Words matter. These are the best Streaming Quotes from famous people such as Maren Morris, Jonas Blue, Scott Weiland, Joe Budden, Jason Katims, and they’re great for sharing with your friends.
I love listening to the radio because there’s something about that discovery, that platform, still being the main medium. And it is changing with streaming services, but I like to listen to what people are listening to and figure out why is this song so catchy.
I come from the streaming world, so the changing trend of consuming music that way is positive for me.
For the most part, rock fans don’t go and buy CDs any more, very rarely. It’s pretty much about downloads and streaming.
I couldn’t tell you what the standing is in radio, I’m in the streaming world. I’m in the podcasting world. Radio just sounds archaic almost. It’s a never-ending battle. I’m so glad I’m retired so I don’t have to see the nonsense.
What’s great is that I keep hearing from people who are discovering ‘Friday Night Lights’ because of streaming and Netflix and Hulu and all of these things. Somehow… things don’t get old as fast as they used to. They stay vibrant.
Consumers are looking for those trusted brands to help with search and discovery and streaming content choices.
The stigma that used to exist many years ago, that actors from film don’t do television, seems to have disappeared. That camera doesn’t know it’s a TV camera… or even a streaming camera. It’s just a camera.
I used to watch TV in the days that I was on TV. But in that time, streaming has come along. So I can honestly say, I have no idea what’s on real-time TV.
People are experimenting with streaming, with subscription services, whether it’s a Spotify or a Pandora or a Rdio.
The idea of a streaming service, like Netflix for music, I’m not totally against it. It’s just we won’t put all of our music on it until there are enough subscribers for it to make sense.
You have to make time for fans, and you really need to appreciate them. You have to remember that if they weren’t buying, playing, or streaming your music, you wouldn’t be in the charts, and people wouldn’t be hearing your music.
There’s a widening of an idea of what a TV show can be or how it can be told, and that’s partially in the diversity of the creators and the stories. Because there are so many new networks and streaming services popping up every day that need more content, there are more opportunities to take risks.
The more we can personalise, the more the market can fragment, because of all the availability that streaming presents. Things become old sooner. That’s terrifying.
It turns out that all Netflix streaming peak on Saturday night can fit inside a single fiber optic, which is the size of one human hair.
Streaming TV shows, movies, and other types of video over the Internet to all manner of devices, once a fringe habit, is now a squarely mainstream practice. Even people still paying for cable or satellite service often also have Netflix or Hulu accounts.
It felt as if things were literally slipping through my fingers. Things were just streaming away from me. I lost my sense of humor. I’m still looking for that.
I think overall, and this isn’t specific to Spotify or any streaming service or any label… when you consider the overall value chain of the music industry and how important the songwriter is to the business – I think there needs to be another look at the value chain.
With Caavo, you don’t have to know the device name, the network name, the service name. Just which show you want to watch, regardless of whether it’s live, recorded, downloaded or streaming.
I really enjoy working, you know, on streaming outlets because there’s so much creative control for the creators of the shows, and, you know, you’re allowed to make such great television.
I’ve really enjoyed working together with Apple to help launch their new streaming service. It is really cool to see Apple getting involved.
It’s incredible that Apple is launching a streaming service with an ode to broadcast TV.
I’m all for streaming, and I do think it’s thrilling that a gazillion people can see our film the day it drops. On the other hand, I’m a fierce believer of the theatergoing experience. My hope would be that films can be enjoyed in both ways, that there’s room for both.
There was a time when I didn’t find a single, interesting Hindi TV show to watch, and ended up binging on American TV. Now, with online video streaming services, one is spoilt for choice, and it’s getting better in terms of the wide variety of content to satisfy the diverse tastes of its audience.
People imagine that Netflix sprang fully formed into a global streaming giant, but Netflix might have been personalised sporting goods – or customised shampoo – or even pet food, since these were all ideas that I pitched Reed Hastings in those first months.
We make movies to be watched in theatres. Online streaming is more of a bonus, to revisit the film.
I was always kind of against streaming, but I’ve been traveling so much, and I usually carry a huge hard drive of digital music with me, but I haven’t had time to deal with it, so I’ve been doing streaming. And I had this incredible breakthrough of weightlessness where I’ve really been loving streaming music.
I just got a Filmstruck account so I can watch all of those Criterion movies streaming. I’ve been nerding out about that.
It is clear that for many of our members two websites would make things more difficult, so we are going to keep Netflix as one place to go for streaming and DVDs.
I think streaming works a lot better from an app.
We don’t want to be part of some Tidal ‘streaming revolution,’ nor do we want to be Taylor Swift and be anti-it.
