back the various sound files on the Tomahawk Player.
It’s currently a little clunky and unrefined in its user experience and does certain things more awkwardly than one would have deemed necessary. There are separate searches for instance for ’Super Collection’ (Online Resources) and ’My Collection’ (Your own local or networked music files) - why these are not combined into a single uber search is kind of strange. Also, the Search results themselves are no way near as clear and concise as those on Spotify. In many ways, this seems very much a beta release - when compared to the slick experience of Spotify and new online apps like Pinterest.
There’s nothing particularly genius about the search either - as it does not retrieve all those oddly named YouTube files which you can find yourself on YouTube. Some of the results are bizarre ’near matches’ which appear midway through the results listsings rather than at the bottom - they should really be arranged by some sort of ’suitability’ algorithm.
Wikipedia and Reddit were blacked out today in an attempt to highlight to Internet Users - the serious likely impact of this legislation on the basic rights of freedom of the typical netizen.
These 2 new bills - Stop Online Piracy Act (SOPA) and Protect IP Act (PIPA) - are in the process of passing through the House of Representatives and the Senate respectively. They would end up giving Copyright Owners way too much power in shutting down and commercially crippling any site/s they choose to target - fairly or unfairly. Copyright Owners already have the Digital Millennium Copyright Act (DMCA) to effect similar actions - in enforcing take-down notices, and there are already numerous cases where the DMCA legislation has been abused - even though it does require a degree of due process.
SOPA and PIPA are far too broad and far reaching in their applications, and would end up a weapon of censorship and restriction - closing down and curtailing the open and organic nature of the Internet. The legislation requires no court order to force a take-down notice, and can be so broadly applied that any vague 3rd party reference to another allegdly suspect site can result in an injunction against the referring party.
The problem with the Internet at large is that so many of the daily services we use are based / legislated from the USA - Google, Facebook, Twitter, Wikipedia - what with Social Content Contribution - any one of these could easily end up with potentially disputed copyrighted material and be forced to shut down.
UK citizens should be far more worried than most, as has been seen by the recent extradition case of Richard O’Dwyer - a UK citizen who has actually broken no UK or European laws with his UK-based links website - but is still being extradited to the US for summary judgment and punishment.
I’m certainly not a fan of piracy, but totally understand why it happens, and this draconionan legislation will not be the cure. The vast majority of media companies are overly greedy and totally out of touch with reality - and are almost as much a part of the problem as the pirates.
I can buy a pretty decent gaming app on the Apple App Store for just 69 pence - a venture which has taken several months to produce and contains sound and vision, and creative flare, and typically involves a significantly sized project team. Yet for a new sound file - ’single&
(Note - SBTRKT was missing from previous end of year listing)
11 Musical Trends for 2012
Some artists will move away entirely from Album releases; Rihanna is currently the most successful singles artist (47.5 million downloads since 2005), and I believe several artists will move to just releasing singles and then compilations of singles rather than proper albums
YouTube will continue to grow in relevance as a music discovery resource - it is after all the new MTV
Artists will embrace more technology in their music delivery - in a similar vein to Björk’s Biophilia - expect to see more interactive albums and artist / album apps
We will see more apps - in both internet and tablet-based form - to allow even easier music production / collaboration and remixing, along with simpler, fully-integrated music publishing and distribution platforms
2012 will also see more entrants into the group sharing / interaction category of music - along the same lines as Turntable.fm
A leading electronic musician will employ Kinect-type technology into their core music-making and performance activities
There will arise at least one new significant music-sharing platform, with a very innovative means of revenue generation / sharing which holds enormous appeal for both musicians and fans
Spotify will strengthen its position as the leading music streaming platform - with yet further apps and integrations
Music unit prices - i.e. median album and single prices will be streamlined further in 2012
We will see even more free-to-download mix-tape type albums - DatPiff could become a household name!
11 New Artists for 2012
(Note that I consider Frank Ocean, Skrillex and The Weeknd to be significantly active in previous years and thus not properly eligible as ’New’ in 2012, the same could be said
I’ve been waiting a while now for the arrival of Netflix on these shores, so was it worth the wait?
When I received the initial email invitation, it’s poor quality made me unsure as to whether this was some sort of phishing effort. This was not helped by the very basic Netflix holding page presented to UK users.
