01 9 / 2014
Executive Shuffles: BBC, CISAC, Murray Chalmers PR… | Digital Music NewsReposted from http://ift.tt/1sVBRHw on September 01, 2014 at 06:28PM
The BBC Trust has confirmed Rona Fairhead as Chairman. Fairhead is the first woman to hold this position, which is a big deal since the BBC Trust oversees the entire…
The post Executive Shuffles: BBC, CISAC, Murray Chalmers PR… appeared first on Digital Music News.
01 9 / 2014
GuiaBolso Brings Mint-style Financial Management To Brazil | TechCrunch
Reposted from http://ift.tt/1uawtlN on September 01, 2014 at 05:00PM
Editor’s note: Julie Ruvolo is a freelance writer and editor of RedLightR.io and RioChromatic.com. In August a new, homegrown entry raced onto Brazil’s top 10 most downloaded apps. It’s a list usually cluttered by American-made social media, music and gaming apps; but GuiaBolso, a Mint-style personal finance app joined the App Store on July 2 when Brazil was mid-way through… Read More
01 9 / 2014
Twitter knows if you’re male or female, which is only the beginning for targeted ads | PandoDaily
Reposted from http://ift.tt/1pBgxcO on September 01, 2014 at 04:00PM
Conventional wisdom says that Facebook is better for advertisers than Twitter. After all, Zuckerberg’s billion-strong user base willingly gives up a host of data points upon signing up, from gender to job to age. Twitter, on the other hand, requires only a name and email address to join the service, and the name provided doesn’t even have to be real. That’s not exactly the kind of extensive data advertisers are salivating […]
01 9 / 2014
Watch the full PandoMonthly fireside chat with LinkedIn CEO Jeff Weiner | PandoDaily
Reposted from http://ift.tt/1r5k6XH on September 01, 2014 at 12:00PM
In a sold-out chat in San Francisco, LinkedIn CEO Jeff Weiner sat down with Sarah Lacy to share his unpredictable journey from a child who obsessed over Hollywood trade magazines to a Vice President managing Warner Bros’ online division, to reluctantly becoming an executive at Yahoo, to his current gig leading up one of the biggest and most exciting social networks on the planet. He held forth on […]
01 9 / 2014
'Piracy sites don't love music - they love money' | Music Week: Home StreamReposted from http://ift.tt/1nnBeTP on September 01, 2014 at 04:38PM
Culture Secretary Sajid Javid MP today offered some remarkably strong words in favour of the UK record industry – even telling Google that if it doesn’t “step up and show willing” to tackle piracy, it risks being punished by new laws.
Former Treasury Minister Javid, who was named Culture Secretary in April, gave a keynote address this afternoon at the BPI’s AGM in London, and pulled no punches when it came to describing the Coalition Government’s intention to fight piracy.
He referenced the Government’s £2.5 million support of City of London Police Intellectual Property Crime Unit, PIPCU, which is working with industry groups such as the BPI to tackle copyright infringing websites.
“A pilot scheme saw a 12% drop in advertising [on piracy sites] from major household brands, the kind of big names that lend legitimacy to illegal sites,” said Javid. “It’s a small first step. But over time the list, along with action taken by payment facilitators, will provide a valuable tool for making copyright infringement a much less lucrative business.
“And that’s the best way to stop the career copyright criminals… Copyright crooks don’t love music - they love money, and they’ve been attracted to the industry solely by its potential to make them rich. Take away their profits and you take away their reason for being.”
Javid said that the mission to reduce piracy in the UK wasn’t just up to Government and the music industry, as he pointed the finger at Google and other search companies who continue to direct users to pirate sites for music content.
“They must step up and show willing,” said Javid. “That’s why Vince Cable and I have written to Google, Microsoft and Yahoo, asking them to work with you to stop search results sending people to illegal sites.
“And let me be perfectly clear: if we don’t see real progress, we will be looking at a legislative approach.”
In a warmly-received speech, Javid also teased the possibility of tax relief for UK music labels in future. With one eye on the next General Election, expected in May next year, he said that tax breaks had already proven a “huge success” amongst high-end TV and animation companies.
