Tag Archives: Youtube

Beats by Girlz Releases BBG.television Season Two

JWords will return in Episode 2, “How to Use the Teenage Engineering OP-1 for Live Performance”
For Beats By Girlz’s Season 2, Episode 2, JWords explains “How to Use the Teenage Engineering OP-1 for Live Performance.”

Los Angeles, CA (March 21, 2023)—Beats by Girlz (BBG), a non-profit group created to empower the following era of girls and gender-expansive people by means of music and expertise, not too long ago kicked off the second season of its flagship on-line video sequence BBG.television.

The imaginative and prescient for BBG.television is to showcase girls and gender-expansive folks of colour within the Beats by Girlz neighborhood, in addition to to empower viewers by displaying how folks like them are utilizing music, manufacturing and expertise to dwell and work. Beats By Girlz at the moment has 34 energetic chapters in 15 nations worldwide.

Mix Immersive Music Production Nashville Announced for May!

For the second season, this system’s organizers needed to create a sequence of movies to focus on producers and artists in New York City. They interviewed 5 feminine and gender-expansive producers on their experiences, challenges and inspirations in creating music, and every artist-led two tutorials on methods employed of their music-making. The sequence, sponsored by Paramount, is being launched on YouTube, with featured content material on Instagram and TikTok.

 

The first episode options an interview with producer/composer JWords, masking how she bought began in music tech, how her background influences her music, and what makes her so captivated with music manufacturing. Episodes 2 and three go additional with JWords, masking “How to Use the Teenage Engineering OP-1 for Live Performance” and “How to Use the Teenage Engineering TX-6 to Make a Beat,” respectively. Future episodes shall be launched one after the other within the coming weeks.

The featured artists of BBG.television’s second season embrace:

• JWords (she/her) is a producer, composer and an Afro-Latina lady breaking boundaries in black digital music.

• Dani Murcia (she/they) is a songwriter, producer and educator, creating distinctive worlds by means of lush harmonies and haunting melodies.

• Ushka (she/her) is a Sri Lankan-born, Thailand-raised activist cultural organizer and DJ based mostly in Brooklyn.

• Lamb (she/they) is a musician, composer, choreographer and director exploring Blackness because the break which may rupture our attachments to Worlds, territories, and Man.

• Rosana Cabán (she/her) is a Puerto Rican-born, Brooklyn-based artist and producer. She makes use of sound, sculpture and efficiency as mediums to probe problematic binaries.

Netflix eats up 15% of world downstream site visitors, nearly as YouTube and TikTok mixed

The billions of {dollars} Netflix invested in video content material final yr have paid off, serving to the streaming large to beat even its personal expectations. Besides including greater than ten million new subscribers within the second half of 2022 and reporting higher than anticipated income, Netflix additionally had the biggest share of world web site visitors.

According to information by TradingPlatforms, Netflix was accountable for almost 15% of world downstream site visitors final yr, nearly as YouTube and TikTok mixed. Netflix Dominates in Downstream and Upstream Traffic

According to the 2023 Global Internet Phenomena Report from Sandvine, a vendor of bandwidth-management techniques, Netflix is absolutely the king by way of international web site visitors share. The streaming large was accountable for one-sixth the world’s whole downstream web site visitors final yr, essentially the most of any single software. This was a substantial enhance from 2021 when it had a ten.61% share in whole downstream site visitors.

Netflix dethroned YouTube, which noticed its share drop to 11.6% in 2022 on account of surging curiosity in viewing TikTok and different short-form movies. Further again however nonetheless with a major share, Disney+ was accountable for 4.5% of whole downstream site visitors, adopted by TikTok, PlayStation, Xbox, and Facebook. The survey additionally confirmed Netflix had the biggest share within the international upstream site visitors of 8.78%. The streaming large was adopted by HTTP media stream (6.89%), YouTube (5.9%), and generic internet searching (3.85%).

Still, there have been vital variations when analyzed by area. While Netflix was the king within the Americas and APAC, YouTube retained the crown in EMEA. According to the survey, final yr, Netflix generated 22% of whole web site visitors in America and 20% within the APAC area. The streaming app was additionally accountable for essentially the most downstream site visitors at 23% within the Americas and 22% in APAC.

On the opposite hand, YouTube nonetheless reigns in EMEA, with 18% of the whole, 19% downstream, and 11% of upstream web site visitors. Netflix ranked fifth for whole and downstream site visitors on this area.

