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Music Supervisors’ Best Songs of 2014

Another year means another deluge of music our Music Supervisors (also known as DJs/label owners/artists/rockstars) comb through; each week, hundreds of albums are given a spin to find the freshest tracks for the brands they curate for. Their collective audiophile escapades have been harnessed to create our best songs of 2014 list. We’re streaming these and more on our Top Songs of 2014 BrandRadio – just scroll down or click here to tune in.

MARK CAMPBELL :: Music Supervisor

Annie Lennox – “You Belong To Me”

On her third album of cover songs, Annie Lennox pays a visit to the world of the Great American Songbook. “You Belong To Me”, with its poignant lyrics of longing and heartache, fully exemplifies the album’s overall theme – a desire to come home again. Her vocals (solid and sincere) and the song’s arrangement deliver a stirring and contemporary take on a classic tune from America’s rich musical history.

SEAN HORTON :: Senior Music Supervisor / Music Strategy & Development

St. Vincent – “Prince Johnny” 

Though musically they’re light-years apart,

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Hidden Pop Gems of 2014

Associate Music Supervisor Alex Ruder reviews and programs music for a small but diverse range of brands here at PlayNetwork. With extensive knowledge of the indie electronica and pop music landscape, he dials in on some of the year’s best undiscovered music.

Familiar big name pop acts such as Ariana Grande, Iggy Azalea, Pharrell Williams, and Taylor Swift have largely dominated the charts this year. And while I can’t deny that these artists make some incredibly infectious tracks, there are plenty of artists making equally catchy tracks that haven’t quite caught the ears of millions yet. In my never-ending attempt to expose artists and songs that I feel are worth your ears’ attention, here are 10 pop songs from 2014 that you won’t find on Billboard’s or iTunes’ top charts or racking up multimillion views on YouTube:

[hover over song title for Alex’s commentary]

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LIGHTS Brings “Little Machines” To PlayNetwork

As part of our PlayLive concert series, we bring exceptional, diverse, artistic talent to the PlayNetwork offices, exposing our Music Supervisors to new and up-and-coming artists from around the globe. Many of these artists are already playing in-store at your favorite retailers, while others are on the horizon of breaking. Much of what we do hinges on music discovery for our brands, turning them into tastemakers for their consumers.

Juno award-winning Canadian artist LIGHTS recently performed cuts from her latest release, “Little Machines”, at our Redmond headquarters. Lights blew onto the electropop scene in 2008 with her hit “Drive My Soul”, and her brand of gleaming, heartfelt pop music has continued to captivate fans around the globe.

“Running With The Boys” opened the set, with the kind of powerful chorus you’d expect to hear chanted in arenas. “Up We Go” showcases Light’s gorgeously fun vocals, only surpassed by her on-stage energy. Much has been said about Light’s road to rediscovery during the writing of “Little Machines” (she shared that the verse for “Muscle Memory” came to her as she drew a bubble bath), but her story for the album’s closer, “Don’t Go Home Without Me”,

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Records, Vinyl, and Wax

Alex Espinosa, one of our veteran Music Supervisors in Seattle, shares why he still buys and collects music in, arguably, its most nostalgic form.

Records–as I like to call them–have been a big part of my life as long as I can remember. Ever since grabbing one of my older brothers’ Beatles records, hearing that distinctive cracking sound before the music started–it’s been a love affair still going strong today. You see, music is such a huge part of my life that I’ve made a career out of it for the past 25 years, and it all started with that first glance and that first feel of holding a record.

Some enthusiasts argue that the sound of a record playing is much richer and warmer than that of a compact disc; others like the simplicity of just downloading a song digitally from virtually any platform on the web. I, on the other hand, like to treat music like that of being in a relationship. I know it may sound a little weird and cliché, but I truly enjoy the satisfaction of being able to study the cover artwork and liner notes before placing the wax onto my record player.

