Shazam Outage Map

Community Discussion

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Shazam Issues Reports

Latest outage, problems and issue reports in social media:

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  𝒟𝒾𝒹𝒾 ☆ (@johan1151951) reported 2 minutes ago

  @emmywayne64 Shazam he is broken

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  jena (@srepsev) reported 2 minutes ago

  the venue under my apartment needs to stop playing remixes bro like I’m up here tryna Shazam this **** and it’s not working 💔

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  Julie Hill (@hill_julie75450) reported 3 minutes ago

  @wakeupusa Oh Geez, not another new word. Besides a cheek swab, just pull your pants down and see what you were born with. Shazam you are a female and or shazam you are a male. No one's taking their rights to identify how they want, but you can't negate biological reality.

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  Sully (@ICSully) reported 3 minutes ago

  @YagoRochaAlvz "He took down the Snyderverse" Outperformed both Shazam movies, Flash and Wonder Woman 2 and was the better movie.

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  Brian Costello (@BrianRCostello) reported 3 minutes ago

  He was literally doing the job of a studio CEO in trying to make his company’s product better after audiences not being thrilled with it If the film had been scoring better and not in the same range as Shazam 2 and Batgirl in the 60’s, there would have been no issues

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  Drü 🜃 (@drewexmachina) reported 9 minutes ago

  I thought this film was complete garbage but this is a hill I'd gladly die on. Wish she'd gotten her own film and got rid of the terrible goofy Geoff Johns'y comedy of Shazam 2.

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  ɆmmΛnü℮⩚ (@nexusevent123) reported 10 minutes ago

  @OtunbaSebotimo @The_Big_Chifa_ One of the biggest issue was that Billy as a kid was too mature well composed and kinda mopey most times and when he becomes Shazam he acts like a complete child.

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  Recovery Simp (@recovery_simp) reported 10 minutes ago

  This COSOMA debate made me realize something… A thread 1/ While everyone is arguing about royalty payouts, I’m seeing something different. I’m seeing a system problem. And software problems are meant to be solved. 2/ If artists don’t fully trust how royalties are calculated… If the public doesn’t understand the monitoring system… If people keep asking where the numbers come from… That’s a transparency problem. Transparency is exactly what technology can improve. 3/ Imagine a platform that monitors radio and TV broadcasts in real time. Not guesses. Not spreadsheets passed around. Actual digital monitoring with an auditable trail. 4/ Imagine every song played being automatically detected using audio fingerprinting—similar to how Shazam recognizes music. Every play gets recorded. Every record has a timestamp. Every calculation can be traced. 5/ Now imagine every artist having their own dashboard. “My song played 287 times this month.” “These are the stations.” “These are the broadcasts.” “This is exactly how my royalty was calculated.” No mystery. Just data. 6/ The platform could also allow broadcasters to upload playlists digitally instead of relying only on manual submissions. Everything becomes faster. Everything becomes easier to audit. Everything becomes more transparent. 7/ And why stop there? Churches… Event organizers… Festivals… DJs… Could also submit licensed digital setlists. The more legitimate usage we capture, the fairer the royalty system becomes. 8/ This isn’t just a COSOMA solution. It’s a solution for every collective management organization across Africa that struggles with monitoring, reporting and royalty distribution. That’s a regional software market. 9/ This is the type of software Malawi can build. We don’t always have to import technology. Sometimes we should build the infrastructure ourselves. 10/ That’s why I’m putting this idea out there. I’m looking for partners who believe Malawi can build world-class technology. Investors. Government. COSOMA. Broadcasters. Let’s build it together. 11/ Imagine Malawi becoming the country that develops one of Africa’s most transparent copyright royalty systems. Not because we complained. Because we built the solution. 12/ Sometimes the biggest opportunities don’t come from asking, Why is the system like this? They come from asking, What if I built something better?