Video Accounted for 66% of Total Internet Volume in 2022

As the worldwide demand for video content material continues hovering, most platforms are embedding and spreading video inside apps to extend views and engagement. According to the Sandvine survey, video accounted for a formidable 66% of whole web quantity within the first half of 2022, exhibiting an enormous 24% enhance year-over-year. Far under, {the marketplace} ranked because the second-largest class, with a 5.83% share. Gaming adopted, with 5.58%, respectively.

With the youthful individuals fleeing social networking and messaging platforms for brief, algorithmically customized video content material, which they get on TikTok, Instagram Reels, and YouTube Shorts, the social networking class dropped to fourth place with a 5.26% share in whole web quantity.

Are you on the lookout for video, design and advertising and marketing for video content material? Did you recognize Decoded has a Creative Agency? Find out extra by way of right here

The publish Netflix eats up 15% of world downstream site visitors, nearly as YouTube and TikTok mixed appeared first on Decoded Magazine.

Netflix eats up 15% of world downstream visitors, virtually as YouTube and TikTok mixed

The billions of {dollars} Netflix invested in video content material final yr have paid off, serving to the streaming large to beat even its personal expectations. Besides including greater than ten million new subscribers within the second half of 2022 and reporting higher than anticipated income, Netflix additionally had the biggest share of world web visitors.

According to information by TradingPlatforms, Netflix was chargeable for practically 15% of world downstream visitors final yr, virtually as YouTube and TikTok mixed. Netflix Dominates in Downstream and Upstream Traffic

According to the 2023 Global Internet Phenomena Report from Sandvine, a vendor of bandwidth-management techniques, Netflix is absolutely the king when it comes to international web visitors share. The streaming large was chargeable for one-sixth the world’s complete downstream web visitors final yr, probably the most of any single software. This was a substantial improve from 2021 when it had a ten.61% share in complete downstream visitors.

Netflix dethroned YouTube, which noticed its share drop to 11.6% in 2022 attributable to surging curiosity in viewing TikTok and different short-form movies. Further again however nonetheless with a major share, Disney+ was chargeable for 4.5% of complete downstream visitors, adopted by TikTok, PlayStation, Xbox, and Facebook. The survey additionally confirmed Netflix had the biggest share within the international upstream visitors of 8.78%. The streaming large was adopted by HTTP media stream (6.89%), YouTube (5.9%), and generic net looking (3.85%).

Still, there have been vital variations when analyzed by area. While Netflix was the king within the Americas and APAC, YouTube retained the crown in EMEA. According to the survey, final yr, Netflix generated 22% of complete web visitors in America and 20% within the APAC area. The streaming app was additionally chargeable for probably the most downstream visitors at 23% within the Americas and 22% in APAC.

On the opposite hand, YouTube nonetheless reigns in EMEA, with 18% of the overall, 19% downstream, and 11% of upstream web visitors. Netflix ranked fifth for complete and downstream visitors on this area.

Video Accounted for 66% of Total Internet Volume in 2022

As the worldwide demand for video content material continues hovering, most platforms are embedding and spreading video inside apps to extend views and engagement. According to the Sandvine survey, video accounted for a powerful 66% of complete web quantity within the first half of 2022, displaying a large 24% improve year-over-year. Far under, {the marketplace} ranked because the second-largest class, with a 5.83% share. Gaming adopted, with 5.58%, respectively.

With the youthful folks fleeing social networking and messaging platforms for brief, algorithmically customized video content material, which they get on TikTok, Instagram Reels, and YouTube Shorts, the social networking class dropped to fourth place with a 5.26% share in complete web quantity.

Are you searching for video, design and advertising for video content material? Did you recognize Decoded has a Creative Agency? Find out extra by way of right here

The publish Netflix eats up 15% of world downstream visitors, virtually as YouTube and TikTok mixed appeared first on Decoded Magazine.

Recording Academy P & E Wing Posts Immersive Webinars

Inside the Mix

Santa Monica, CA (March 10, 2023)—The Recording Academy Producers & Engineers Wing has archived and is making accessible six webinar episodes, titled “Inside the Mix,” that it co-presented with Dolby as a particular engagement of the Dolby Atmos Music Master Class sequence.

Each featured completely different consultants from Dolby protecting the whole lot from room configurations and tuning to metadata for immersive audio, together with a stay Q&A with producers and engineers working with Dolby Atmos immersive audio. The webinars had been launched by Maureen Droney, vp of the Recording Academy Producers & Engineers Wing, and Christine Thomas, Dolby Laboratories head of music partnerships, and moderated by four-time Grammy Award-winning engineer Michael Romanowski.