In any case, I had been waiting a while for this so I dipped my toes into the 30 day free trial. You have to enter you credit card details during registration, which will likely put off some users, but I triangulated the security certificate to be sure. Once registered, you get presented with a very elegant browsing interface, not a million miles from the one for iTunes films, but much the superior in my opininon - especially how it pops up detail information when you hover over the film / programme image.
I caught up with ’Gone Baby Gone’ - a film I had not got around to watching yet, but had always wanted to see. The whole experience from browsing, to selecting and watching is truly slick, simple and elegant. For those worried about signing up via Facebook - for everything you watch, you get the option to not share to Facebook - so that you can continue to watch trashy TV and movies without exposing your viewing choices to friends and family.
Currently, the only thing that really counts against Neflix at the moment is the rather slim selection of video available. Like many other users, I expected there to be a lot more US TV Series. Also - you don’t get the very latest films or TV - it’s mostly a series or two behind. But great if you want to catch up with films and TV you missed when they were initially releases - a couple or so years ago.
The £5.99 all-inclusive monthly fee is the perfect price point as far as I’m concerned - Netflix just needs to work on signing more studio deals and providing a larger selection.
In terms of overall experience, this is currently my favourite way of watching video online - I’m of course interested to see what Apple, Amazon (LoveFilm), YouTube and the BBC do in response to this.
I wrote a blog not so long ago about the poor state of online video, and how poorly it compared to the more traditional model of Blockbuster - which is unfortunately fast waning. There is no online service yet though which is able to deliver as wide a video libary, as quickly as Blockbuster.
We’ve heard it several times now - that with the growth of Social Messaging - email is on its way out! However, for me if anything - email is on the way up! I have various Social Media subscriptions which all come to my inbox - from Facebook, Twitter, LinkedIn, YouTube etc. - all my receipts, including those from the various Apple stores - as well as all my key bills and statements, these are all now notified electronically via email!
I really don’t understand what these Social Media types propose is going to happen to all that content! As far as I’m concerned, there are lots of different kinds of communications platforms - each for very specific purposes. If you need to send smallish attachments, then email is still a decent format, if you need to send something larger, then any kind of message with a Dropbox URL in it will do. There’s lots of clever ’Messenger’ type services now, like Apple’s ’iMessage’ - which provides free Blackberry style text messages to its customers.
On a daily basis, I make use of iMessage / SMS, Forums, Message Boards, Group Chat, Comments and Ratings, Skype and Google Talk. For me the biggest significance has been in the Disqus-type comments systems, very much like Affino’s Comments and Ratings - this means that the discussion element is very much aligned to the content, whereas with Forums - they are usually divorced from the content, and very quick to go off-topic.
As far as the statistics go, the number of email messages being sent is still on the way up globally. Messaging / iMessaging / SMS is simply just replacing other forms of communication - like the more traditional phone call, as they are more cost effective and more expedient. You don’t expect the person on the end of the line to available 24/7 - so sending an SMS is far better than leaving a voicemail - that said, many people do both!
A lot of people used to do proper blogs, then they got bored / lazy and switched to tweets, now they’re even lazier and just do comments and re-tweets. It would be interesting to know the proportion of original to recycled / regurgitated content in the twittersphere.
Of course people like Mark Zuckerberg have vested interests in their platforms, and will make broad sweeping statement to push home a point, much like Steve Jobs used to do in his heyday. For sake of
Once a year we get the proclamation from the CoolBrandsExpert Council of judges as to which brands are considered to be the coolest and most ’of the moment’.
For a Branding Expert like myself, there are all manner of peculiar entries in the top 10. As anyone who owns an Aston Martin will tell you - they are lovely cars to look at, less lovely to own - being extreme gas guzzlers and supposedly spending large parts of their working lives in a garage workshop - there is an infinite number of cooler car brands than Aston Martin; I would suggest Audi as an example of an increasingly cool and innovative car manufacturer or of course 8th ranked Ferrari! Strange to see that Harley-Davidson has so much traction in the UK too? - Similar brand values to Aston Martin I suppose. Neither of these brands is particularly cutting edge or ’of the now’ - not being particularly big innovators, and relying more on perceived heritage.
Rolex is old-school but has not really been cool for a while now! Cool for watches is more likely Urwerk, Richard Mille or Greubel Forsey. What is dwindling smart messaging and business phone behemoth BlackBerry doing in the top 10??? Surely there has to be some correlation between cool and crashing share prices? These brands are largely clichéd and ubiquitous more than anything else. Much like the arbitrary left-field judging at the Mercury Music Awards - which are typically very far from the cutting edge of cool and current musical trends.