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Film Review // 20,000 Days on Earth

Paul Wain, one of our Music Supervisors in EMEA, gives us a peek into the new film capturing Nick Cave’s 20,oooth day on earth…

20,000 Days On Earth is a documentary about the singer, writer & international cultural icon Nick Cave, by british artists Iain Forsyth & Jane Pollard. Based around a fictitious 24 hours in Caves life (his 20,000th day on earth), the film features frank insights and intimate portrayal of the artistic process.

Based in his now adopted hometown of Brighton, an appointment with a psychoanalyst, lunch with collaborator Warren Ellis and a visit to the wonderfully reimagined Nick Cave Archive each offer their own insights into the man and his motivations, while a series of car journeys are given a dreamlike quality by various faces conjured from Cave’s past, including actor Ray Winstone and unlikely chart-friendly foil Kylie Minogue.

Around the midway point, “20,000 Days on Earth” starts getting more serious about the music, which is welcome. There are studio snippets of Cave and Ellis working out tunes (one segues unexpectedly into Lionel Richie’s “All Night Long”), spooky midnight ballad “Higgs Boson Blues” and a roaring climax at the Sydney Opera House with Cave turning the song “Jubilee Street” into a shamanistic exorcism backed by a full string section and a children’s choir.

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Three Ways to Enhance Customer Loyalty Programs

Companies offer customer loyalty programs to encourage frequent purchases.  Outside of transactions, successful loyalty programs tend to focus on consistent engagement with customers.  In this video you will learn why it is important to have loyalty programs that consistently engage customers and three ways that branded entertainment media can make that happen.

 

To learn more about how branded entertainment media engages customers, visit our resource center or give us a shout!

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Panel: Making Money In The Digital Space

Our resident Senior Music Supervisor, Sean Horton, is the founder of the long-running Decibel Festival here in Seattle – an expansive production highlighting electronic music performances, visual art, and new media. On the festival’s opening night last week, the Recording Academy Pacific Northwest Chapter kicked things off with a panel focusing on new ways for artists to make money through alternative revenue streams. From licensing to streaming to ad partnerships, experienced industry professionals covered how artists build both exposure and income through a variety of sources. Panelists included PlayNetwork’s music industry veteran John Wooler, the1175’s Jody McKinley, Jen Cziesler of Rogue Octopus, and Jeff Owens of Ghostly International.

Questions for the panelists ranged from talking about music piracy, the efforts to improve metadata delivery, and how artists and bands can create new revenue stream via the digital space.

Jen Cziesler discussed Synch Licensing and why it’s such a great opportunity for artists to cash in on film and TV placements. Of the ways music can be paired for sync opportunities, Jen mentioned Synch Tank as her vehicle for pitching music to Music Supervisors.

Jeff Owens from Ghostly Intl represents the artist Tycho,

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UNDER MY NEEDLE

Here’s a look to what is consistently spinning under the needle of Music Procurement Associate Grady Tyree’s record player in 2014 so far…

 

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Crosses – Crosses (Sumerian Records) – to say this was a highly anticipated release in my world was an understatement, any project that involves Deftones front man, Chino Moreno, will be a hotly sought after relic in my life.  So, when he paired up with friend, and fellow Sacramento native, Shaun Lopez, of the early ’00s band, Far, my attention was solely focused on what they were releasing, when they were releasing it, and how long I would have to wait to see them in the flesh – as this side-project blossomed into a real band with multiple releases and tour dates to follow. The album’s sound is a departure from anything you would naturally associate Chino – with it’s heavy-handed synth sound is more akin to the new wave post-punk sounds of the early-to-mid 80’s, not the heavy, gnashing riffs of his mainstay, the Deftones. Chino tones down the blood-curdling screams and instead chooses to show a more vulnerable side to his voice, something I really wasn’t expecting,

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Brands Who Bumbershoot

PlayNetwork’s Marketing Coordinator Christy A. is a massive music fan and has attended every Bumbershoot since she moved to Seattle. She shares her brand + band highlights from this year’s festival experience.