The episodes are offered by Dolby Atmos knowledgeable Ceri Thomas; Bryan Pennington, senior purposes supervisor at Dolby; David Gould, Dolby’s senior director, content material creation options, and John Scanlon, senior supervisor of Dolby Institute and occasions; and Mike Ward, Dolby director of client leisure expertise and Romanowski.

P&E Wing Shares Immersive Audio Panel

Topics embrace deliverables; room configurations and tuning; pointers, instruments and mixing workflow; a deep dive into the technical capabilities of Dolby Atmos Music codecs; metadata; and an outline of certification choices, skilled assist boards and data bases, and different sources.

Maureen Droney remarks, “As a part of the P&E Wing’s ongoing dedication to offering the trade with essentially the most wanted info, we’re happy to current these periods recorded with consultants from Dolby. These periods had been informative, well timed and entertaining as nicely, and we invite all audio professionals to observe them for yourselves and get the within scoop. We thank all of our company from Dolby for his or her incisive commentary, and we look ahead to additional periods protecting extra subjects of significance sooner or later.”

Also a part of the “Inside the Mix” sequence, a separate earlier session, “Prelude: Immersive Audio 101,” provided an immersive audio primer. The session featured panelists Jimmy Douglass (producer and engineer: Justin Timberlake, Missy Elliott, Jay-Z); Leslie Ann Jones (recording engineer, director of music recording and scoring/Skywalker Sound, and present co-chair of the P&E Wing); Mike Piacentini (mastering engineer: Bob Dylan, Coheed and Cambria, Miles Ahead – A Miles Davis Biopic); and Darcy Proper (mastering engineer: Billie Holiday, Steely Dan, the Eagles).The panel was joined by moderator Brian (BT) Gibbs (producer and immersive combine engineer, Skyline Entertainment & Publishing) and Droney.

 

Open Channel: You Matter. Yes, You.

Craig Anderton
Craig Anderton

Music is a product of its time.

It exists within the context of peoples’ memories and place markers along the timelines of our lives. It’s about the songs that are played at weddings, the music that consoled you in dark times, the hits that resonated with your joy and, of course, the sentimental connections that companies exploit shamelessly in TV commercials. Whether music celebrates passionate sex or the glory of God, you remember when you first heard music that left you transfixed.

Music captures emotions in waveforms. Our art is to create those waveforms, preserve them if possible, and let them go out into the world. But does what you do matter?

In YouTube’s Comments section for Fine Young Cannibals’ “She Drives Me Crazy,” it doesn’t get much more poignant than this:

[Heard it] in the summer of 1989 when I got married. Great song that takes me right back to my honeymoon in Turkey. Now 32 years later, I am nursing my sick husband to celebrate our last Christmas together. What a blast it has been. Gone so fast.

That stopped me in my tracks. It should stop you in your tracks, too.

THE POWER OF SONG

Did songwriters Roland Gift and David Steele know they were going to create something that went beyond “just a song”? When the console was powered up in Studio B before the session at Paisley Park, did anyone think what they made would endure in the minds of listeners over 30 years later? Probably not. They were artists. What they did was create art.

Sure, that recording was also a bottom line on a spreadsheet somewhere. But for the person making that YouTube comment, it was a marker on the timeline of a marriage that endured literally in sickness and in health.

And here’s why that comment should stop you in your tracks. These days, I hear much minimizing of what musicians, engineers, songwriters and producers do. “Oh, it’s okay they only get a pittance for streams; there’s so much music being released, can they really expect to make anything from it?”

Or think about the YouTubers with their “pro tips” that say you don’t need to know engineering or production. “Just click on this plug-in from a company I love more than life itself, and you’ll get results as mind-blowingly awesome as pros like me!”

Think about the companies that try to convince us we need to take the lightning-in-a-bottle recordings of the past and redo them with a “modern” sound. Why? Because clearly the people who did them weren’t very good, otherwise we wouldn’t need to make things right. We need to correct their “errors,” spice up the high end, get rid of those pesky dynamic range variations, and have the sound play back through 72 speakers. There! Doesn’t that sound better?

Uh…no.

THE VALUE OF YOU

When I was a studio musician at Local 802 in New York, each check meant that a producer (and maybe even a record company) valued my contribution. Each time I was paid double-scale, I felt doubly acknowledged that I mattered. Clubs at that time didn’t expect you to “pay to play.” Most of the places I played were run by people who may have been sketchy businessmen, but generally they were people who loved music, and at least respected the art that musicians created. Maybe they couldn’t be artists, but in their own way, they could be patrons of the arts.