Apple, iTunes, and streaming services have made the single a more easy thing to access. What that’s done has made the album as a collection of songs almost meaningless. But an album that has a concept or story or reason to be an album, if anything, has more meaning now than it ever has.
Of course I catch up on the odd Malayalam and Tamil movie on streaming platforms once a while.
I like to think of Everest as a great mountaineering challenge, and when you’ve got people just streaming up the mountain – well, many of them are just climbing it to get their name in the paper, really.
On Netflix and other streaming services, they’re taking risks that are based on ‘Come with us! Come with us!’ and the audience does.
Sure, we all like listening to music on vinyl, but that doesn’t mean streaming music on Spotify is bad.
There is something about a live performance that you just cannot replicate anywhere else. Live streaming has been wonderful but it’s just not same as sitting there and experiencing that electricity, with a group of other people that you don’t even know and all being brought together.
Podcasting is not really that different from streaming music, which we’ve done for quite a long time. Having a traditional podcast that people subscribe to – the hype is ahead of the quality. Podcasting is essentially a download, and you run into copyright issues. What you’re left with currently is podcast talk radio.
I don’t get tons of scripts to be looking at and deciding on in terms of feature films; the industry has changed. Fortunately, with television and streaming and original series online, there’s this whole new thing that has opened up, which I think is fantastic.
With streaming services, the walls have come down a bit on genres. So I never really set out to make a country record or a pop record. I just wanted to make it mine.
I am really excited at being the face of Hotstar in AP and Telangana because it is a streaming service that I use very often, and the brand is very young and edgy.
Streaming services are very important.
The way streaming is going, this movement in the market of music would suggest that doing a long-form project, especially for a new artist like me – someone who relies on a lot of digital following – it would make more sense for me to release the songs individually.
I need to know how many records I’ve sold, how many album equivalents from streaming, which territories are playing my music more than others, because it helps me in conversations about where we’re gonna be playing shows or where I might open a retail location, like a pop-up store or something.
The larger streaming grows, the less money there will be to get the music out there, which, to me, is the sad part.
With streaming, everything is focused on singles. That means an artist’s depth doesn’t have the chance to shine through.
With streaming concerts, we can all be together at the same time: the whole world, all at once, can be sitting front row from wherever they are in the world.
As the streaming wars escalate in 2020 with all these services, we have one of the largest live audiences of millennials who are watching a streaming program – so obviously, there’s a lot of synergy there.
Our generation is the most cinematically saturated of all time. Videotapes, DVD’s, streaming… Spielberg… all of it has thrust us into an endless loop of consumption.
With our work at Kazaa, we began seeing growing broadband connections and more powerful computers and more streaming multimedia, and we saw that the traditional way of communicating by phone no longer made a lot of sense.
When streaming came out years ago I loved it. I loved having an audience, I loved chatting away and looking at a live chat and now on Twitch you can actually get a career at it.
I think that network TV is going to either have to reinvent itself or it’s going to have to be more competitive – there are just so many options now with streaming and everything.
Even in the off season, people are streaming the show or buying the DVD sets, and new audience comes to ‘Leverage’ every year we’ve been doing it.
I think streaming technology is definitely coming, and it’s gonna make people’s access to games infinitely easier. You’ve seen it happen to music and movies, and I think it’s a great thing.
With YouTube streaming and Twitch and all that, you can just hop on on any given night and play videogames and have people come watch you. And even if you’ve only got 400 people watching your stream, that’s more people than would see my comedy if I went to UCB.
My bigger game plan was always to be the top artist in the heart of people and that probably made me artist of the year on multiple music streaming platforms.
I’m not into digital marketing, downloading, or streaming – I’ve always been a man of the theaters.
The first step in mobility was about letting people speak to each other; then, through 3G and 4G, we saw real connectivity – which works but isn’t really designed for quality streaming. With 5G, we won’t just be able to communicate better: it will democratise machines.
I founded Netflix. I’ve built it steadily over 12 years now, first with DVD becoming profitable in 2002, a head-to-head ferocious battle with Blockbuster and evolving the company toward streaming.
With Spotify and all those streaming services, you don’t get paid anything. You have to be, like, Madonna or something to actually make a real royalty from that.
To me, the machinima artform has essentially evolved now into the Let’s Play streaming world. That’s what it is: it’s people performing and creating art using video games. It’s just more personality-driven rather than story-driven these days.
Generally speaking, the business of music streaming is treacherous at best: Consumers don’t seem to want to pay big money for access to digital music services, so companies must keep the fees low.
I was raised in an observant Jewish household, so for me, Hebrew prayers – the sounds, the sunlight streaming in from the stained-glass windows of a synagogue – bring my father back to me as surely as if he were sitting next to me, my head pressed against his shoulder.