Summer’s final beacon here in Seattle is the Bumbershoot festival, held every Labor Day weekend at Seattle Center. Bands large and small take over for three days of music discovery, comedy, and art. What caught my eye were brands large and small weaving their way into the festival experience, with plenty of opportunities for comfort, fun, and special perks as the weekend wore on.

PlayStation’s Road to Greatness touring truck greeted us at the main entrance, giving players the chance to test their skills at new and unreleased games, compete in live tournaments, and win prizes. Coca-Cola’s Share A Coke tour came to life with a custom kiosk, where we could personalize our own Coke mini cans with our first names. I’m not one for sipping soda all too often, but I had to step up to the plate!

PlayStation 4 Road to Greatness Share A Coke Can

Sparking ICE gave visitors reprieve from the heat with an air conditioned giant “ice cube”

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People at Play :: Craig Carman, National Sales Director

Our series, People at Play, highlights the creative minds who fuel PlayNetwork – a little bit of wisdom & insight, a little bit of rock & roll, straight from our teams.

Who :: Craig Carman

What :: National Sales Director

How :: For the past 20 I have been helping major brands in retail, food & beverage and hospitality enhance the customer experience through music, sound, video and scent.

1) You started working at PlayNetwork shortly after the company was founded in 1996. What was it like working at a small Seattle startup in the early 2000s?

In 1999, I was officially on-board the PlayNetwork team – my timing was impeccable, as there wasn’t room for any more people in the crammed office space located on the second floor of a small building under the Space Needle. After all, by this time they had continued to grow and now had 12 people working for the company.

When we moved into the new building in Redmond in January 2000, we couldn’t believe how much space we had to call our own!

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Playing music from your iPod to customers? Stop now. (4 of 4)

In our final post in the series on ensuring the music in your business is legal, we explore who’s responsible for obtaining licenses and the consequences if the proper licenses are not secured.

Responsibility for Licensing Music

The owner of the business where copyrighted material is performed is responsible for ensuring the proper licenses are obtained for every song played.  The business owner is also liable for any infringement of copyrighted music.

Consequences

Failure to obtain the appropriate music licensing can be very costly,  which is why it’s recommended to obtain licensing prior to playing music.  If you’re found in violation of copyright law, you can be fined for damages as well as for the copyright owner’s legal fees.  The amounts of these statutory damages can easily range from $750 to $150,000 per song if the court finds the infringement was willful.

Multiple Performance Rights Organizations

Performance rights organizations provide intermediary functions, particularly collection of royalties, between copyright holders and parties who wish to use copyrighted works publicly in locations such as shopping and dining venues. Because there are multiple PROs representing different songs and songwriters and their copyrights,

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Digital Technology and the Changing Face of Music Promotion

To kick off Capitol Hill Block Party, a variety of experts from the music industry gathered to discuss how digital technology is changing the way music is consumed.  The panel was moderated by Porter Novelli‘s Matt Ashworth and featured PlayNetwork‘s own VP of Global Brand Development,  John Crooke; Kevin Stapleord, Senior Director of programming at Slacker Radio; Eli Anderson, talent buyer for the CHBP; Reed Juenger, co-founder and producer of Beat Connection and Chris Estey from Big Freak Media.

The discussion highlighted how massive amounts of music have become easily accessible because of  technology, making curation more challenging and even more essential.  This curation is needed across all channels – from radio, DJing, venue & festival booking to in-store music.

It also highlighted the importance of art and commerce.  For example Eli, a festival and venue curator, tries to understand the effect that online music platforms such as Bandcamp have for top-played artists or what airplay in popular coffee shops actually translates to?  Does it mean filling venues and increasing sales?  Does it position the platform or business as music tastemakers to the public?

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Latin Alternative Music Conference 2014 – Alex’s Recap

Alex Espinosa is a Music Supervisor at PlayNetwork with over 16 years of experience working directly with brands around the world.  Though he’s worked in radio in the past, his passion lies in creating music experiences for his clients.  Alex has created the soundtracks for brands ranging from Taco Cabana and On The Border to Godiva and Nautica.