Open Channel: Is the Race to the Bottom Over?

Open Channel: The Future’s So Bright, I Gotta…Write About It

Today, many engineers, musicians, and live sound mixers can echo comedian Rodney Dangerfield’s famous line: “I don’t get no respect.” But you should. The school boards that think cutting music education is a priority, the venues that expect playing at a loss “for exposure,” the all-you-can-eat streaming services that see songs and recordings as products to be consumed—not art to be appreciated—are explicitly telling you that you’re not worth much.

But you are. You’re worth a lot to the veteran playing “We Gotta Get Out of This Place” over and over to maintain some level of sanity. You’re worth a lot to the young girl who listens to Taylor Swift and thinks, “If she can be herself, so can I.” You’re worth a lot to the person who received a lifeline from you—that you didn’t even realize you’d sent out—in a period of crippling depression. You’re worth a lot to the couples that get teary-eyed whenever they hear “our song.”

You matter. Don’t believe anyone who tells you that musicians don’t matter, engineers don’t have any skills that can’t be acquired by choosing the right plug-in, and producers aren’t needed anymore. I understand why some people think that way: society’s current fixation is on how much you make, not how much you contribute. But maybe that’s one reason why so many people have a nagging feeling the world is going in the wrong direction.

Stand tall. You’re an artist, and anyone who looks down at what you do will never understand what it’s like to create something intangible that changes someone’s life, or that simply triggers recollections that bring joy to someone whose memories of life and music are forever intertwined.

Splice adds ability to generate certified license for samples

As of last week, Splice subscribers can generate a PDF document that shows the certified license for any sample they have downloaded on our platform. If this sounds like peak boredom to you, you’ve probably never received a flag from a hosting platform like YouTube, CDBaby or DistroKid, claiming that your track is not 100% original. Read on to learn more…

Why do I need a certified license for my Splice samples?

Every single sample on Splice is 100% royalty free, meaning they’re free to use, even for commercial use. This means you can download samples on Splice, then make and release original music with those samples, and you don’t owe Splice (or anyone else) any more than your subscription fee, even if your track goes viral or gets picked up by Taylor Swift. However, you still need to disclose the use of third-party materials in your new content / creation.

The license that your subscription grants is perpetual and non-exclusive, meaning you have rights to use the sounds that you download forever, but so does every other Splice user who has downloaded those samples through our platform. Therefore, when you want to distribute your new content / creation with a third party (e.g., YouTube, CD Baby, Distrokid, etc.), you can now provide a copy of the certified license to any third-party distributor, which will disclose that your new content / creation contains a sample and that your use of that sample is permitted and verified. Perpetual, non-exclusive licenses have been the status quo for as long as sample packs have existed, and the system has worked fine… until recently.

How do hosting platforms check for copyright infringement?

To combat copyright infringement, platforms like YouTube use automatic copyright detection algorithms, which analyze submitted audio and compare it to a massive database of copyright-registered music. Overall, this is a great thing for producers, musicians and labels; it prevents folks from using an artist’s music without permission, or without paying for the rights to do so.

But problems arise when these automatic systems detect a royalty-free sample as a unique factor of the work. This is especially relevant for vocal samples, long instrumental loops, and other samples that are likely to be used in full, without alteration, because they stand out to the auto-analyzers. And, once a recognizable sample is associated with a song, every time the algorithm ‘hears’ the sample, a copyright infringement flag is issued to every subsequent creator who uses it prominently.

At Splice, we’ve been aware of this issue for some time, and we have supported affected users with a manual process to generate certified licenses upon request, which is less than ideal for all parties involved (shouts to our content team for staffing the emails and generating licenses by hand). In an ideal world, the third-party distributor detection systems would compare the audio to the Splice catalog and other royalty-free sound libraries out there to rule out any false copyright infringement claims.

How to generate a license

How to generate a certified license for your Splice samples

Until this is a reality, we’ve designed an automated system where you can generate a certified license document, in PDF format, right from the Splice website. Just go to Your Sounds, select the sample (or samples) you would like to be included in the license, and click ‘Generate certified license’ either from the  dropdown, or from the sidebar. Enter your full legal name, as well as the artist or producer name that will be used when releasing the work. Then, click ‘Generate certified license’ and the PDF document will land in your browser’s downloads folder. From here, you can upload the document when you submit your release to show proof of your license.

