Of Course Amazon Is Putting on a Music Festival

Intersect — featuring Foo Fighters, Kacey Musgraves, Beck and Anderson .Paak alongside a “post-apocalyptic dodgeball stadium” — is not as random a venture as it seems

ByAMY X. WANG 

Amy X. Wang
Kacey MusgravesAustin City Limits Music Festival, Weekend 2, Day 3, Texas, USA - 13 Oct 2019

While Spotify grapples with podcasts and Apple explores bundling albums with other entertainment, Amazon continues to barrel into the music business from entirely other directions. Weeks after throwing a somewhat absurdist concert for Prime Day and debuting high-resolution music streaming, Jeff Bezos’ conglomerate will put on an all-out music festival featuring Kacey Musgraves, Beck, Foo Fighters, Anderson .Paak, Leon Bridges, Chvrches, Brandi Carlisle, and Jamie xx in the Las Vegas desert.

On Wednesday, Amazon Web Services — the tech giant’s cloud computing subsidiary — announced the full lineup for Intersect, its music and technology festival taking place on December 6th and 7th in Las Vegas. Musgraves and Co. will join acts like Snail Mail, Japanese Breakfast, and JPEGMAFIA for the two-day concert, which also boasts a video arcade, 1 million square feet of games and activities, a “post-apocalyptic dodgeball stadium,” a “mega-sized ball pit with over 200,000 balls” and a light show involving “500 Intel drones programmed and flown by a female-led team in a tribute to women’s contributions to advancements in technology,” according to a press release. Intersect, which is presented by AWS and produced by Production Club on the Las Vegas Festival Grounds, will also feature “next-generation visual artists” and a six-story video tower called the “Monolith.”

Intersect’s ambitions are curiously demure: The festival has booked headliners to rival that of Coachella and lined up enough tech projects to bill itself as a mini-SXSW, but Amazon sees the event as just an add-on to its regular conference programming. “We’ve built a pretty amazing and unusual live music experience at our annual AWS conference that attendees have loved, and with Intersect, we’re excited to extend this unique event into a two-day, public music festival,” said AWS’s vice president of worldwide marketing Ariel Kelman. But the festival’s total randomness in every way, from its aesthetics to its genre-less lineup to its unusual December timing, does cohere with Amazon’s broader attitude of entering new industries with a series of disjoined, diversified strategies.

Tickets are on sale now, starting at $169. The festival’s official poster, which presumably depicts the “Monolith” and other visual installations against a desert backdrop, is below.

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The ‘pocket stereo’ changed how we listen to music

You can take the music you like anywhere’

CBC Archives · Posted: Oct 17, 2019 8:30 AM ET | Last Updated: 6 hours ago

Watch

“Pocket stereo” makes music a personal experience in 1981

  • 38 years ago
  • 02:32

Tens of thousands of Canadians have begun shutting out the world and plugging into privacy with small, lightweight personal stereos. 2:32

Listen to what you want, when you want, but most importantly — where you want.

That was the promise of what was known as the pocket or personal stereo.

“Since Japanese manufacturers started selling the sets earlier this year, they’ve become a big hit,” said CBC reporter Barbara Keddy on The National for Oct. 17, 1981. 

The appeal for many of the tens of thousands of Canadians using pocket stereos was the ability to “listen to a world of your own,” said host George McLean.

More than portable music  

Personal stereos line the shelves at an electronics store in 1981. Prices ranged from about $70 to $430, according to the Globe and Mail. (The National/CBC Archives)

The personal stereo was a cassette deck that was small enough to slip into a large pocket or a purse.

It was plugged in to a set of small, lightweight headphones that covered the ear and delivered “high-quality sound,” according to Keddy.

According to the Globe and Mail on Dec. 17, 1981, Sony expected to sell 50,000 units of its Walkman 2 model in Canada that year. Its retail price was $280 (about $760 in 2019 dollars).

Early adopters took their music out for a run, a bike ride or to the gym.

“You can observe everything but you’re not really part of it,” noted student Tawny Millett, describing the experience of listening to a personal stereo. (The National/CBC Archives)

But listeners liked their personal stereos not just because they could take their music with them.