Quinceañera’s are usually reserved for Latina girls celebrating ones 15th birthday.   With the Latin Alternative Music Conference (or LAMC for short) now celebrating their 15th anniversary, this was a celebration of music and how far this conference, held in NYC, has come.  I’ve been attending LAMC for 10 years and was asked to speak on a panel aptly titled, “What Actually Moves the Needle?”.  What’s great about LAMC are the hungry musicians and fans from all over Latin America who attend and  listening to the pulse of what’s happening in world of Latin Alternative music.  One of the reasons why this conference means so much to me is not because of my love for Latin music and discovering new bands, but because it makes me hopeful for where this genre is going.

Day 1:

First up was French/Chilean Hip Hop artist Ana Tijoux playing at the Central Park Summer Stage.

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Seattle’s Pianos In The Parks

Though we’ve grown globally, home will always be where our heart is, here in beautiful Seattle, Washington. We are pleased to announce Pianos in the Parks – a program from July 17-August 17, which uses the power of music and art to encourage discovery and enjoyment of some of our region’s beloved parks and open spaces. Made possible by Laird Norton Wealth Management in partnership with Seattle Parks and Recreation, King County Parks, Seattle Symphony, KEXP, Gage Academy of Art, City of Music, Classic Pianos, PlayNetwork and others, Pianos in the Parks invites you to come discover our parks, explore your musical chops and enjoy some unique art. Visit the official website for more information and fun content throughout the month: www.PianosintheParks.com

Watch as local artists’ inspired re-designs of 20 pianos for the program come to life in this PlayNetwork-powered launch documentary:

Have you always dreamed taking center stage ala Elton John, Stevie Wonder, or Chopin? Enter the Facebook video contest between July 17 – August 17 for a chance to perform on Friday,

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The Impact of Brand Storytelling [Infographic]

In our previous post, Storytelling Isn’t Just for Kids, we learned the importance of using brand storytelling to uniquely position a brand and reach consumers.  In the pursuit of deeper connections with their desired audience, brands leave behind traditional advertising and find that providing compelling branded content is what really moves consumers to be a part of their story – their brand story.

This infographic illustrates the importance of brand storytelling, from the consumer’s viewpoint.

StoryTelling_Infographic_V5For more information on using content to tell your brand story check out nine keys to using music as a storytelling medium or contact us.

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Business music licensing

Playing music from your iPod to customers? Stop now. (3 of 4)

In this post, we explore what organizations are considered PROs and what role they play in music licensing in a business setting.

In the U.S., composers, lyricists, artists, and publishers become members of Performing Rights Organizations, who ensure their members are getting compensated for their creative works.  PROs pay members by collecting licensing fees and then distributing funds based on the amount of times their work has been performed or played.

The main PROs in the United States are American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music, Inc. (BMI) and SESAC. In order to avoid fines, you need licenses from each PRO that represents each song you play.

Getting a license from each PRO can be daunting and expensive task. Download our Music Licensing for Business Guide to find more affordable solutions for legal music.

 

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People at Play :: Zoë Dixon, Messaging Supervisor

Our series, People at Play, highlights the creative minds who fuel PlayNetwork – a little bit of wisdom & insight, a little bit of rock & roll, straight from our teams.

Who :: Zoë Maredith Dixon

What :: Messaging Supervisor

How :: In college, Psychology and Communication were the focal points of my studies but my genuine passion unveiled itself when I worked as the Assistant Music Director at a local radio station. I had finally found a vocation that spoke to me beyond scholastic curiosity and on an ardent level and it was there where I experienced my first taste of audio production and voiceover artistry. In addition to radio, I have voiced and produced characters for video games, global brands, web radio and streaming algorithmic radio. Also, I have acquired over 25 years of experience in musical theatre, dance, singing and stage acting which contributes significantly in honing my creative craft here at PlayNetwork.

☎ ) What role does messaging play as part of the connection brands have to their consumers? What do you take into consideration when in the concept creation process – how do you tap into the brand’s DNA?