I mean even I don’t know how to buy music online. I go on a music- streaming site or an online music store, there are so many steps you have to go through, before you get to download the song. Then, if I have made my account, then I forget my password daily.
Broadband connections allow us to access more robust types of content, services, and applications – video chat versus email, or live streaming versus chat, for example. Yet if we look beyond our own personal use, we can see that broadband Internet access is not merely a convenience: it is a powerful force for social change.
The fact is that ‘free’ in music streaming is so technically good and ubiquitous that it’s stunting the growth of paid streaming.
Most companies that are great at something – like AOL dialup or Borders bookstores – do not become great at new things people want (streaming for us) because they are afraid to hurt their initial business.
When I’m not streaming, I have time to reflect on all the growth, and I don’t like that. I’d rather just be home playing. I’m like, ‘I haven’t played a celebrity in a while. I haven’t done something big in a while. Is it because I’m slowing down?’
Businesses which were slow to recognize the power of the Internet in the mid ’90s were quickly left behind. For example, Blockbuster failed to innovate with streaming technology and filed for Chapter 11 bankruptcy in 2010.
How do people relate to movies now, when they’re on portable devices or streaming them? It’s not as much about going to the movies. That experience has changed.
Because of streaming, serialized television has become less of a dirty word when you’re pitching shows. I had to fight for that for so long as someone who’s always gravitated towards ongoing story lines with characters that evolved and changed and storylines that continued over longer arcs.
I really like streaming services. It’s a great way for people to find your music.
‘The One I Love’ came out in theaters for the enthusiasts and did a chunk of business on VOD. But when it started streaming on Netflix, it exploded. Same thing with ‘Safety Not Guaranteed.’
The royalties from downloading are bad enough but the royalties from streaming are non-existent.
The pinpoints of starlight we see with the naked eye are photons that have been streaming toward us for a few years or a few thousand.
A Hubble Space Telescope photograph of the universe evokes far more awe for creation than light streaming through a stained glass window in a cathedral.
My main concern about coming back is being able to financially support it on my own. I don’t want to depend on any record company to do it for me. But I have a fan base, people still streaming my music.
Streaming is something that’s going to require tons of billions of dollars of investment, building server farms close to users and 5G and everything else.
When I was releasing EPs by myself, I was generating royalties. And when I signed, I thought I’d put those royalties into other artists. And interestingly, streaming is most of the income for those artists.
For the BBC and others, a free website is an obvious and relatively cheap addendum to their main purpose of streaming news and entertainment on screen to a mass audience.
My whole life, I’ve sung and listened to music, and since the beginning, I’ve had iTunes and used Apple Music for streaming.
Because of things like iTunes and streaming and social networking, it’s destroyed music. It’s destroyed the motivation to go out there and really make the best record possible. It’s a shame.
I think streaming, in general, is democratising music in general.
Views are overrated; it’s light that counts. I have an apartment in Miami’s South Beach, and I get tired of looking at the ocean. Even that view gets old after a while. Sunlight streaming into a room – it never gets old.
There’s a finite market for DVD-by-mail, and the growth over the next 10 years will be in streaming.
‘Frontline’ started doing digital content in 1995. We started streaming our films in 2000.
From the artist’s standpoint, are you getting more from streaming than you used to, prior to the days of the Internet? No – and I don’t know if those days are ever going to come back – but at least, technically speaking, it’s the legal way to do it.
Thinking back to boyhood days, I remember the bright sun on Harlem streets, the easy rhythms of black and brown bodies, the sounds of children streaming in and out of red brick tenements.
There’s a lot of artists whose contracts are written in such a way that they do not get paid for what’s happening on streaming services.
If you crave further confirmation that Silicon Valley is a magical place where magical thinking reigns, consider the tale of Roku, the video streaming company that filed to go public Friday, when alert people everywhere were headed out for a long weekend.
The management teams in these royalty and streaming companies have the highest-quality research and the most visibility into all of the producers. So if you really want to know what’s going on in the resource space, you should talk to the management team of a royalty company.
I think the cool thing about being alive in 2017 is that you can literally put out music as soon and as frequently as you want to because of streaming services.
I like streaming music. I’ll be in the car going, ‘I want to hear Scotty Anderson.’ He’s a great guitar player not many people know about – maybe me and two other dudes know him. But I love him, and I can pull him up on Apple Music, and there it is, right there in my car.
Movie theaters still exist in spite of all of the alternatives that are available, video and video-on-demand and DVD and streaming video and all of these things.
DivX Plus Streaming is adaptive bit rate streaming solutions, which means it works by detecting a user bandwidth and CPU capacity in real time and adjusting the quality of the video stream accordingly.
Competing and streaming ‘Fortnite’ all night at the most iconic building in Chicago, a city close to my heart, is a dream come true.