Film studios, video games companies and theatres have all also received tax incentives from the Coalition Government in recent years, but music has so far been left out in the cold. According to Javid, that doesn’t have to last forever.
“[These tax breaks] provide a clear lesson for any other creative industry, including music. From my previous job I know full well that the Treasury is not always keen on giving up tax income. But I also know that if you present them with a compelling case, they will listen.
“And I’m always willing to listen to what you have to say and raise your concerns and ideas at the highest levels of government.”
BPI Chief Executive Geoff Taylor, said: “It is encouraging that in Sajid Javid we have a Secretary of State who clearly values the vital contribution that British music – artists and labels – makes to this country’s economy and to our profile overseas. I welcome his willingness to examine the case for tax breaks for investment in music and his unequivocal invitation to Google and other search engines to work with rightholders to make it easier for fans to find legal music than illegal sites – and his announcement that government ‘will be looking at a legislative approach’ if real progress is not made.”
More coverage from the BPI AGM will apear on MusicWeek.com and in Music Week magazine later this week.
You can read Sajid Javid MP’s speech in full below – with highlights in bold.
Good afternoon everyone.
It’s great to be here today, a day of firsts and lasts.
The first time I’ve had the pleasure of speaking at a BPI event. And, sadly, the last time Tony Wadsworth will be here as chairman.
Tony – over the past decade and a half you’ve been a great servant to both the BPI and the industry it represents. I’m sure I speak for everyone here when I say you’ll be very sorely missed.
I can’t help but notice that your departure coincides almost exactly with my arrival as Secretary of State. I’m going to try and not take that too personally.
I know some people really were delighted when I took over the Culture, Media and Sport brief – my children, who have decided that their dad now has the coolest job in the world.
I’m sure that’s because of the difference I can make in so many important policy areas.Nothing to do with my new-found ability to get tickets for the Capital FM Summertime Ball, or Sam Smith at Somerset House!
For some reason, when I was at the Treasury they just weren’t interested in my offer of a behind-the-scenes tour at the Bank of England Monetary Policy Committee…
Two years ago, Tony stood up in front of this AGM and gave a pretty forthright speech. He ended by saying: “It’s time for our government to show us that music matters to them.”
Well, Tony, today I can tell you that music really does matter to us. It matters to us for so many reasons.
I often speak at events like this and talk about how Britain punches above its weight in the creative industries.
But when it comes to music, that metaphor doesn’t even come close to doing us justice.
The UK accounts for less than one per cent of the global population, yet one in every eight albums sold anywhere in the world is by a British artist.
To put it another way, sales outstrip population by a factor of almost 14 to one.
From One Direction to David Bowie, we’re home to many of the most successful artists recording today. In six of the past seven years, the biggest-selling album worldwide has been by a British artist. And we’re second only to US in terms of music exports.
This time last year a Russian official dismissed Great Britain as “A small island that no one listens to”.
He was half right. We’re a small island all right. But EVERYONE is listening to us.
That success is driven by the talent of our incredible artists. But they’re supported by the hard work and dedication of the remarkable industry that stands behind them.
A £4.5 billion industry that employs over a quarter of a million people and is represented by the people in this room today. I know the 21st century has not always been kind to you.
The rise of new technology, new platforms and new ways of sharing and experiencing music has created a wealth of opportunities. But it has also brought with it new challenges for the industry and new dangers.
And there have been victims, with some familiar and much-loved names vanishing from our high streets. But those companies and organisations that have come out the other end have done so stronger, in a great position to meet the challenges of the years ahead.
The people in this room are the survivors, successful businessmen and women. You know what it takes to reach the top. You know how many obstacles you have to overcome. And you know the scale of the challenge that British businesses faced four and a half years ago.
The deepest recession in almost a century. The biggest budget deficit since the Second World War. The world’s largest bank bailout. A nation saddled with debt and an economy struggling to grow.
When the Coalition came to power, we knew that Britain couldn’t have a sustainable recovery without having a thriving private sector. And I’m not just talking about factories and financial services.
I’m talking about every corner of our economy, including our world-beating creative industries.
That’s why we’re working tirelessly to support people like you. Not by trying to micromanage your businesses, tying you up in red tape, or telling you how to do your jobs. But by doing everything we can to help you do what you do so well.