“It puts you kind of out of touch with what’s going on,” explained Toronto student Tawni Millett. “I like it. It makes you feel anonymous.”

Other students described using a pocket stereo as “an escape” and something whose appeal lay in not “having the noise of the world around you.” 

A ‘soundwave into your head’

Concerned about the effect a pocket stereo might have on her teenage son’s hearing, this mother made him return the one he’d bought. (The National/CBC Archives)

A couple interviewed on the street said they worried about the potential for damage to one’s hearing.  

Keddy explained that they had forced their teenage son to return his pocket stereo.

“My concern was basically medical,” said the boy’s mother. “I just can’t see that … putting a soundwave directly into your head can be good for you.”

But Don Lamont, owner of a personal stereo, dismissed the idea.

“You can put your head beside a speaker and turn it up just as loud and destroy your hearing,” he pointed out.

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‘For people like us, music means something’ — the enduring legacy of Mister Disc

Sault ex-pat Todd Gordon explains why his CD store that closed down over 20 years ago is still bringing music lovers from the community and beyond together.about 3 hours ago By: Chris Belsito

PreviousNext1 / 4 Todd Gordon opening Mister Disc at the Great Northern Road location. Photo provided by Todd Gordon.Expand

It can be easy to get lost in the social media shuffle. Facebook has over a billion people who are members of “groups”. 200 million of those are considered “meaningful.

For lifelong music aficionado Todd Gordon, who operated the Mister Disc store from October 3, 1988 to July 1, 1999, the Mister Disc Music Group on Facebook (which just celebrated its 5th birthday) is more than a tribute to his old store.

“It was an opportunity to recreate the social element of the physical music store and reconnect with friends and former customers.”

Music has always been important for Gordon. “I used to take my bicycle and allowance, go to Records on Wheels, Sentry or Jupiter, and I would come home with a stack of records. They knew me at all the stores. I remember the day I bought [The Clash’s] London Calling and Liam and Mike from Records on Wheels said, you might want that Sex Pistols album over there. I was thinking, ‘yeah those are the guys who spit.’ They threw it in for free and it turned out to be one of the greatest albums ever.”

“I remember going to Sears, and you would have to put your hand through a [security] thing with some flaps so you could look at 8-tracks.” He describes meticulously switching a higher priced Rolling Stones’ Hot Rocks price tag with a lower priced Cars price tag. “With my hands through the flaps, I spent forever peeling off the price sticker off and just put it right over top of the Stones price tag. I told the lady that I wanted to get that Rolling Stones 8-track because I only had enough money to buy it.”

In time, 8-tracks gave way to vinyl, vinyl gave way to CDs. When he was old enough, Gordon scored a job at A&A records in the Cambrian Mall. Although his time there was short, it gave him the foundation for what was next. “It was one of my dreams since I was a little kid to own my own record store.”

When it was time to make that dream happen, he secured a location, ordered stock, took out ads in the Sault Star and Mister Disc was born. His opening day sales set the bar high for him as the heightened appetite for CDs made the store an instant success. Gordon set out to be different than his competitors. He had CD players so people could listen to albums before buying them. He quickly gained a crew of supporters who stopped in to not only pick new purchases, but to share their music, meet other music fans and talk.

“People loved to come by on Saturdays … You knew who was going to be there: Barry, Mike, Renzo, Gerry, the ‘coffee club’ as I called them. Sometimes they would all bring me a coffee and I would have 5 or 6 of them on the go,” Gordon laughs.

Renzo Cacciotti, who was a member of the informal ‘club’ didn’t know Gordon before he opened the store on Great Northern Avenue.  Cacciotti had just starting to move away from vinyl and getting into CDs when he heard about Mister Disc. “I decided to check it out and glad I did,” he laughs. “This is where we met other like-minded lovers of music and shared our own tastes of musical preferences. What better place than a music store…It became our Saturday routine and a great way to start the day … I miss those days.”

