Outro projecto de streaming musical, playlists.com

«(...) The startup, Playlist.com, involves former MySpace vice president Shawn Gold, now head of networking consultancy SocialApproach.  Jeremy Riney is the founder and chief executive of the company. Initially called Project Playlist, the beta startup is now putting some serious deals together, including tie-ups with MySpace and Yahoo.  On Tuesday, Gold shared exclusive details on both the roadmap and partnerships with Digital Music News.  "We're scaling this in a big way," Gold promised, hinting at potentially serious investments ahead. Gold views playlists as a great mechanism for artists and labels to monetize their content.  "Playlists are one of the best angles you have at actually driving commerce," the networking executive explained from his home in Los Angeles.  "If there is a practical application to your life, you are more likely to buy it."

In line with that thinking, the Playlist.com destination is peppered with iTunes buy links.  But the playlists themselves pull streaming content from all across the internet.  For example, one track within a playlist could be sourced from a music blog, another from a MySpace band profile page, and another from an artist website.  "Nothing is being hosted by us," Gold said, though he did point to ongoing label negotiations. Once a playlist is created, the distributed fun begins.  Playlists themselves are quickly turned into widgets, and can be embedded into networks like MySpace, Facebook, hi5, and Bebo.  But Gold is tying the concept more heavily into his old professional hangout, MySpace.  The networking heavyweight is actively building an integrated application component, and Playlist currently tops the list at apps.myspace.com, a beta testing ground.»

fonte: Digital Music News, Got Playlists? Fresh Startup Strikes Yahoo, MySpace Relationships  18/03/08 

74% dos utilizadores iPhone ouvem musica (iTunes)

«Tuesday, M:Metrics, a measurement firm that studies mobile media, has released a survey of iPhone users six months after the device was released to long lines and nearly unending fanfare. The results, from a January survey of more than 10,000 adults, are somewhat dramatic. 84.8 percent of iPhone users report accessing news and information from the hand-held device. That compares to 13.1 percent of the overall mobile phone market and 58.2 percent of total smartphone owners – which include those poor saps with Blackberries and devices that run Windows. The study found that 58.6 percent of iPhone users visited a search engine on their phone, compared to 37 percent of smartphone users in general and a scant 6.1 percent of mobile phone users. The market for mobile video once seemed like a non-starter in the United States. Well, 30.9 percent of iPhone users have tuned into mobile TV or a video clip from their phone, more than double the percentage that have watched on a smartphone. Finally, 74.1 percent of iPhone users listen to music on their iTunes-equipped device. Only 27.9 percent of smartphone users listen to music on their phone and 6.7 percent of the overall mobile-phone-toting public listens to music on their mobile device.» March 18, 2008,  7:41 am iPhone Users Love That Mobile Web By Brad Stone

Ouvintes e as redes sociais

«About 33 million Americans 12+ listen to an Internet station in an average week. That’s four million more than a year ago according to the annual “Infinite Dial” study by Arbitron and Edison Media Research. About two-thirds of online radio listeners have a profile on a social networking website. The most popular sites are MySpace and Linked-In.»

Online listeners tap into social networks, Inside Radio, 18/03/08

«* While nearly one-quarter (24 percent) of all Americans age 12 or older have a profile on a social networking Web site such as MySpace, Facebook or Linked-In, nearly two-thirds (63 percent) of online radio listeners have a profile on sites such as these
* One-third of online radio listeners with a social network profile visit their social networking site nearly every day or several times per day
* The top social networking Web sites among online radio listeners are MySpace and the business professional networking service Linked-In. Twenty-eight percent of online radio listeners have a MySpace page, while nearly one-quarter (24 percent) have a profile on Linked-In.

"Social networking is clearly not about creating exclusive, self-enclosed communities," said Diane Williams, senior analyst, custom research for Arbitron. "We found that online radio listeners are more than one and half times more likely to have a profile on a social networking site as compared to average Americans and that they tend to be power-users with one-third of online radio listeners logging on to their social networking site nearly every day or even multiple times per day."

In addition to studying the correlation between social networkers and their online radio usage, the Infinite Dial 2008 report will detail the latest data on the general online radio listening universe and will explore how consumers interact and explore radio and all of its digital platforms» Online Radio Reaches 33 Million Americans Per Week

As limitações impostas pelos royalties

«(...) nightmare scenario painted by many Internet radio companies who have claimed that the royalty hike would kill online broadcasting in its cradle. In fact, Internet radio is far from dead. Online broadcasters like Pandora and Live365 still serve millions of listeners. But the higher rates have driven away many small online broadcasters who say they can't afford to stay in business. And even industry leader Pandora says it's in trouble. "We're at the very end of our tether," founder Tim Westergren said. "There's a very good chance that we will shut down."