I cannot see how anyone would pay this any serious attention - this reads more like a wishlist of your typical ill-informed wealthy Z-list celebrity - "I would like a gold Aston Martin to match my gold Rolex and gold Blackberry" - much like Katie Price overdoses on pink Range Rovers, Aston Martins and Rolexes no doubt. This would seem to be a wannabe celebrity checklist for the accessories of superficial stardom.
I was a little sad to see that Google TV failed to take off, as I really saw it as the perfect solution to my viewing requirements. I spend most days and several nights working on my 27" iMac, which has ended up as my proxy television set as well. I am so grateful to the various terrestrial TV on-demand services, best exemplified by the BBC’s iPlayer, but pretty much every major terrestrial Channel has one now:
I almost never watch anything live any more - I can schedule my TV viewing around my work, rather than the other way around.
In addition to the various ’on demand’ services, there is the fantastic ’TV Catchup’ service for UK viewers, which allows you to follow some live programming online should you wish. There are also the ’new money for old rope services’ - ’Blinkbox’ and ’YouView’ where the BBC amongst others charges the public again for watching repeats of programmes they paid for with their TV licence.
Apple’s iTunes Service is another resource I find very useful, as this is now my chief ’Video Rental’ as such; I also buy the occasional TV series from here, but it is typically cheaper to buy a whole series DVD on Amazon or eBay. This is not necessarily Apple’s fault, media companies are too greedy on the price-point, meaning that the majority of viewers tend to choose to watch a dodgy pirated torrent download rather than an over-priced but quality download from official sources (that is if the programme is available online through official sources at all!).
In the US, they have 3 great TV / video aggregators - that is to say proper cross-channel on-demand services - Amazon VOD, Hulu and Netflix. Hulu has long tried to make inroads into the UK, but the terrestrial broadcasters won’t licence their programmes to Hulu. We really need more competition here to shake up the domestic market a little bit.
Referencing the main picture, an interesting Hulu-related story is currently circulating on the net, since Fox Broadcasting introduced an 8 day delay on one-off programme purchasing / viewing. The summary is as follows: if you’re on a Hulu+ subscription you can pretty much watch what you want when you want. If you pay individually for programmes, Fox has introduced a mandatory 8
Affino Blogs and Forum will have great Oembed support in the next release. This means that all you have to do is paste the URLs to your favourite videos, images, tracks and presentations for them to appear in your blog posts and forum threads.
As I often do, I caught the odd snippet of live coverage of the first of the big summer festivals - BBC Radio 1’s Big Weekend, this time from Carlisle. I made sure I ’tuned-in’ online for the main headline act - Gaga, and I was not disappointed as she played most of her hits, plus a smattering of new material, some jazzy numbers, a couple of ballads and a latin track - Lady Gaga entered in heavily pregnant guise inside a gold coffin, nice touches included dedication of ’Orange Colored Sky’ to Will and Kate; highlight was current personal favourite Gaga track ’Judas’ right at the end.
01. Swedish House Mafia vs. Tinie Tempah - Miami 2 Ibiza (Swedish House Mafia Intro Edit) 02. Ting Tings - Hands (Edit) 03. Style of Eye - We Are Boys 04. Arty - Around The World 05. Swedish House Mafia - One w/ Rune RK - Calabria 06. 2000 And One - Spanish Fly (Butch Remix) w/ Calvin Harris - Flashback w/ Calvin Harris - Awooga 07. Axwell vs. R.E.M - Heart Is My Religeon (Blake Jarell Mash-Up) 08. Pendulum - The Island (AN21, Max Vangeli & Steve Angello Remix) 09. Steve Angello pres. Who’s Who - Yeah 10. Hard Rock Sofa & St. Brothers - Blow Up (Thomas Gold vs. Axwell Remix) w/ Adele - Rolling In The Deep (Acapella) 11. Axwell - Nothing But Love (Remode) 12. Depeche Mode - Personal Jesus (Eric Prydz Remix) 13. Steve Angello & Alex Metric - Open Your Eyes (Tim Mason Festival Dub) w/ Depeche Mode - Personal Jesus (Acapella) 14. Alesso - Dynamite w/ Daft Punk - Around The World (Acapella) w/ Sebastian Ingrosso - Kidsos 15. Swedish House Mafia feat. John Martin - Save The World [John Martin Live]
This really was one of the best club sets I have heard in a long time, quite brilliant from start to finish.