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Retail Asia Expo 2014 + PlayNetwork

PlayNetwork recently had the opportunity to participate in the Retail Asia Expo June 10-12, 2014 in Hong Kong as the official music provider and curator for the featured “Senses Generate Sales” zone, as well as for the VIP cocktail and gala dinner events. Drawing from our core inspiration of ‘evolving the way brands move consumers through immersive entertainment,’ we also produced video content for the stunning projection video wall on the expo floor. It was a captivating experience, hearing from attendees about the impact of APAC brands’ growing vision involving storytelling, emotional interaction, and the connection between voice and vehicle, which resonates deeply with PlayNetwork’s philosophy.

Though we officially landed in Hong Kong in late 2013, we hadn’t had the chance to properly celebrate. The timing around the Retail Asia Expo allowed us the perfect opportunity to share our story with retailers in the region. We invited industry partners and some of the most creative brands in the industry to join us at Faces Music Lounge, steps away from the Retail Expo floor.  Guests were welcomed to the party with a soundtrack specially curated by our Music Supervisor Dean Carlson.

Key tracks that were included in the Retail Asia Expo party mix include:

  • A brilliant new single from Swedish dance artist,
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Original Video Series Created for FedEx Office Wins Telly Award!

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We are very proud to announce that the documentary style mini-series created as a part of the “Small Business, Big Potential” campaign for FedEx Office has won the Telly Award!

Small Business, Big Potential is an original series that tells the stories of real people, with real small business challenges who find smart, meaningful solutions at FedEx Office.  Each video features a soundtrack from new and emerging artists. Over 15 episodes have been produced and, stay tuned, 10 episodes that are scheduled to come out yearly.

Here is a sampling of the winning videos from the Small Business, Big Potential Campaign:

The Telly Awards annually showcases the best work of the most respected advertising agencies, production companies, television stations, cable operators, and corporate video departments in the world. The Telly Awards honor the very best film & video productions, groundbreaking online video content, outstanding local, regional, cable TV commercials and programs.

The winners are judged by a panel of over 500 accomplished industry professionals, each a past winner of an award. Work is evaluated against a high standard of merit to recognize creative work.

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Storytelling Isn’t Just For Kids

Think of an unforgettable brand. What makes it stand out from all the others?

Part of the stickiness this brand has can be tied to its “narrative” – the story that tells who the brand is, what it stands for, and who it aims to be. Brand narratives are becoming more and more critical as marketing, technology and consumers evolve.   As a trend, we’re witnessing customers care about more than just price or product.  They want to believe in what they buy and who they buy it from.

Weaving creative platforms, like entertainment media, and music into storytelling can help brands rise above advertising and promotions, which allows them to connect with customers outside of transactional cycles. These content mediums allow a brand to get personal and engage with audiences without having to hard sell. This type of interaction has the power to not only appeal to the senses, but also enrich the brand story.

Of the many benefits we hear from brands who have developed and tell their narratives with branded content, these are the most common:

  • It uniquely positions the brand. No longer is the brand/customer interaction based purely on advertising.
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3 Things Video Marketers Can Learn from Hollywood

We’re in a visual age. Screen sizes are larger, WIFI speeds are faster, and the tools and programs used for producing visual mediums are growing in number and sophistication.

All of these factors contribute to why 92% of companies use video in their marketing mixes*, making it the number one content marketing format. Video is the quintessential storytelling tool and for brands trying to nurture prospects through a sales cycle or engage their customers between transactional points, it can help cut through the clutter.

But merely producing and posting isn’t enough. Here are three things video marketers should keep in mind when formulating and executing on a video content initiative:

1)   Shoot as much as possible at once, then release in parts. Big blockbusters typically come with big budgets (and in turn are expected to produce big results). But event the biggest films are produced with efficiency in mind. The Lord of the Rings trilogy, The Matrix Reloaded and The Matrix Revolutions, and the Kill Bill volumes were each filmed concurrently to reduce costs and time, and then packaged as individual movies that were released independently. Content marketers can take the same approach when planning a video story or series – determine the story arc,

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Playing music from your iPod to customers? Stop now. (2 of 4)

In post #2 of 4 in our series on music licensing for business, we dive into the difference between licenses for business use vs. licenses for consumer use and what types of business need to have commercial licenses.