Critics of the royalty system say the result is decreasing musical diversity on the Internet. They warn of an online music industry dominated by the same giant media companies that presently dominate traditional radio broadcasting. And they point to CBS Broadcasting Inc.'s recent takeover of the Internet radio operations of Time Warner Inc.'s AOL as a harbinger of an Internet radio market rendered bland and predictable.

"They'll push all of us out of business," said Johnie Floater, general manager of media for Live365. "Your Internet radio is going to sound like your AM and FM."

Thousands of Internet broadcasters, ranging from traditional radio stations to individuals who want to share their favorite tunes with the world, pay Live365 to stream their programs over the Internet. Live365 pays their music royalties out of the fees paid by its subscribers.»Internet radio firms say royalties limiting choices By Hiawatha Bray Globe Staff / March 14, 2008

São jovens os que decidem na empresa 'iggli'

«At Boulder-based iggli Inc., 18- to 24-year-old employees occupy the driver's seat.
Musicians and social networking mavens just out of college advise equally youthful software developers about features and functions to include in the company's Web site - www.iggli.com.
That's exactly what company executives want.
iggli targets the leading edge of the "Millennial Generation" - people 18 to 24 years old - a market segment coveted by the music industry and consumer products companies.
"Employees need to represent our target market," said Holly Hamann, iggli's vice president of marketing. "We can't teach the middle-aged (people) how to be 18. We can teach 18 year olds how to do marketing and product development."»
Music, social networking site run, managed by 'Millennials' By Lyla D. Hamilton Boulder County Business Report March 13, 2008

Sobre o «Project Playlis inc» (motor de pesquisa)

«Projectplaylist.com is an information location tool similar to Google® and Yahoo!® but devoted entirely to the world of music. Our purpose is to help you find and enjoy music legally throughout the web in the same way that other search engines help you find webpages, images, and other media, but we also add a social /community twist»

«Our mission at Project Playlist, Inc. is to organize this rapidly growing abundance of legal music on the web for the benefit of the worldwide music community – artists, songwriters, music distributors, and listeners alike»

« we respect the rights of copyright holders and we insist that you do as well. We pay royalties to songwriters and music publishers, and we respect the performing artist’s choice»

«we do not host music files, nor do we make them available. We only enable users to find these files and listen to them»

«You can post your playlist on your social networking webpage or any other website, subject to the terms of use of those sites, or you can email your playlist to friends!»

Project Playlist, Inc. is a privately held company and is not currently seeking investors. If you are interested in the business of Project Playlist, Inc. or discussion of a strategic partnership or investment, then please contact:

KR Capital Partners, LLC
9300 Wilshire Blvd., Suite 200
Beverly Hills, CA 90212.

«Jeremy Riney - Friday, February 8, 2008 - 1:55pm: Just wanted to let everyone know that today is playlist.com's 2nd birthday! Also, we hit a awesome milestone today -- 20 million registered users!»

Customize - customização

«o processo de customização tem a finalidade de proporcionar ao indivíduo a facilidade de obter uma informação necessária quando necessário. Em outras palavras, customização significa transformar a informação entrante numa informação que seja adequada às necessidades de um indivíduo num determinado instante. Assim, a customização da informação ocorre imediatamente antes do uso dela»

«a palavra "customização" resulta de um aportuguesamento, brasileiro, do verbo transitivo inglês customize, sendo a sua tradução geral "fazer por encomenda" ou "fazer à medida" (In. Porto Editora); e na área informática, onde efectivamente este termo é largamente utilizado, traduz personalizar, adaptar, customizar, parametrizar, configurar, etc.»

«The concept of mass customization is attributed to Stan Davis in Future Perfect [1] and was defined by Tseng and Jiao (2001, p. 685) as "producing goods and services to meet individual customer's needs with near mass production efficiency". Kaplan and Haenlein (2006, pp. 168–182) concurred, calling it "a strategy that creates value by some form of company-customer interaction at the fabrication / assembly stage of the operations level to create customized products with production cost and monetary price similar to those of mass-produced products".» (wikipedia)

Os jovens utilizadores da net não ficam isolados

«In terms of interpersonal relationships, an observational study of children's home use of the computer determined that 'online communition was usually not a substitute for interpersonal communication; rather, both often occurred simultaneously' (Orleans and Laney, 2000; 65). Lievrouw e Livingstone, 2006: 49

A definição de 'novo meio'

In the first edition, we also rejected definitions of new media based solely on particular technical features, channels or content. Instead, deliberately incorporating both technological and social, political and economic factors, we defined them as 'information and communication technologies and their associated social contexts» (Lievrouw e Livingstone, 2006: 2)