Like many of the customers, Cacciotti became good friends with Gordon, a friendship that lasted longer than the store itself.

But by 1999, peer-to-peer file sharing had begun hurting the music industry, devaluing official releases and undercutting the CD market. Commercial rental prices were increasing in the Sault and Gordon realized that he had to close to store. He felt he was letting his customers down and found it especially hard “because of the social thing.”

Not long after closing in 1999, Gordon moved out of the Sault with his wife Lisa. First to Oklahoma for seven years, then eventually settling in Beverly, Massachusetts, a town that although smaller than Sault Ste. Marie, shares some similarities. “Like the international bridge that divides the two Saults, Beverly shares a small bridge that leads to Salem. Beverly and Salem are almost like sister cities.”

Besides owning record store, the second thing Gordon ever wanted to do was to write. So Gordon became a screenwriter.  “For my whole life, I have only ever done the two things that I always wanted to do – run a record store and write.” But the Sault friendships and his love of music didn’t fade. So he decided to create a Facebook page where he could post famous musicians’ birthdays and link a favourite song by that artist. He named the page after his store. As one can imagine, there wasn’t much action on the page at first. At a friend’s suggestion, he developed more structure and added themed posts. 

“I changed it from just a ‘page’ to a ‘group’ to make it more interactive. I made it open so lurkers could come in,” he laughs. In addition to themes, Gordon started posting important dates in music history, developing his own Music Hall of Fame and other interactive elements. The group grew exponentially. A friend from Sault Michigan, added 1000 of his friends to the group. It went from a couple hundred to 1200 overnight.

Other former customers of the store started reconnecting with Gordon, reminiscing and talking music like they once did in the store. “We were glad that Todd started his Facebook group,” says Cacciotti. “What had started as a Saturday morning coffee club sharing of music to become a daily dose of music sharing has kept Todd’s Mister Disc alive and kicking. It gave us that access to so many people and so many music tastes. [Participating on the music page] has become a daily ritual.”

It was that same ‘social’ element from the store that seemed to catch on with group members. “That page is my connection here to the Sault,” says Gordon. “So just because a physical place closed doesn’t mean the social atmosphere left too. The social atmosphere carries on. It’s now a virtual thing, but it is the same in many ways,” says Gordon.

“[Music] both divides people and brings them together on a couple of levels,” says Mark Dunn, a songwriter and professor at Sault College, often teaching music and popular culture. “We are more likely to associate with people who have similar interests. The larger effect of that attraction is to organize people into groups.”

The Mister Disc Music Group fluctuates in numbers. People come and go. Often hovering around the 1100, there’s an average of 1600 posts a month. There are 554 Canadian members with 263 from Sault, Ontario and 180 from Sault, Michigan. There are also members from the U.S., Norway, Australia, Italy and Sweden.

From his Massachusetts home, Gordon keeps a tight regime to keep the page in top running order.  He carries a binder that helps him keep the page organized. It contains statistics, member names, albums he’s recently listened to, theme possibilities, alphabetized list of band names, Hall of Fame options, and page statistics. “It took me forever at the start … It was lot of work and took a while to get it into a shape, but now it’s easier to maintain and I enjoy it.”

Gordon personally inducts every member into the group, finding songs and artists he thinks they would like based on their profiles. He moderates the group, participates in the discussions and removes non-participating members to ensure the group remains meaningful.

“Maybe some people don’t care if music is on a crappy AM radio, or if they go two weeks without hearing anything. It doesn’t bother them. Me? I’ve got to hear music every day.  The group has both of those types in it. It has us, the fanatics, and those who like the concept of it and just joined. For people like us, music means something.”

For Gordon, sharing an experience through music is at the core of things. “Even when I had the store, I would want you to listen to this song or that song. I want you to get the tingles that I did when I was listening to it, because it is too good for people not to hear. I still get that feeling when I post songs on the group page. I want people to listen. Even if only one person listens to it, that’s what keeps me going.”

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What Should Label Playlist Strategies Be in 2020?