When you stream music from the internet using Spotify, purchase a CD, or download a song from iTunes, you pay only for personal use rights.  Personal use rights usually include the Master Use License and Mechanical License necessary to play the work for yourself (if you are wondering what those are, check out the first post in this series.)   Keep in mind that personal use rights acquired when making music purchases do not carry over to commercial settings.

Title 17 of US Copyright Law protects Public Performance Rights and lays out the ownership, scenarios and responsibilities for the licensing of music.

“Public” is defined as “a place open to the public or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered.”  A public performance also occurs when the performance is transmitted by means of any device to the public. 

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People at Play :: Dean Carlson, Music Supervisor

Our series, People at Play, highlights the creative minds who fuel PlayNetwork – a little bit of wisdom & insight, a little bit of rock & roll, straight from our teams.

Who :: Dean Sven Carlson

What :: Music Supervisor/Procurement – I direct and collaborate with a variety of clients; curating their monthly playlists and helping them communicate their brand through the language of music. I also serve as air traffic controller for new submissions to our massive music library, working closely with labels, promoters, managers and artists.

How :: I had a wild and wonderful career in commercial broadcast radio; playing the hits, winning awards, achieving high ratings, and breaking many new artists. I made the jump to web radio, during its infancy, and launched my own modern global radio show, which was syndicated world-wide to over 25 countries. In addition to media, I’ve worked in event management, design and promotion for a variety of organizations, including: Bumbershoot, SIFF, WOMAD, The Recording Academy, and the Decibel Festival.

♩)    What is the most important thing for you understand before you begin the music curation process for a brand? 

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Music & Marketing Intelligence Center from PlayNetwork

Introducing PlayNetwork’s Music & Marketing Intelligence Center, a sponsorship with Advertising Age

In our daily conversations with brands large and small, we frequently get asked similar questions about music, brands, consumers, and marketing, including:

  • What should a brand consider when incorporating music into the brand identity or marketing mix?
  • What trends do we see in the way brands use music today and foresee in the future?
  • What effect can music have on the customer experience?
  • What goes into building a music program that aligns with brand strategy?
  • How can a brand take a music strategy global?
  • What are the best ways to use music content in across customer touch points – in-store, at events, through the web, and on device?

We’ve answered all these and more in our Music & Marketing Intelligence Center, a digital experience hosted by the leading publication for advertising and marketing, Advertising Age.

Here you can find a wealth of content related to the topic, including our nine keys to marketing through and with music in 2014, an original mini-documentary on music discovery, a video series on building a music program, case studies on recent brand initiatives,

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Retail’s Evolution, One Movement at a Time

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Today, consumers’ desires are channel agnostic and developed from the knowledge and information that’s available across channels, a result of the omni-channel movement.  How do retail brands maintain channels that can keep up with customer expectations and anticipate them going forward?

In a recent PwC study, the solution is found in a new business model which they call Total Retail.  The building blocks for Total Retail call for less focus on channels and more focus on customers.   It includes a “Chief Customer Officer,” a leader who owns the customer experience, regardless of channel, and focuses on developing a brand experience to meet these 8 customer expectations:

  • The desire to discover a compelling brand story that promises a distinct experience.  This is the #1 factor consumers give for shopping at their favorite retailers.  They hear a voice bigger than the shopping experience.
  • Personalization, which is defined as customized offers based on protected personal preferences and information.  Retailers can craft and deliver the right offers at the right time based on past purchases or predictive analytics.
  • Access to enhanced and consistent experience across all devices–this is omni-channel. 
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A New Era at PlayNetwork

The PlayNetwork story has always been about growth.  Since 1996, we’ve evolved from an in-store music service to the leading global provider of immersive brand experiences.  Our footprint has grown to now reach over 100 million consumers every day through the world’s most recognized brands in over 107 countries.

To support the next phase of our vision, we’re passing the torch.