While we can’t guarantee that your tracks won’t get flagged in the future, this certified license will be all you need to show proof that you can use the sample legally, to dispute the claim and get your music out to the world as soon and seamlessly as possible.

How much does it cost to generate a certified license for your Splice samples?

Generating a certified license is completely free, and you can generate as many licenses as you want, with any combination of sounds in your library. The only condition is that you need to have downloaded the sample or samples using credits from your Splice account (don’t worry, the system doesn’t let you generate a license for samples you don’t have rights for).

To read our full Terms of Use, head to https://splice.com/terms, and check out our Licensing FAQ too. If you still have questions relating to this new feature, please contact [email protected].

The post Splice adds ability to generate certified license for samples appeared first on Decoded Magazine.

Splice adds ability to generate certified license for samples

As of last week, Splice subscribers can generate a PDF document that shows the certified license for any sample they have downloaded on our platform. If this sounds like peak boredom to you, you’ve probably never received a flag from a hosting platform like YouTube, CDBaby or DistroKid, claiming that your track is not 100% original. Read on to learn more…

Why do I need a certified license for my Splice samples?

Every single sample on Splice is 100% royalty free, meaning they’re free to use, even for commercial use. This means you can download samples on Splice, then make and release original music with those samples, and you don’t owe Splice (or anyone else) any more than your subscription fee, even if your track goes viral or gets picked up by Taylor Swift. However, you still need to disclose the use of third-party materials in your new content / creation.

The license that your subscription grants is perpetual and non-exclusive, meaning you have rights to use the sounds that you download forever, but so does every other Splice user who has downloaded those samples through our platform. Therefore, when you want to distribute your new content / creation with a third party (e.g., YouTube, CD Baby, Distrokid, etc.), you can now provide a copy of the certified license to any third-party distributor, which will disclose that your new content / creation contains a sample and that your use of that sample is permitted and verified. Perpetual, non-exclusive licenses have been the status quo for as long as sample packs have existed, and the system has worked fine… until recently.

How do hosting platforms check for copyright infringement?

To combat copyright infringement, platforms like YouTube use automatic copyright detection algorithms, which analyze submitted audio and compare it to a massive database of copyright-registered music. Overall, this is a great thing for producers, musicians and labels; it prevents folks from using an artist’s music without permission, or without paying for the rights to do so.

But problems arise when these automatic systems detect a royalty-free sample as a unique factor of the work. This is especially relevant for vocal samples, long instrumental loops, and other samples that are likely to be used in full, without alteration, because they stand out to the auto-analyzers. And, once a recognizable sample is associated with a song, every time the algorithm ‘hears’ the sample, a copyright infringement flag is issued to every subsequent creator who uses it prominently.

At Splice, we’ve been aware of this issue for some time, and we have supported affected users with a manual process to generate certified licenses upon request, which is less than ideal for all parties involved (shouts to our content team for staffing the emails and generating licenses by hand). In an ideal world, the third-party distributor detection systems would compare the audio to the Splice catalog and other royalty-free sound libraries out there to rule out any false copyright infringement claims.

How to generate a license

How to generate a certified license for your Splice samples

Until this is a reality, we’ve designed an automated system where you can generate a certified license document, in PDF format, right from the Splice website. Just go to Your Sounds, select the sample (or samples) you would like to be included in the license, and click ‘Generate certified license’ either from the  dropdown, or from the sidebar. Enter your full legal name, as well as the artist or producer name that will be used when releasing the work. Then, click ‘Generate certified license’ and the PDF document will land in your browser’s downloads folder. From here, you can upload the document when you submit your release to show proof of your license.

While we can’t guarantee that your tracks won’t get flagged in the future, this certified license will be all you need to show proof that you can use the sample legally, to dispute the claim and get your music out to the world as soon and seamlessly as possible.

How much does it cost to generate a certified license for your Splice samples?

Generating a certified license is completely free, and you can generate as many licenses as you want, with any combination of sounds in your library. The only condition is that you need to have downloaded the sample or samples using credits from your Splice account (don’t worry, the system doesn’t let you generate a license for samples you don’t have rights for).

To read our full Terms of Use, head to https://splice.com/terms, and check out our Licensing FAQ too. If you still have questions relating to this new feature, please contact [email protected].

The post Splice adds ability to generate certified license for samples appeared first on Decoded Magazine.

A series of short films depicting a variety of London’s music scenes have been released online

A series of short films depicting a variety of London’s music scenes is set to be released later this month, which have been crafted through a partnership programme between Skiddle, the event discovery platform and London based youth charity, Young Urban Arts Foundation (YUAF).