We’ve created the Music Export Growth Scheme, providing £2.5 million to help artists from Slow Club to Smoove & Turrell share their music on the world stage.
We passed the Live Music Act, supporting grass roots music by freeing pubs and other small venues from the bureaucratic burden of unnecessary license applications.
We’re investing £246 million in music education hubs, nurturing the next generation of artists by giving every child the opportunity to sing and learn a musical instrument. We set up the British Business Bank, offering £45 million of equity finance to creative companies.
We’re investing almost a billion pounds in the digital infrastructure that is so important for the modern international entertainment industry.
And, through the Arts Council, taxpayers and lottery players contributed £95 million to music projects up and down the country last year alone.
Then there’s the tax relief for creative content.
The programme has already proved a huge success with high-end TV and animation. Almost half a billion pounds was invested in UK content last year as a result of the changes this government introduced.
And the studios behind Star Wars and Harry Potter have both pointed to the importance of tax relief for filmmakers in their decisions to make their latest movies here.
We’ve also extended tax relief to video game developers and theatres after their sectors provided us with robust, evidence-based and well-sourced arguments for doing so. That provides a clear lesson for any other creative industry, including music.
From my previous job I know full well that the Treasury is not always keen on giving up tax income. But I also know that if you present them with a compelling case, they will listen. And I’m always willing to listen to what you have to say and raise your concerns and ideas at the highest levels of government.
That’s why I’m here today, and that’s why I’m looking forward to meeting with leading figures from the music industry at a roundtable tomorrow.
So we’re backing music, we’re investing in music, and we’re slashing the red tape that often strangles music. But for all that, I know that the area where you most want our support is copyright. I completely understand why.
People in your industry have a true vocation. You identify talented artists and record, release and publicise their work not just to make money, but because you love music. You have a passion for it. And intellectual property protection underpins that passion. It allows you to do what you do best.
Without enforceable copyright there would be no A&R, no recording studios, no producers, no session musicians, no publicity, no artwork. None of the vital ingredients that take the music created made by talented artists and turn it into something the whole world can enjoy.
It’s what our past success was built on, and it’s what our future success depends on. But the digital age has created new threats for copyright holders around the world.
According to OFCOM, in just one quarter of last year almost 200 million music tracks were consumed illegally. 200 million!
Another 100 million games, films, books and TV programmes were also pirated. And that was only in one, three-month period.
No industry – and no Government – can let this level of infringement continue on such a massive, industrial scale.
I know some people say the IP genie is out of the bottle and that no amount of wishing will force it back in. But I don’t agree with them.
We don’t look at any other crimes and say “It’s such a big problem that it’s not worth bothering with.”
We wouldn’t stand idly by if paintings worth hundreds of millions of pounds were being stolen from the National Gallery.
Copyright infringement is theft, pure and simple. And it’s vital we try to reduce it.
That is why we’re working with the entertainment industry – and the technology industry – to deliver a robust, fair and effective enforcement regime. One that protects the rights of copyright holders and punishes criminals, but doesn’t hamper creativity, stifle innovation or block new, legitimate ways of enjoying music.
That’s the thinking behind Creative Content UK.
It retains the basic idea of the Digital Economy Act – millions of people will be contacted directly if they are caught infringing copyright, a powerful tool to influence behaviour. However, as an industry-led initiative rather than a top-down government one, it will be quicker, more responsive and cheaper to enact.
CCUK will also be easier to adapt as new threats to intellectual property emerge. That’s a real asset in an age where technology consistently moves faster than legislation. But just because it is an industry-led initiative does not mean that Government is not actively supporting it.
We’re providing £3.5 million for a broad educational campaign that explains why copyright matters and where the boundaries lie. A generation of young people have grown up under the impression that if something’s on the internet it should be free. We need to get the message across that if they value creativity – and most do – then it has to be paid for.
For the first time in UK history, the Prime Minister has appointed an adviser on intellectual property. I know many of you worked closely with Mike Weatherley as he was producing his recent reports into the role of search engines and ‘following the money’.
Thank you all for the contributions you made. The reports certainly raised some interesting and important points. We’re now looking at them carefully and I’m considering how best to move forward; you can expect to hear more from me on this in the coming months.
