When Anna Kendrick introduced Tori Kelly and James Bay’s performance at the Grammys on Monday, she pointed out that the two musicians share something in common: They started online.

But the duo weren’t the only ones at the Grammys who came from the digital space. This year, the Recording Academy ramped up efforts to include social media influencers, reflecting an overall shift in the music industry’s attitude toward digital-first artists.

For the first time ever, the Academy turned to a number of Internet influencers to produce content across Twitter, Facebook, Instagram, Vine and Snapchat in the three days leading up to the show. They mixed among the A-list stars — including Adele, Taylor Swift and Sam Smith — walking the red carpet, posting for pictures and selfie-ing with fans.

Complete article at www.mashable.com

It is amazing how much of what I watch online is influenced by what I watch online. But one of my biggest complaints with online video is the disappointing results of trying to discover new content. What’s more, this is compounded by the social nature of online video, which depends on developing relationships with creators, which leads to watching videos (at times) for the sake of a personal relationship, rather than for the sake of the value of the video itself.

For this reason, I’m embarking on a project this year to rediscover online video in the hopes of learning how to better reach new viewers transitioning to online video and sharing those results with our readers.

Article complet au www.reelseo.com

Why Canada needs the 2025 World Expo

Critics will argue than staging a World Expo in Toronto is the last thing we need. It’s expensive, short-lived, lacks a legacy and favours global over local.  I disagree.

Our economy is running on empty, and the fuels that used to power it, pumping oil, hewing wood and a cheap currency have all lost their octane. Mounting debt, unemployment, and consumer uncertainty are pouring cement on our psychology and future.   The only haven for the mass is to work and then retire with the Public Sector.

Isn’t it time we reimagine and reinvent a new economy for Canada?

A World Exposition can be Canada’s launching pad for creating a future where jobs are purposeful, where intellectual and financial capital is plentiful and where our Private, Public, and Academic Sectors share common goals and objectives.

Many of The Great Expos of the past achieved the very same. In 1851, London staged the Great Exhibition of the Works of Industry of All Nations.  It’s reach extended far beyond its grounds or tenure; it captured the world’s imagination, influenced society, academia, art, design, international trade and relations, investment and tourism.  In 1893, Chicago ushered in America’s optimism and industrial prowess while 1964 New York’s World Fair showed the young Boomer how technology would dramatically change their lives.  Expo 67 in Montreal and their theme Habitant and Humanity challenged humans to think as part of an ecosystem versus controlling it.  In 2010, Shanghai staged Better City and Better Life attracting 75 million visitors and the participation of over 246 countries and international organizations.

Some of the word’s most beautiful structures and leading tourist destinations began as part of a World Expo. The Crystal Palace in London, Eiffel Tower in Paris, Palace of Fine Arts in Chicago, Magic Fountain in Barcelona, Golden Gate Bridge in San Francisco, Millennium Dome in London, China Art Place in Shanghai, and Canada Place in Vancouver.

We can realize the same legacy.   Here is my idea for a World Expo in Toronto and a new economy for Canada.

In 2025, Earth will be home to 9 billion people.   We will be over-populated, under-employed and under-resourced while taxing the limits of our Planet to sustain us.

We will have big problems to solve and our only way forward will be through creation, collaboration, consensus and conservation versus force or political rhetoric.

Our theme for our Expo should, therefore, be Planet Earth. Alive and Well

Our goal is to showcase all we are doing and can and must be done to keep our Planet and all those who inhabit it, ‘alive and well’.

We will invite each Country, and their Not for Profit, For Profit and Academic Sectors, their Anarchists, Influencers, and Disruptors to join our circle of change.

To give focus and energy, we will create streams based on our biggest problems. How can we repel the ocean’s rising waters, eradicate poverty and disease, provide human rights, fight climate change, chronic unemployment and terrorism, and age with dignity?

To give our event presence, and lasting beauty for Toronto, we will bury the Gardner, revitalize the CNE and repurpose Ontario Place with its extraordinary lake settings as our physical grounds and harness the Cloud and the imagination of Content Creators for our virtual presence.

A World Expo of this magnitude will put Toronto, Canada at the epicenter of how humanity must urgently tip the planet towards sustainability and survival.     Our investment will extend far beyond the tenure of our exhibition, or curing the eyesores of the Gardiner and Ontario Place.  Something of such global importance will attract the best minds, the best organizations, and the investment capital and jobs to not only envision but also create a desired future.

To ensure our Planet, our Country, and our Economy remains Alive and Well for decades to come.