Posted on 15th October, 2019 by Keith Jopling in MarketingMusic and Strategy

MIDiA’s ‘Playlist Revolution’ report recently highlighted that, although playlists have become valuable commercial music real estate in their current form, there is plenty of scope for further development of the format. A prominent playlist placement remains a key objective of most new release strategies and is a higher priority than radio play for many artists. However, the supply of new songs continues to outstrip the number of premium slots, and most artists still struggle to get onto playlists. The streaming platforms continue to iterate playlist strategies and, at last, differentiate. But where are the game changers? How much more longevity do playlists have, now that podcasts and smart speakers are gaining traction?

How much more runway is there for playlists?

Back in March 2019, I wrote about how playlist innovation had seemingly slowed down.

Then something remarkable happened (purely by coincidence, of course). A slate of press releases were issued from across the streaming services: Apple was upping its game in playlist cover art and editorial. SoundCloud launched a set of curated playlists and a new community page hosting playlists associated with various music scenes emergent on the platform. Meanwhile Spotify made the announcement that a suite of its human-curated playlists would now become augmented with algorithms to make them more personalised based on user preferences and listening data.

Since then, Apple has taken a much clearer line on its approach to playlisting – with human curation featuring prominently, above algorithmic. The platforms continue to iterate. Nevertheless, on-platform consumption growth is definitely levelling off. Looking at music subscribers, monthly average users (MAUs) of curated playlists on streaming services have grown by a quarter over the past two years, but some of that consumption has merely replaced self-compilation, which has dropped by almost a fifth over the same period.

As curated playlists have grown, self-created playlists have dropped

At long last, it looks like labels and artists have options to work with streaming players that have differentiated strategies. We quickly review three growth areas for playlists, including potential solutions for label strategies:

Tech and platform-led playlist innovation

We’ve seen plenty of playlist rebranding activity by Apple and Amazon, while Spotify has launched further new personalised playlists, as well as extensions of playlists using video and podcasts. However, we see the biggest opportunities coming from the blending of playlist brands with radio programming. This extends a music brand across both discovery (the playlist) and a lean-back experience (radio), as well as a deeper dive into the creative and cultural content behind the title (also using radio and mixed formats, including live). With smart speakers now at critical mass, this trend will expand – good for Apple and Amazon, as well as incumbent radio brands. Spotify will need to refine and market its Daily Drive feature fast, before the smart speaker rivals can begin to hit scale.

Third-party and user/community-led playlist innovation

The abundance of third-party playlist operators (Indiemono, Songpickr, Soundplate et. al.) provides an alternative route to an audience for almost every artist, but the landscape is crowded and fragmented. We see major opportunities here for a data-led intermediary such as Chart Metric to build a linked network whereby labels can match repertoire with curators. French start-up Soundsgood already does something similar – networking some 30,000 curators with those labels signed up to provide song previews to the community of tastemakers. Meanwhile, a more social/sharing playlist application remains white space.

Label and artist-led playlist innovation

Some artists are using playlists to build their fan bases (acting as curators and influencers). Some examples of influential artist curated playlists include Lorde’s ‘Homemade Dynamite’, Dangermouse’s ‘Jukebox’, Frank Ocean’s ‘Blonded’, and Sia’s ‘Ear Candy’. It would make sense for many more artists to maintain playlists as an ongoing form of communication and influence for fans. Playlists are a useful way of staying relevant during spells between promoting songs (‘off-cycle’) as well as a way of supporting artists that form part of the wider collective. For labels and managers, the ability to market these playlists to fans and deploy them on pages like Spotify’s Artist Pick are a valuable part of their marketing proposition to artists.

With the above options on the table, we are far from ‘peak playlist’. In our forthcoming playlist strategies report we explore these options in more detail. Plus, we examine both the short-term runway and longer-term picture for playlists. Should labels choose to invest in new strategies now, or focus on what’s next beyond playlists?

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“Tina: The Tina Turner Musical” Comes to Broadway

In previews at the Lunt-Fontanne, the show traces the singer’s beginnings, her Motown rise to fame, and, of course, her turbulent partnership with Ike Turner.