We’ve given £2.5 million to support the City of London Police Intellectual Property Crime Unit, PIPCU.
The first unit of its kind in the world, PIPCU is working with industry groups – including the BPI – on the Infringing Websites List. The list identifies sites that deliberately and consistently breach copyright, so brand owners can avoid advertising on them.
A pilot scheme saw a 12 per cent drop in advertising from major household brands, the kind of big names that lend legitimacy to illegal sites.
It’s a small first step. But over time the list, along with action taken by payment facilitators, will provide a valuable tool for making copyright infringement a much less lucrative business. And that’s the best way to stop the career copyright criminals.
As I said earlier, you work in music because you love it.
Copyright crooks don’t love music. They love money, and they’ve been attracted to the industry solely by its potential to make them rich. Take away their profits and you take away their reason for being.
Of course, it’s not just up to the government and music industry to deal with this issue.
Let me be absolutely clear that I completely agree with Mike Weatherley when he says that the search engines also have to play their part. They must step up and show willing.
That’s why Vince Cable and I have written to Google, Microsoft and Yahoo, asking them to work with you to stop search results sending people to illegal sites.
And let me be perfectly clear: if we don’t see real progress, we will be looking at a legislative approach.
In the words of Martin Mills, “technology companies should be the partners of rights companies, not their masters.”
When it comes to tackling IP theft, the Government, the music industry and the technology companies are three sides of the same triangle.
We are all connected, we all have a role to play, and we must all work alongside each other to build a fair and legal online economy. This hotel stands on the site of the legendary Gaiety Theatre, home of countless Edwardian musical comedies. The actors and singers who trod the boards here were the music stars of their day.
Had the paparazzi existed a century ago, the papers would have been filled with the exploits of the glamorous “Gaiety Girls” who made up the chorus.
It’s more than a hundred years since the theatre opened, and almost 60 since it was demolished. So much has changed over the decades, society has been transformed almost beyond all recognition.Yet music remains a core part not just of the economy, but of what it means to be British. It doesn’t just reflect who we are, it IS who we are.
So let me finish by reassuring you once again that the Government really does recognise and appreciate how important your work is.
We are on your side and we want to help and support you. Because you are the best in the world at what you do. Because you make a huge and vital contribution to British life and British business.
And because – to the government, to my department, and to me personally – music really does matter.
01 9 / 2014
Popcorn Time Installed on 1.4 Million Devices in The U.S. | TorrentFreakReposted from http://ift.tt/1nnqOUo on September 01, 2014 at 04:25PM
One of the most-used Popcorn Time forks has revealed the global popularity of the “Netflix for pirates.” The application has the largest user base in the United States, with 1.4 million installs and 100,000 active users. The Netherlands and Brazil follow in second and third place respectively.
01 9 / 2014
San Francisco Is Losing An Iconic Part Of Its History, Replacing It With A Gigantic Piece Of Tech | BusinessInsiderReposted from http://ift.tt/1CjaFJ6 on September 01, 2014 at 10:28AM
The Castro Theatre, located in San Francisco’s Castro District, is losing the Wurlitzer organ that has called the theater its home for the past 30 years.
But the organ music will continue to play, thanks to a huge high-tech donation.
The “Mighty Wurlitzer” will be replaced by a “pipe/digital hybrid with a full piano-length keyboard and a full orchestral sound library,” according to the SF Castro Organ Devotees Association (SFCODA), a nonprofit that’s dedicated to keeping music at the theater.
The Wurlitzer is privately owned, and its owner is moving out of the area and removing the organ from the theater, as well as most of the pipes.
The theater considered purchasing the organ from its owner, but it didn’t make financial sense.
“Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,” the Castro Theatre’s resident organist and president of SFCODA, David Hegarty, tells KQED.
An organ that’s as big as the one that’s replacing the Wurlitzer would take up the entire theater if it were made of pipes. But since it incorporates digital technology, it will fit perfectly in the space provided.
“This will not merely include some after-market General MIDI modules with ‘a few nice strings’ — it will be the most expressive, gigabyte-heavy, instantaneous-response-time live performance orchestra in existence, with its own custom-designed independent sound system,” according to SFCODA’s website.