As far at the live coverage goes, BBC are still best with providing in-depth content, in and around the live performances with off-stage antics, interviews and accoustic performances all featured - as well as archived videos from most of the artists featured. YouTube’s coverage of Coachella, had a couple of great innvovations which would have been nice to have seen on the BBC
As MTV continues to move further and further away from its original roots in music video, and become more of a mainstream programme production company, the door has been left open for another to seize the lead in Music Videos.
I have written several times before about YouTube's relatively recent role as a springboard for new and up-and-coming musicians. A smart pop promo increases the chances of success exponentially for pretty much any song or track. It used to be the case that MySpace was the key springboard for a musician's career, yet nowadays it is the visual appeal of YouTube which appears to hold more influence. One of my favourite pop musicians of recent years - Little Boots, owes much of her success to regular video updates on YouTube, as does teen pop sensation Justin Bieber.
A very average song can have its appeal totally transformed by way of a stylish or quirky music video. Back when MTV started out in the 80's, Video certainly did kill the Radio Star. Nowadays its more likely that Video Creates the Radio Star. The most popular of the current slew of pop performers Lady Gaga,Katy Perry and Beyoncé Knowles all take best advantage of slick production and direction, enhanced by eye-popping visuals and smart choreography.
In its heyday, MTV was instrumental in the success of many of the bands of the day, both Michael Jackson and Duran Duran benefitted tremendously from high production value pop videos shown day and night on MTV. It would seem that YouTube is now the definitive MTV - it's only fitting that they have the most definitive Charts for this medium too.
As is often the case, I checked out the various offerings of live coverage online. Key resources for me on this occasion were the BBC , ITV , YouTube and CNN . At first the BBC coverage seemed the best, yet just when the wedding dress was about to be revealed, the BBC live stream crashed out.
I had been checking on YouTube and CNN also, and these suffered the occasional stutter, in fact YouTube was the most stuttery - even though it was re-streaming the main BBC broadcast. Suprisingly leaving ITV as the only one that managed a continuous quality broadcast.
The sun came out at just the right time, and the pomp and circumstance of the occasion have been magnificent. Even though a sort of republican at heart, I am still charmed by the precision and spectacle of such a ceremony. London and Britain can both be proud.
With so many natural disasters happening already this year, it’s nice to have a joyful celebratory event for the world to share. So far the organisation has been immaculate, and so suprising that the weather has been well behaved, as befits the occasion.
I almost avoided this event this year, but am glad I witnessed it, it’s really quite wonderful for everyone to have something positive to talk about at last.
I always thought the BBC were the masters of live music coverage, and in many ways they still are - in terms of all the behind the scenes footage, biographies, interviews, escapades and impromptu live accoustic sets. For this year though, YouTube has done a sterling job in letting non-attendees witness the live spectacle of Coachella , America’s Glastonbury of sorts, at least a little brother to Glastonbury in most ways.
I’m not going to split hairs on the lineup, I have watched a number of bands now, and I’m really impressed with the simplicity and elegance of the YouTube Coachella Festival interface, and the cleverness of the Twitter and Facebook connects. For Twitter , YouTube are automatically embedding the "#CoachellaLive’ hash tag for superb Twitter trending performance. Via integration with Twitter and Facebook they allow Fans to easily post ’Shout Outs’, at the same time promoting the festival and YouTube itself.
The interface has a simple Programme Guide and What’s on Now / Coming Up listing - everything you really need for live music coverage. BBC goes a little further with Artist Biographies, Videos and backgrounds - linking into the enormous archives that make up the complete BBC experience. I don’t expect YouTube do to this, but it would be nice to have some king of tag-indexed library of officially related videos for each of the featured artists, and a means to access the elements of the live stream individually post gig also.
I can really see YouTube becoming a forerunner in this, and can foresee a two-stream concert ticketing system where a lower priced tariff allows you to experience the concert from the comfort of your home sofa - allowing to to neatly forego the pleasures of stinky chemical toilets, endless queues and the potential of rain and mud.
With the rapid development of Internet Television services - connecting with a variety of home streaming devices - Apple TV , Google TV etc. I see this as a big potential money earner for YouTube . Mainstream cinemas are already on the bandwagon - providing streamed access to live events - operas, pop concerts and sporting events - giving global access, as well as more convenient access in some ways - to a much larger audience. This is certainly an object lesson in how to do things well. The sound and video - were great for the whole of my viewi...