SXSW is almost upon those of us who are attending, so we’re trying to keep up with emails and RSVP's while prepping our bodies for the marathon and packing major doses of vitamin B12.

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For those who can't make the trek to Austin, there will be a number of opportunities to experience the minute-by-minute happenings, performances, and exclusive video that even the people there on the ground won’t have access to. Plus, audio streams broadcasting live will give everyone in Austin and beyond, stories, news, and music they can take in on the go.

Now in its 16th year, FADER FORT returns with four full days of musical performances from March 15 - 18. Since 2001, FADER FORT grew in popularity, expanding its footprint with massive crowds showing up to check out the artists and the FORT experience, following Twitter rumors of evening shows with suprise appearances, all of which contributed to the magic of SXSW.

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This year they return to their roots in a "nod to The FADER’s inaugural showcase in 2001," moving the festivities to a more intimate venue at 1209 East 6th Street (Volcom Garden) while still presenting a multi-use, indoor and outdoor environment to mashup music, the arts, drinks, lounging and playing.

It was November 1, 2014 at a downtown Los Angeles Halloween rooftop party where, according to Dann Saxton, the Co-founder and Head of Content for VRLIVE, the first VR 360 video live stream took place.

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“It was called the Zombie Prom,” Saxton said, telling the story of that night. “600 people on the roof with a full stage, live music, a full bar," and a night of the living dead featuring prom queens and kings, all live streamed in VR 360 video out to the entire world.

“It has been ELEVEN days, Stephen,” Jon Stewart said during his January 31st guest appearance on Stephen Colbert’s Late Show, “Eleven. Fucking. Days. ELEVEN!” And then, looking into the audience and the camera, he stated what we were all experiencing, “The presidency is supposed to age the president, NOT the public.”

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That was only eighteen f*#king days ago. What’s happened since then plays out like a TV reality show based on a mashup of “Hunt For Red October 2: Defecting TO Russia,” “Dumb and Dumber,” and “ Liar Liar.”

Having been one of the lucky ones to win an Echo at the Capital One House activation at SXSW last year, I’ve called on Alexa to start my morning every day since. “Alexa, play BBC Radio 6 Music,” and she complies, pulling up the British station on TuneIn. Amazon’s Alexa made a lot of waves (no pun intended) at this year’s CES as the voice assistant expanded its support offerings, from cars and refrigerators, to Lenovo’s similar device to the Echo.

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Amazon Music Unlimited and Alexa became the hot topic of conversation between Billboard, Jeff Bezos, and the vice president for Amazon Music, Steve Boom. Coming in at number 12 on Billboard's 2017 Power 100 list, the two execs discussed how Amazon Music Unlimited has some differentiating, cloud-based, machine learning architecture planned for its service that, when combined with the Echo, enables a user to create unique playlists, “Alexa, shuffle British Grime from last year,” or by your mood, “Alexa, play sad shoegazer rock from the ‘90s,” all through voice activation versus manually searching for and setting up a playlist on Spotify or Apple Music.

Kicking off this week's #StreamingBuzz with romance, given it's Valentine's Day week, and the relationships being cultivated in the digital and streaming entertainment space, which look to be businesses matches made in heaven.

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Timing is everything, and there couldn’t be a more perfect time for “Where’s the Revolution?” the first and newest single from Depeche Mode’s upcoming 14th studio album, Spirit.

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Directed by Anton Corbijn with a WWII era filter, the lyrics resonate with the political and cultural climate that’s been percolating since the early Bush years (“They manipulate and threaten /
 With terror as a weapon”) and are fully boiling over in the Trump era (“Scare you till you're stupefied / Wear you down until you're on their side”).

In addition to the endless lists of chaotic and unreal moves made by the new administration in the past few weeks, the Republican-controlled Federal Communications Commission (FCC) is already siding with corporations at the expense of the public, content creators, and media platforms.

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The new FCC chairman and former lawyer for Verizon, Ajit Pai, took the lead in rolling back consumer protection regulations and the net neutrality progress made during the Obama administration by his predecessor, Tom Wheeler, including closing out the inquiry in zero-rating offerings by AT&T and Verizon that violated the FCC’s Open Internet order. Comcast had also received an inquiry request by the FCC for its Stream TV content that was exempt from applying to a customer’s service data caps. That too is in the circular file.

2016 has been the year for many, many things. Some surreal, others dumbfounding, but in the entertainment world, live streaming content has seen positive growth and evolution far beyond what it was last year. Major TV networks have been launching technology and consumer-based business innovation that’s already been at play in the music industry for some time.

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Charles Raggio, Sr. Director, Artist Partnerships and Branded Content at TuneIn, has been busy cultivating deals and plans to further capitalize and grow what he and his team have already put in place, extending the streaming radio platform into the festival and concert space.

Bounce TV announces a new live streaming app for Brown Sugar, AT&T's highly-anticipated DirecTV Now service is getting ready for its blast off, China's Suning pays big bucks for the English Premier League rights, and more in this week's ICYMI Streaming Buzz.

 

Brown Sugar Streaming App, “Just Like Netflix, Only Blacker”

Forty-plus years after Blaxploitation broke new ground for African Americans in film, Bounce TV, the African-American broadcast network, has launched the Brown Sugar streaming app on iOS and Android, offering customers with an “extensive library of iconic black movies, all un-edited and commercial-free as they were originally seen in theaters,” the network said in a statement.

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