When Shain Shapiro, the managing director of Sound Diplomacy, took the TEDxBerkleeValencia stage in Spain last year, he began with a simple yet huge question, “So what if music – all of it -- disappeared? It didn’t exist,” he then paused, “Think about it.”

Part 1 of The Connected Music Series, “Music Sponsorships: The Golden Ticket for Brands That Get It,” covered the benefits, data, and examples of sponsored live events done well by brands, as discussed in the SXSW Music session, "Does Social Media Make Concerts Better?"

Photo: International Business Times
Photo: International Businesss Times

The session featured findings from the report, “We Know Music Fans,” by AEG and Momentum, plus insights from panelists Hugh McIntyre, Music Writer, Forbes; Glenn Minerley, VP Group Director, Music & Entertainment, Momentum Worldwide; Scott Carlis, VP Digital Social Media & Marketing, AEG Global Partnerships; Craig Goodfriend, Industry Manager, Facebook; and Jean-Philip Grobler, St. Lucia.

You know it's going to be a good day when upon waking and grabbing your mobile (a habit I can't seem to break, thankfully), a new music video from David Bowie is waiting for your sleepy eyes to gaze upon. Yes, another song in visual form has emerged from the Blackstar album, "I Can't Give Everything Away," with the creative component delivered by Jonathan Barnbrook, who was also responsible for the album's artwork.

Photo: Business Wire, Samsung

This is Part 1 in this Connected Music Series, which features conversations, conference sessions, use cases, reports and data showcasing the digital and technological impact and influence on live music events.

The traditional advertising model in all its forms seems well on its way to Disarray Town. Networks are trying to cram full-length television ads into streaming content viewing models with square-peg-round-hole finesse. Publishers are trying to force-feed their bread and butter ad placements by restricting access until readers turn off their Adblocker (and of course, someone figured out a workaround). Meanwhile, those that haven’t cut the cable television cord (yet) use their DVRs to gleefully fast forward through commercials.

Photo: Tweet by Jill Knight ‎@jillography

Earlier this week North Carolina’s legislature and Gov. Pat McCrory took society backwards in time when they passed House Bill 2, the Public Facilities Privacy & Security Act, that flushed anti-discrimination protections for all lesbians, gays and bisexuals down the toilette while also barring transgender people from using bathrooms that do not match the gender on their birth certificate.

In our previous piece on FEWS in anticipation of SXSW 2016, I (and I’m sure many others) expected that we would hear about the band’s debut album fairly soon. And so it is, Means will be released on May 20 on Play It Again Sam. This week FEWS also let go of a new single “100 Goosebumps.”

2016 is flying by, and as we speed along towards the end of March, it’s time to prep ourselves for summer festivals. The Underground Music Showcase (UMS) kicked fest prep into gear with the announcement of pre-sale tickets for the Denver street festival, which takes place July 28th through July 31st.

When you think of SXSW, sessions and keynotes featuring heads of state and Hollywood stars, thousands of band gigs and hundreds of films come to mind. So do lots and lots of parties, all serving up a bevy of beverages. What better time and place for a cocktail app to launch, even in the midst of a noisy, massive conference? "Giving away a free drink, everybody's interested," said Hooch CEO, Lin Dai, "Nobody ever walked away from that conversation."

Mobile notifications are as frequent as in-and-out breaths these days, but when Spotify popped up with the latest music release by Teleman, my heart definitely skipped a beat. And “Düsseldorf” delivered on high expectations.

The band OK Go is quite the fan of videos. Their fans are even greater fans of their videos. In the few minutes it took to watch their latest masterpiece, "Upside Down & Inside Out," viewership had gone from 8,697,631 to 8,902,131. The reason? It was filmmed in one take, as always, but this time, "We shot this in zero gravity, in an actual plane, in the sky. There are no wires or green screens."

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