The new programme, which was launched in April 2022, aims to support young people in the London community by empowering marginalised creatives in underserved areas, such as those where young people are at high-risk of child exploitation, being a victim of crime, or simply do not have access to opportunities.

The final cohort consisted of a diverse group of young people from across London and surrounding areas, including an aspiring film director, a singer songwriter, a presenter and journalist – all of whom are passionate about creating and the arts and keen to break into their respective industries.

‘The Sounds Of My London’ series, which debuted in an exclusive screening at The Halley on 18th October, shows different boroughs and how the vision of the city can differ depending on the community someone is part of. The programme has given participants the knowledge to create an original content series, and featured guest facilitators including actor Femi Oyeniran and director & producer Nicky Slimting Walker.  

The films give an insight into the real music scene and communities of the city and has been built using many different mediums, including utilising video footage, illustrations, animations, audio recording and photography. Through the programme, the young creatives have come together into three teams to create three insightful short films, which will be available to view across Skiddle’s YouTube channel.

The three films are: 

London’s Jazz Scene

Created by Lulu, a 20 year old singer songwriter from East London who has a passion for content creation and Migul, 18 years old and from Kent, who is an aspiring film director currently studying at London Screen Academy.

‘London’s Jazz Scene’ takes a good look into the history of Jazz within the capital and its influence on young people in the city. From the iconic Ronnie Scott’s to a local but hugely successful underground Jazz bar called Oliver’s, the piece reveals the city’s undying love for the genre.

Moments in Grime

A film by Ella, a 18 year old aspiring presenter from Enfield with a love for journalism and radio and Adara, a 21 year old from West London. Adara has previously worked on Big Zuu’s Eats through a previous YUAF programme, and wants a future in the TV & Film industry.

‘Moments in Grime’ celebrates iconic moments in Grime. From Stormzy at Glastonbury to D Double E’s brilliant Ikea advert, the London born genre has grown and developed into a global phenomenon. This is a celebration of its success.

Betterment of Drill

By Faith, a 20 year old hailing from South East London, who aspires to work in the Film & TV industry. Alongside Serena, a 19 year old presenter and journalist from Croydon with a YouTube channel dedicated to showcasing her interviews.

‘Betterment of Drill’ takes a look at the positive impact of Drill music in the capital, its influence on young people and how its controversial undertones are hardly unique to the genre alone, therefore, are they that bad at all? Digging a little deeper, we explore a genre that has not just split the capital, but the nation.

Laurie Charlesworth, YUAF Futures Programme Lead and the Young Urban Arts Foundation said: ”Thank you to the team at Skiddle for providing our young people with such an incredible opportunity. It was an absolute pleasure seeing these videos come to life. None of the young people knew each other before they started the project and between them, they had a range of basic to very little experience making content or videos in this way. Through 6 weeks of hard graft around busy college and work schedules, our young creatives produced 3 vibrant, interesting and informative videos, focusing on music cultures close to their hearts. I am so proud of what they’ve accomplished. We look forward to working with Skiddle again in a bid to provide even more young people from the capital amazing opportunities!”

Lisa Braithwaite from Skiddle added: “Our partnership with the Young Urban Arts Foundation has been a joy. It is so important to us that we shine a light on the young creatives, so we have loved overseeing the creation of these short films. We are so excited to finally be able to unveil the final products of the hard work these young creatives have put in!”

The partnership with YUAF was formed as part of Skiddle’s commitment to the wider communities within London, and the different cultures within its boroughs, providing more opportunities for events and artists to flourish via its platform.

YUAF, who are currently supported by a number of partners including Sony Music, PRS and Ditto Management, was born out of a passion for music and the arts and how it can empower the lives of young people by strengthening well-being and building opportunities through creativity and culture. YUAF is on a mission to help at-risk young people within youth minority communities, to have them seen, heard and celebrated.

The programme has run as part of the ‘YUAF Futures’ pillar, which was created for young people aged 16-19 from communities challenged by inequality (BAME, LGBTQIA, disabled teenagers and those living in poverty), with an aim to provide them with work experience placements within their chosen industry. YUAF’s goal of the Future’s scheme is to help to build a support network and self belief in the youth community to drive their aspirations. 

To find out more information about YUAF and their other projects, head to their website and to view ‘The Sounds Of My London’, find Skiddle on YouTube

The post A series of short films depicting a variety of London’s music scenes have been released online appeared first on Decoded Magazine.