Tony Chapman is the founder of TonyChapmanReactions.com. React with him @TonyChapman


Change in the music industry is inevitable. As the music industry has shifted to account for the Internet, physical album sales have been decreasing and the appeal of streaming has been on the rise. But with the rise of streaming, many apps have implemented a focus on discovery. With sources like Bandcamp, Soundcloud and YouTube allowing artists to post their music directly to the viewing public, it is easier than ever for fans to discover new music and for artists to be heard.

Before the days of the Internet and long before streaming, music discovery was completely different. Bands relied on performances and records to raise attention, whereas nowadays, reaching new listeners is a computer’s use away. But as the 2000s have continued, the industry has moved to more of a focus on discovery. The ability of people to curate and find playlists and radio stations has been a selling point of many new apps, like Pandora, Spotify, Apple Music and TIDAL.

Complete article at nevalleynews.org

What do you do when you don’t know what you want to read, watch, listen to or do next? What do you do if you don’t know what to search for? Or can’t describe clearly what you’d be interested in next?

There are so many great choices available in the digital realm, and new stuff is pouring in every second. Many times we feel helpless in front of such an abundance of endless possibilities.

Nevertheless, so far no one has created a solution that would automatically bring all the interesting options to your fingertips without you asking for it. A universal personalized Discovery solution doesn’t exist yet. Why?

Article complet à techcrunch.com

The movie-watching experience is changing, finds the movie marketing experts at Tremor Video. After gathering data from its PlayBack panel, the online video advertising company notes that people are seeing fewer movies in theaters but many more movies at home. The results hold up for adults of any age, with the average adult now watching 1.4 movies in a theater each month, but 5.7 movies at home.

While price and convenience are pushing people to watch more movies at home, consumers are watching more movies than ever. For example, 39 percent of millennials say they now watch fewer movies in theaters and 50 percent say they now watch more movies at home than they did 5 years ago.

Online video plays a role in driving that movie viewing. Tremor finds that online video advertising is the third most-common way for adults to learn about new movies (at 34 percent), following TV commercials (77 percent) and word-of-mouth (54 percent).

Article complet à www.onlinevideo.net

La musique de demain sera sociale ou ne sera pas. C’est la conviction d’entrepreneurs français, qui préfèrent le partage aux robots du streaming pour relancer l’industrie.

Ils monopolisent les rayons des magasins, les salles de concert voire les affiches des festivals, jusqu’à ne plus laisser le moindre espace aux petits nouveaux. Les artistes à succès écrasent de tout leur poids commercial l’industrie musicale, mais c’est sans compter sur la volonté d’entrepreneurs français, bien décidés à bousculer le marché.


Leur idée ? Libérer les mélomanes de l’emprise des algorithmes des plateformes d’écoute en ligne, qui choisissent pour eux les artistes ou morceaux susceptibles de leur plaire. Leur solution ? La curation sociale, c’est-à-dire laisser les passionnés se conseiller entre eux leurs futurs coups de cœur musicaux.

Raviver la flamme des adeptes du streaming et leur redonner le goût de l’inconnu, c’est notamment l’ambition de l’application française The Best Song. Son pari : reprendre le modèle des applications de rencontres.

Complete article at www.journaldunet.com


With a full-time job and two young children, these days I don’t have much time to seek out new artists. But discovering new music remains a very powerful experience. Streaming services know this, and since most have very similar pricing and catalogs, curation has emerged as one of the most important areas of differentiation between them. With millions of tracks available to a subscriber of Spotify, Rdio, or any other major service — more than you could finish in a lifetime — the battleground is shifting from access to curation.

Every major streaming service touts its ability to learn your taste and recommend the right song at the right time. And they all use a mix of human curators and computer algorithms to target their suggestions. But increasingly, there is a divide in the industry over which half of that equation should lead and which half should follow.

Article complet à theverge.com

For Netflix viewers who have trouble browsing through the streaming service, developer Cyris finally brought a viable solution to the table: Netflix Super Browse, a browser extension that works on both Google Chrome and Mozilla Firefox.

Netflix has a massive library that consists of thousands of TV shows and movies, where they are all categorized into thousands of micro-genres. Because of that setup, it would sometimes take ages to find new and appealing content.

A workaround method to unlock these so-called hidden genres has emerged, though. Subscribers can play with the end number of the Netflix URL (e.g.,www.netflix.com/browse/genre/1234) and land on various sections of the streaming service to discover and find content. As everyone can imagine, that’s not exactly the most efficient method.

Complete article at techtimes.com