It will cost around $700,000, and is being funded by private donations, as well as money from the Castro Theatre, a grant from New York’s Schapiro Fund, and an Indiegogo campaign.
When it’s completed, it’ll be the third-largest organ in the world.
A similar organ exists in West Virginia, and you can hear Hegarty playing it in the clip below. Keep in mind, that’s just one instrument playing all those sounds:
01 9 / 2014
Proof That Instagram’s Hyperlapse App Makes Everyone’s Videos Better | Read/WriteWebReposted from http://ift.tt/1nlSE3a on September 01, 2014 at 11:02AM
Instagram has been an outlet for photographic and video storytelling since it was first introduced, and though we’ve seen new photo apps to make your Instas shine come and go over the past few years, none have been quite as hyped up as the latest and maybe greatest—Hyperlapse.
The user-friedly app from Instagram itself has simplified the process of producing sleek, smooth, and creative high-quality time-lapse videos. Check it out in action below.
All the little ants are marching.
Jimmy Fallon tried the app out on The Tonight Show.
You literally can’t lose with a cute dog video.
This is kind of like The Office meets The Maze Runner.
The app works wonders with shots of water.
Karlie Kloss coding on a laptop in hyperspeed!
And if you need more help getting started, iJustine has got you covered.
More stories from PopSugar Tech:
How To Stream All The Music You Want, Without Burning DataRingly’s High-Tech Jewelry Gets An Edgy New LookFor Perfect Posture, Wear This Gadget4 Throwback Apps Yo Indulge Your Inner 90’s Kid TiVo Now Has A DVR For TV Antennas
01 9 / 2014
Rona Fairhead in line for BBC Trust job | Music Week: Home StreamReposted from http://ift.tt/1qjj2Q0 on September 01, 2014 at 11:32AM
Rona Fairhead - previously head of the Financial Times Group - is now the frontrunner for the BBC Trust chairwoman job.
Fairhead would be the first woman to chair the trust.
The role was previously filled by Lord Patten, who stepped down in May. Lord Coe was the first suggested candidate but culture secretary Savid Javid has now revealed backing for Fairhead.
After serving as chairwoman and chief executive of the Financial Times Group from 2006 to 2013, Fairhead became a CBE in 2012, receiving the award for services to UK industry.
Earlier this year she was appointed a British business ambassador by the prime minister David Cameron.
Said Javid: “Her experience of working with huge multinational corporations will undoubtedly be a real asset at the BBC Trust. I have no doubt she will provide the strong leadership the position demands and will prove to be a worthy champion of licence fee payers.
"I am sure that under Rona’s leadership the BBC will continue to play a central role in informing, educating and entertaining the nation."
A BBC spokeswoman commented: “We welcome the announcement of Rona Fairhead as the preferred candidate for chair of the BBC Trust. We will comment further once the process is complete.”
01 9 / 2014
Ella Henderson: ‘I’m doing this my way’ | Music Week: Home StreamReposted from http://ift.tt/1qUUQjb on September 01, 2014 at 11:07AM
The X Factor can’t exactly be regarded as a fool-proof production line for long-term artists. It’s been four years since One Direction emerged in third place on the programme, before achieving global domination, while the best part of a decade has flown by since Leona Lewis began her chart-topping career by being crowned queen of the ITV show.
Others have flittered into the UK charts but failed to sustain their popularity. The likes of Jahméne Douglas and Nicholas McDonald are recent graduates who have followed the typical post-X Factor pattern: having their music quickly thrust out to capitalise on their TV following, before experiencing a descent back to ‘what’s their name again?’ status.
Ella Henderson is looking increasingly likely to buck this trend. After finishing sixth in X Factor’s ninth series in 2012 and signing with Syco, the 18-year-old has been largely kept away from the spotlight. A clear talent, Henderson has been allowed the rare chance to develop slowly and, together with top songwriters, pen her debut album, Chapter One.
Released on September 22, it’s been preceded by lead single Ghost. The track reached No.1 on the UK Singles Chart in June, becoming the fastest-selling debut single for a British artist this year. Described as a “near perfect pop album,” by The Sun, collaborators on Chapter One include Ryan Tedder, Steve Mac, Salaam Remi, Al Shux, TMS and Babyface. A worldwide campaign is already underway - earlier this month Henderson made her performing debut on US TV, singing Ghost on Good Morning America, and is currently in Australia.