It’s with tremendous appreciation that we share Lon Troxel’s retirement from his role as PlayNetwork’s CEO, and announce the election of Craig Hubbell as his successor in this role.  We thank Lon for his dedication to our growth, stability, and culture, and wish him the very best in retirement.

Our goals have not changed. Under Craig’s leadership, we will remain true to what we do best:  helping brands create emotional connections with consumers across the globe through branded entertainment media.  We’re committed to global growth and innovation, while leveraging insights to deliver impactful experiences.

We are one team with one vision, and will continue to celebrate our culture through our Core Values and Guiding Principles.

We thank you — our team, our partners and our customers – 

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Playing Music From Your iPod to Customers? Stop Now. (1 of 4)

Music is a key element in creating an enjoyable customer experience, and understanding what’s legally required to play music isn’t the easiest thing to wrap your head around.  In an effort to simplify the requirements for licensing music in a business setting, we’re publishing a series of four blog posts that dive into the topic.

Our goal is to help you understand what it takes to meet the legal music licensing requirements for commercial settings, whether you’re a single location business or a global brand.  We’ll cover the different types of licenses, the difference between a business and consumer license, where the fees go and the consequences of playing unlicensed music.

Here is post 1 of 4 – Enjoy!

Music rights ownership

Whether you’re a store, clinic, or restaurant, it’s important to make sure you have all your bases covered when it comes to music licensing.  In the U.S. there are three main types of music licenses that need to be obtained by businesses: Master Use, Mechanical, and Public Performance.  In order to publicly transmit or perform protected work, it needs to be licensed from the associated rights holder for all three types.

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Happy 1st Birthday to the Sea-Tac Airport Music Initiative!

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Today marks the Sea-Tac’s one-year anniversary of the City of Music program.   During the first year, the program was awarded “Best Arrivals Experience” by the FTE consisting of a panel of industry experts.  During the initiative’s second year, the number of live musicians playing throughout the terminal will be doubled.

“The expansion of the live music program allows us to connect with even more of the 34 million passengers who travel through Sea-Tac every year,” said Port of Seattle Commissioner John Creighton. “With the airport providing the first and last impression of Seattle, we have a unique opportunity to showcase our region’s iconic music culture — and support jobs in the local music industry.”

The Sea-Tac Airport Music Initiative includes more than just live music and overhead music in the terminal.  It also features artist-read public announcements, feature videos on terminal and baggage claim monitors, a local music web player available via the airport’s free wifi, and the City of Music App.

We have teamed up with Port of Seattle,The Office of Film + Music, and Seattle Music Commission to showcase the Northwest region’s music culture and enhance the experience of millions of passengers who pass through Sea-Tac Airport each year.

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SXSW 2014 Recap – Julia’s Journal

Julia Cummings is Director of Music Services at PlayNetwork. She oversees the team of Music Supervisors who design in-store playlists (as well as on-line, video syncs, and beyond). With a background in radio production (KEXP) and Music Supervision herself, Julia has created the soundtracks for iconic fashion brands from Anthropologie to MAC Cosmetics.

SXSW is a sensory assault. A mad maze of music, music, people, music, lines, late-night food truck visits, sketchy bathrooms, drunk meanderers, and spontaneous jams in the middle of 6th street. Surprises. Navigating blocks and kids banging on buckets and the strangest strangers to catch as many shows as possible or just sitting on a dirty curb because your feet are so sore you JUST NEED TO SIT.  Then there is the dancing, the swaying, and the all-out full body listening to live performances- one after the next.

Day 1:

Check-in. Meet Susie Brown, from Lively formerly of PlayNetwork, for dinner.  Then journey off Rainey St. near the food cart court. Kind of a cool night. Cool enough to wish I brought a jacket, but not too cold for a Northwesterner. Very glad I catch moody set of Icelandic electronic (?) singer-songwriter Ásgeir at Blackheart,

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SXSW Interactive 2014 | Infographic

SXSW Interactive 2014 | Infographic

SXSW Interactive 2014 | Wearables, privacy, security hawks

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