Tina Turner is seventy-nine and happily retired in Switzerland, but her story and her music are still reverberating to the rafters in “Tina: The Tina Turner Musical,” which is playing in London, in Hamburg, and now on Broadway. The show, in previews at the Lunt-Fontanne, traces the singer’s beginnings, in Nutbush, Tennessee; her Motown rise to fame; and, of course, her turbulent partnership with Ike Turner, whose creative control and physical abuse she escaped in the mid-seventies. Adrienne Warren (above) plays the title role.

https://www.newyorker.com/magazine/2019/10/21/tina-the-tina-turner-musical-comes-to-broadway
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Don’t mourn for iTunes. Here is how to listen to music on MacOS now

In MacOS Catalina, Apple does away with iTunes and lets the new Music app focus on songs, albums and playlists.

Some have waited years for this moment, the day when Apple killed off its iTunes media app for MacOS and split the exasperating tool into individual pieces, each dedicated to a specific purpose. With the Catalina update, the iTunes grumblers get their wish, because with the new update to MacOS, Apple retires iTunes, replacing it with new Apple Music, Apple TV, Apple Books and Apple Podcast apps. (Here’s the difference between them all.)

Over the years, Apple handed more and more responsibility to the MacOS version of iTunes until the app seemed to be in charge of all your MacOS entertainment needs. Mac users will be much better served in Catalina, which adopts the iOS approach of letting several apps handle individual tasks.

While Apple has split iTunes into three apps, the switch to Catalina doesn’t have to be jarring. Here’s what you need to know about breaking free of iTunes in MacOS Catalina.

Watch this: MacOS Catalina has arrived, Amazon’s first kids’ Kindle 1:29

Get started with the new Apple Music app

Apple’s made it fairly easy to move from iTunes to its new music service in Catalina. For example, music that you’ve bought through through iTunes or imports from elsewhere will be available in the new Apple Music app. 

Likewise, music playlists you created in iTunes will already appear in the new app — you won’t have to transfer a thing. iTunes gift cards and credit will still work, and you’ll still buy music through the iTunes Store. Here’s how to get set up and start listening to music.

catalinamusicindock
Tap Catalina’s new Music app in the Dock.Screenshot by Clifford Colby/CNET

1. In the Dock, tap the Music app to open it.

2. When prompted, use your Apple ID and password to sign in to the iTunes Store.

3. Tap the Get started listening button, and the Music app will pull in your iTunes playlists — both the ones you’ve built and the smart ones iTunes made for you. 

4. If none of your music is showing up and you sync your music library with Apple Music or iTunes Match, tap the Show all music button up at the top of the Music app. You can also choose the All Music option from the View menu to see all your songs.

Use the iTunes Store

catalinaitunesstore
The iTunes Store still lives over on the left.Screenshot by Clifford Colby/CNET

While Music is new, the iTunes Store is much the same.

1. In the Music app, over on the left in the Music sidebar, and tap iTunes Store.

2. Apple’s music store should look familiar to you, with new music running down the center of the app’s window, charts over on the right and music that might interest you near the bottom.

MORE ON CATALINA

Sign up for Apple Music

If you are interested, you can also sign up for Apple Music — Apple’s similarly named subscription music-streaming service. 

applemusic
Sign up for Apple’s Music subscription service for $9.99 a month.Screenshot by Clifford Colby/CNET

1. In the left sidebar, up near the top, tap For You to check out Apple Music, which lets you stream songs, listen to curated playlists and tune into radio stations.

2. Tap Try It Now to start a free three-month trial. After the trial, Apple Music is $9.99/£9.99/AU$11.99 a month. After you sign up, set a calendar reminder so you don’t get charged after 90 days if you decide to back out.

If you are looking for the movies and TV shows you used to keep in iTunes prior to Catalina, those are now in the Apple TV app. Audiobooks are in the Apple Books app, and podcasts are in the Apple Books app. For more on Catalina, here’s our fuller take on the new MacOS.

https://www.cnet.com/how-to/dont-mourn-for-itunes-here-is-how-to-listen-to-music-on-macos-now/
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