A velha questão da substituição dos velhos pelos novos

«New media have not replaced older media, any more than broadcasting replaced print in the mid-twentieth century. Rather, people's information and communication environments have become ever more individualized and commodified, integrating print, audio, still and moving images, broadcasting, telecommunications, computing, and other modes and channels of communication and information sharing» (Lievrouw e Livingstone, 2006: 1) 

HIBRIDIZAÇÂO«(...)Recombination, the 'continuous hybridization of both existing technologies and innovations in interconnected technical and institutional networks' (...) Recombination has two main forms - convergence and divergence - both of which are readily observable in the development of new media technologies, message forms, social practices and cultural/economic institutions. (idem, 4-5)

«However, unlike mass media, which by the late twentieth century had stabilized into a few major channels or forms (due to spectrum scarcity and the establishment of technical and formal standards), the forms and genres of new media continue to branch, recombine and proliferate. Marshall McLuhan (1964) observed that older media often become the content of newer media. Today, this has become an ongoing process of 'remediation' in which older media are appropriated, refashioned or absorbed by the new, therefore simultaneously shaping the new and reshaping the familiar (Bolter and Grusin, 1999)» (idem, 5) 

LIEVROUW, Leah A. e LIVINGSTONE, Sonia, Introduction to the Updated Student Edition, in LIEVROUW, Leah A. e LIVINGSTONE, Sonia, Handbook of New Media, Londres: Sage, 1-14

«Interactividade percebida»

McMillan (2006:220) fala em «perceived interactivity»

A rádio é o meio mais interactivo de entre os clássicos

Como lembra McMillan, a rádio tem capacidade de ser interactiva: «In addition to parasocial interaction with content creators, other forms of user-to-documents interactivity have also emerged in traditional media. In particular, some forms (...). Telephone calls to radio stations allow audience participation in the creation of content. The call-in show has a substantial history subset of radio programming (Crittende 1971). (...) Some media, such as newspapers, seem to have limited capacity for parasocial interaction or interaction through participation. (...)Researchers have also identified strong parallels between the development of the radio and development of the Internet in terms of cultural history (Douglas, 1987; Lappin, 1995) and market evolution (McMillan, 1998a; Smulyan, 1994). The interactive potential and early interactive uses of radio are noted in much of this work» (McMillan, 2006 214-215)

Mais da necessidade de relativizar

«Marvin wrote that: 'New technologies is a historically relative term. We are not the first generation to wonder at the rapid and extraordinary shifts in the dimensions of the world and human relationships it Intains as a result of new forms of communiItion' (1988: 3)» McMillan, 2006: 206 

A interactividade não é exclusiva da Net

«Interactivity is not unique to new media. (...) But new media do facilitate interactivity in new environments.» (McMillan, 2006: 206)

McMILLAN, Sally J. (2006). Exploring models of interactivity from multiple research traditions: Users, documents, systems. in LIEVROUW, Leah A. e LIVINGSTONE, Sonia, Handbook of New Media, Londres: Sage, 205-229

A internet é especial (não é um meio mas um sistema)

«Unlike radio and television on the one hand and the telephone on the other, which were quickly standardized around an economic model and a media format, the Internet is fundamentally heterogeneous. This diversity is a key asset. As a result, use of the Internet cannot be unified around an economic model or a communicational format. It is not a medium but a system which is tending to become as complex as the society of which it is claimed to be a virtual copy. »(Flichy, 2006: 201)

FLICHY, Patrice (2006), New Media History, in LIEVROUW, Leah A. e LIVINGSTONE, Sonia, Handbook of New Media, Londres: Sage, 187-204

A rádio também foi pensada como uma rede?

«As Susan Douglas says: 'The ether was an exciting new frontier in which men and boys could congregate, compete, test their mettle, and be privy to a range of new information. Social order and social control were defied' (Douglas, 1987: 214). After the first world war a new 'wireless mania' appeared. This time it concerned wireless telephony, soon to become radio broadcasting. This new device was also to create a new community feeling. The author of an article headed 'The Social Destiny of Radio' wrote: 'How fine is the texture of the web that radio is even now spinning! It is achieving the task of making us feel together, think together, live together' (Douglas, 1987: 306).» (Flichy, 2006: 192)

Douglas, Susan (1987) Inventing American Broadcasting (1899-1922). Baltimore: John Hopkins Univesity Press

Características da geração

«The Net generation may well be more literate, creative and socially skilled because of their early familiarity with the Internet, including trying out various aspects of their developing identity online» (Rice, 2006: 108)