Born just outside Grimsby, Henderson won a scholarship to Tring Park School for the Performing Arts and spent her teenage years writing and singing. Aged 16 she discovered the new X Factor rule that allowed applicants to audition with their own song and an instrument.
“I thought if I can go and audition to some producers behind the scenes of the show and just let them hear what I do - sing one of my songs, get a bit of feedback and experience, get a foot in the door and my name about a bit…” she tells Music Week. “All of a sudden they put me through and I ended up on a live audition, then I was in front of the whole nation every Saturday and Sunday night singing songs.”
Henderson’s early exit from the competition was hailed as one of the biggest shocks ever seen on the X Factor results show. But having barely exited the studio, she received four offers from major labels; Syco, RCA, Columbia and Epic Label Group.
She chose Syco thanks to an already established relationship with A&R exec Anya Jones and the fact that it “didn’t have anyone similar on their books.I felt like I could have the attention but ultimately it came down the people I was going to work with,” she says.
Do you think your debut album would have sounded any different if you hadn’t have taken the X Factor route into the industry?
I’d say no because when I came off the show and was being pitched to by record labels, I sat down and said; ‘The one thing I want to do is take my time. There has to be no time frame, no pressure. I want to grow with my music.’ I was 16 so I wanted to understand the industry more and be able to steer the direction of the big decisions I have to make. I don’t want people making these decisions for me. You hear so many stories of people feeling trapped and feeling like they don’t have the right to make any decisions but with my whole campaign - whether it comes down to the music, how I look, or how my video looks - it has to come from me.
In the music industry a lot of us can feel like we’re not in control of ourselves and musically I had to figure out what kind of artist I want to be, what kind of music and sounds I want to make and what I’ve got to tell the world that hasn’t already been said. I write from life experience. In my head I was like, “This album is going to be my diary to the world and I want to say things in a way they’ve never been said before.”
At the end of the show last year you did a performance for the National TV Awards, which was very Adele-esque. Was there any moment where you felt like who were being pushed to be ‘the next Adele’?
I never felt like that was happening. I’m never going to be credible if I’m not being myself. I constantly got compared to Adele when I was on the show, it’s the biggest compliment in the world - she’s made herself an icon in music - but we’re so different. The music industry sometimes does throw something out that is covered up and made up, but people really do want to see the real person now. I never thought I had to turn around and shout, “No I don’t want it this way,” my music led the way. It wasn’t until last December that I developed my style, how I wanted to look and visualised how I want my music videos to look.
People criticise the X Factor for being contrived, what was your experience of that?
If someone offers you something you have the right to say yes or no. I was very set in saying, “I know I’m not going to change, but I will explore and try different things.” Without that show I wouldn’t be sat here talking to you. It’s given me the platform of a lifetime and the experience you get from it is priceless - it’s like a boot camp for the music industry. You’re thrown in front of the cameras and I’d never done an interview in my life. All of a sudden I’m talking about myself for 40 minutes. I’m probably saying 35 minutes of stuff that I shouldn’t because it’s going to come across really bad, but I don’t know that, I just have to learn about it along the way.
How much media training have you had since?
I’ve had bits and pieces. If there are any topics that I find difficult to discuss anyway, just socially, then I need to figure out how to cope with them in front of an interviewer.
There was an interview you did with The Telegraph last year, they asked if you were a feminist and your PR man came on the phone and didn’t let you answer the question. Why? And are you a feminist?
The truth is at the time I didn’t know what a feminist meant and I felt like a dumb idiot. [My PR] hopped on the phone and said, “Can we move on from it?” I didn’t want to answer it because I didn’t have an understanding of it. I understand what a feminist means now and, no, I wouldn’t say I am one. I do believe in the equal rights of men and women but I think in this generation [it’s not that relevant]. Maybe it’s the job that I’m in, I feel like it doesn’t really matter whether you’re male or female. But I understand that there are other jobs in the world where men do seem to be higher up than women.
