- According to comScore, Vevo is the No. 8 online video content property in the U.S. The measurement company says Vevo streamed 331.1 million videos and had 37.5 million viewers that month. That was good for a 1.1% share in March (which might seem low, but other than Google sites nothing had higher than a 3.4% share). You may notice Vevo was absent from the online video figures released by Nielsen earlier this week. Nielsen does not count Vevo’s YouTube views as originating at a Vevo property. In contrast, comScore considers all views on the Vevo network – whether at YouTube or Vevo.com – as belonging to the Vevo property. Vevo gets about 90% of its traffic from YouTube, according to Vevo president and CEO Rio Cafaeff. (Press release)

-- YouTube is rolling out a new video player – although it doesn’t yet work for embeds or videos with ads. Among the features are: a semi-transparent progress bar; the volume bar slides out sideways so it doesn’t overlap with the video; and users can stop both playback and buffering. (NewTeeVee)

-- Jack White’s Nashville-based Third Man Records gets profiled on NPR’s “All Things Considered.” Seen as a progressive label, Third Man is really more of a throw-back – with a few twists. The label runs its own record store in Nashville where it has a recording studio, photography studio and performance space in-house. All releases are vinyl and digital – it has no plans to put out a CD. White describes launching a label during a downturn as a positive way of looking at a bad situation. “People aren't buying records like they used to, so it's nice to try to figure out a way to make them do it,” he told Craig Havighurst. One welcome aspect to White’s projects is his insistence that mistakes are left in the recordings – no digital makeovers. “Those are all the best moments, and that's where music has taken a left turn and they need to get back on the road,” he says. (NPR.org)

-- Lots of parallels to music in this discussion of the future of publishing with Jason Epstein and Dane Neller of On Demand Books, the maker of the Expresso on-demand book machine. The publishing industry is going through a fantastic transformation. This interview and a recent essay Epstein wrote for the New York Review of Books comprise a worthwhile overview of the history and changes of the business. The most surprising thing was a statistic on toner-based, digital on-demand market. Said Epstein: “The toner based market, which is what we are in, represents about 6% of the books market in the U.S. right now. It's twice as big as the e-book market and estimated to grow to 15% in the next three to five years. What is often not understood is that the toner-based, digital print on-demand market is larger than e-books and is experiencing a growth curve that is higher than e-books.”(Knowledge @ Wharton)

-- A few numbers stand out in Billboard’s article on collection society PRS for Music. First, ringtone revenues dropped 56% in the UK last year. Ringtones are the forgotten digital format, and their fall eats into growth of digital downloads and streams. Second, the International Copyright Enterprise (ICE), a joint venture between PRS and Swedish collecting society STIM, has helped PRS process more than £200 million ($306.7 million) this year. ICE was launched in to create a more competitive environment for global rights administration. (Billboard.biz)

-- How much will Lala be missed? It may have had a niche following, but users took to Twitter after hearing Apple is closing Lala in a month. Judging from the tweets, many people used Lala to sample music while deciding what to buy. The service gave listeners a free stream of any song and required a purchase for more streams – no digital loitering. One musician said his band “never made jack squat” from the store. Another person complained that Pitchfork would no longer be able to embed Lala players in their album reviews, thus robbing readers of the ability to immediately hear that 9.2 “best new music” album. (Twitter)

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