How about the fact that there’s music videos from people like Robin Thicke wearing a suit, surrounded by scantily clad women – or Miley Cyrus wearing little more than her underwear?
I can see what view you’re coming from, but from what I understand - and I don’t feel this myself - sometimes other people in this industry feel like they have to do something outrageous to be noticed.
Have you ever felt pressure to be sexy?
No [and if she was being pushed into that kind of direction], the answer would probably be, “I’ll do it my way.” My first single has been a success and with success comes respect and people don’t want to change anything because it works.
How can you ensure that you stay true to yourself and do what’s best for you rather than other commercial interests?
I often take myself out of situations and the ultimate question I always ask myself is, “Am I happy?” because this job shouldn’t feel like a job, it should feel like a lifestyle. This [career] is something very creative and it happens through the love of it, I wouldn’t be able to do it if I was forced into anything. My dad gives me advice and is the best person to go to when I am confused about something.
Do you feel that there is a danger your career could follow the same short-lived path as past X Factor acts?
I’m taking each day as it comes, from now up until the end of the year my diary is mental and I’m trying to enjoy every second of it. Whether I did the X Factor or not, you never know how long this career is going to last. In my ideal world, I’d be a performer for the next four or five years, then I’d love to be like Ryan Tedder, Salaam Remi and Al Shux – writing with new artists. I’m in my element when I’m sat in a studio.
'We want to be the biggest new artist story of the year'
Syco boss Sonny Takhar has high hopes for Ella Henderson. Here he details global ambitions and what his first impressions were of the young singer.
How much of a priority is Ella for Syco?
Ella is a priority for Syco and she is a priority for Sony on a worldwide basis. To get the company’s global focus on a brand new artist is hard to achieve but, when you listen to the quality of the album, you understand why. It makes a huge difference to how people perceive you when you can walk into a room and confidently play people your first three singles; we have been doing that since January. The huge sales and radio success of Ghost in the UK have set the pace for the rest of the world. You simply cannot ignore the fact that this song has reached platinum status in lightning speed and is still in the Top 5, 10 weeks after release. I can’t think of one UK artist that has achieved that this year. We have great partners in [Columbia Records’ chairman] Rob Stringer and [Columbia Records’ president] Ashley Newton in the US who really believed in her from the very start, you will see their campaign advance in the coming weeks. We are already enjoying success in major markets like Australia and Germany but this is really just the beginning of our international roll out.
X Factor acts have a history of releasing their first albums then fading into obscurity. What’s different about Ella Henderson?
Our first meeting was very telling and like no other I had experienced with an artist of her age. She was so assured and had a very clear vision of the album she wanted to make, the sonic direction and, crucially, what she wanted to write about. She behaved like someone way beyond her years – I was very impressed. Consequently, it made the A&R process much easier; we drew up a dream list of collaborators and everyone on that list said yes, which says a lot about Ella. After each writing session, they all came back to us to say that she was the real deal, which is incredible given the calibre of people she has worked with.
What are your ambitions for her and Chapter One?
Our ambitions are set very high – we know the strength of our record and we know the strength of our campaign. Our objective is simple: to be the biggest new artist story of the year, and we are well on our way.
Why were Syco interested in signing Ella?
From the first moment we saw her on the show, we were totally mesmerised, however the decision to sign Ella wasn’t ours, it was Ella’s. She was in control of the process and literally had every label within Sony wanting her - she made us sweat for her signature and quite rightly so! It was her very first audition that got everyone at the label hooked, it was clear that here was a 16-year-old like no other we had seen on the show. It takes a lot of self-belief and courage to stand in front of the judges and sing your own composition. The reaction from the audience was huge – as someone who leads a label, you are always looking for an artist that not only has star quality but is also a brilliant songwriter; Ella has both in abundance. At that point we knew we had to sign her.
'Chapter One's campaign is paving the way for a long-term career in music'
Mark Hargreaves heads up Ella Henderson’s management company, Crown Talent.
Can you detail campaign plans for Chapter One?
The campaign has been built to reflect the album: timeless, raw and emotive. Ella was first introduced to the public through X Factor as a young 16-year-old. Having spent two years away from the spotlight, growing up and writing and recording her album, our initial priority had to be to re-introduce Ella as the raw talent she is - the fun 18-year-old singer/songwriter with an incredible voice. Her songwriting skills and vocals defy her age so the imagery, videos and creative around the campaign needed to be in sync with that and be timeless. Our key asset across this campaign is Ella, her impressive performance and moving delivery of her music has shown a direct reaction in record sales and opportunities. Chapter One is set to be released in most territories, as well as in the UK, in September. A US release date will follow this.
What does the future hold for her, Chapter One and beyond?
Ella has an incredibly exciting future ahead of her. Chapter One is the perfect introduction to her, her sound and what’s to come. Ensuring we deliver Ella to the UK and key international markets with clear branding will pave the way for a long-term career in music. Her future live show is something we can all look forward to, as her performance is breathtaking and is where Ella really comes alive.
01 9 / 2014
BBC: We’re going to slip CODING into kids’ TV | The Register - Business: MediaReposted from http://ift.tt/1r5cVio on September 01, 2014 at 11:56AM
Pureed-carrot-in-ice cream C++ surprise
Comment The BBC now has a policy of attaching an educational theme to each year that will be rammed into as many programmes as possible and will run across all of its channels and websites.…
01 9 / 2014
Twitter declines to deny JLaw tweet scrubdown after alleged iCloud NAKED PHOTOS hack | The Register - Business: MediaReposted from http://ift.tt/1x1v0CA on September 01, 2014 at 11:36AM
Searching site for leaked nudie celeb pics is now that bit harder
Twitter’s top policy bod has refused to dismiss claims that people who tweet leaked private photos of naked female celebrities are having their accounts suspended on the micro-blogging site.…
01 9 / 2014
Hustler Hustles Tor Exit-Node Operator Over Piracy | TorrentFreakReposted from http://ift.tt/1vEcL4J on September 01, 2014 at 11:07AM
Dozens of adult companies are using “copyright trolling” tactics to supplement their income, and Larry Flynt’s Hustler is one of them. The company recently demanded a 600 euros settlement from a Finnish Tor exit-node operator, who also happens to be the Vice-President of a local Pirate Party branch.
01 9 / 2014
These Are the Hottest Digital Brands Around | AdWeekReposted from http://ift.tt/1r4LOUp on September 01, 2014 at 10:23AM
Digital media haven’t just revolutionized our world—they’ve taken over our lives. And now it’s your turn to vote for all your favorites—websites, apps, social media, mobile devices, video games, streaming video stars and more—in the Hot List Readers’ Choice Poll.
As with last year’s contest, you will select the Hottest Digital Brand of the Year (GoPro, Snapchat, or Vice?), favorite Web series (Orange Is the New Black or Epic Rap Battles of History?) and the champion of sports (Grantland or Deadspin?).
And this year, we feature a range of new categories, including Hottest Digital Marketer, Hottest Gear, Gadgets and Gizmos, and Hottest Celebrity on Social Media. Vote as many times as you want through Dec. 1.
Winners will be revealed Dec. 8 in Adweek and on Adweek.com. Happy voting!
01 9 / 2014
Plácido Domingo, SBTRKT named as final iTunes Festival headliners | Music Week: Home StreamReposted from http://ift.tt/1sUTJSH on September 01, 2014 at 10:45AM
Spanish conductor and tenor Plácido Domingo (pictured) has been named as the final headliner for the 2014 iTunes Festival.
Domingo will perform the closing show at London’s Roundhouse on September 30.
SBTRKT has also been added to the line-up as the headliner for September 19.
Several support acts have also been announced today, including Friend Within, Kate Simko & London Electronic Orchestra, Imelda May and The Mirror Trap.
Plácido Domingo said: “I am thrilled to be the final performer at this year’s iTunes Festival, seen all over the world. [I’m] thrilled to be following Katy Perry who was last year’s closing performer, thrilled to be able to perform with other excellent singers and above all, thrilled for the recognition that this brings to the unique and magnificent world of opera and classical music.”
The iTunes Festival takes place every night in September at the Roundhouse in Camden, with tickets availible only for competition winners.
Each gig will be streamed to millions of registered iTunes users, who can watch the shows live on either iPods, iPhones, iPads or computers.