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  Aliff Aziz  (@AliffAziz9) reported 10 minutes ago

  @OtunbaSebotimo It’s a great movie. The only problem is teenage Billy Batson is played as a serious, street-smart kid, but when he transforms into Shazam, he completely changes into an over-the-top, immature goofball. Doesn’t feels like they the same person

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  Pipis🪩🕺🏻💋 (@NIALLownsmeee) reported 11 minutes ago

  @inthehalwayrry i was in the nosebleeds in amsterdam and everybody was sitting down and didn’t even sing for most of the time😭even saw someone use shazam

• 
  obinna. i (@ObinnaIkoku) reported 11 minutes ago

  @r0lgar77 @CultureCrave @DCOfficial Everyone did, recasting superman was a dis service. And shazam is soo unlikable it coulfnt fit into a justice league movie, james gun version batman is gonna suck ba*** i can feel it… Now i think about it, james gun modeled his universe after that ****** shazam movie

• 
  Terios (@Terios_FSE) reported 15 minutes ago

  @powcampsurvivor I remember in the movie they specifically mentioned watching Godzilla too. I don't know if that was real or just a fun line cause it was around that time. He DID base a lot of his persona on Shazam though so he'd be down with the cinematic universes too.

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  Giovanetta Marangoz 🌹 天下大乱形势大好 (@giovanettanyc) reported 15 minutes ago

  @meeksthoughtbub The music down here is pretty fire I'm trying to Shazam it

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  Cathleen Lard (@LardCathleen) reported 23 minutes ago

  @Barron47voicese It's a real serious problem how we got here! Shazam

• 
  Recovery Simp (@recovery_simp) reported 24 minutes ago

  COSOMA’s Blank Media Levy A THREAD 1/ Everybody is arguing about COSOMA payouts, but most people don’t even know what the Blank Media Levy actually is. Some think it’s government tax. Some think it’s Spotify money. Some think COSOMA just wakes up and chooses who to pay. None of that is true. So let’s break it down. 2/ Imagine you make a song. Thousands of people save it on their phones, laptops, memory cards and flash drives. Even if they don’t sell your music, they’re still making copies of it. Now imagine trying to ask every single person to pay you. Impossible, right? 3/ That’s why copyright law created the Blank Media Levy. Instead of chasing millions of people who copy music for personal use, a small levy is collected whenever devices that can store copyrighted content are imported into Malawi. That money goes into one big pool for creators. 4/ The devices include: • Phones • Laptops • Tablets • Flash drives • Hard drives • Memory cards • CDs & DVDs Basically, anything people use to store music, movies or books. 5/ So who collects this money? MRA. Think of MRA as the cashier. When importers bring these products into Malawi, MRA collects the Blank Media Levy together with other applicable charges. It then remits the money to COSOMA. MRA doesn’t decide who gets paid. 6/ Now COSOMA has one big pot of money. Thousands of musicians, filmmakers, writers and other creators are waiting for a share. So… How does COSOMA decide who gets what? 7/ Most people think it’s based on popularity. It isn’t. COSOMA isn’t supposed to ask: “Who’s the biggest artist?” It’s supposed to ask: “Whose copyrighted work was used the most according to the data available?” 8/ Think of two students. One is the most popular kid in school. The other has perfect attendance. Those aren’t always the same person. Royalties work the same way. Popularity and measured usage are not always the same thing. 9/ So how does COSOMA measure usage? Through a monitoring system. Think of it like a football referee. The referee doesn’t guess who scored. He keeps score throughout the game. 10/ Radio stations and TV stations keep playlists and broadcast logs showing every song they play. COSOMA collects that information and uses it to estimate how often songs were broadcast. The more qualifying plays your music gets, the bigger your potential share. 11/ Many copyright societies around the world also use music recognition technology (similar to Shazam) to automatically identify songs played on radio and TV. COSOMA has said it uses monitoring and broadcast data, although it hasn’t publicly explained every technical detail of its system. 12/ Imagine the monitoring results look like this: Artist A — 1,000 plays Artist B — 700 plays Artist C — 300 plays If royalties are shared using that data, Artist A gets a bigger slice than Artist C. Simple. 13/ Now here’s where the debate begins. People ask: “What about churches?” “What about weddings?” “What about crusades?” “What about minibuses blasting gospel all day?” If those uses aren’t captured in the monitoring data, they may not significantly affect the payout. 14/ People ask the same questions about: • YouTube • Spotify • TikTok • Facebook Those don’t automatically count towards Blank Media Levy distributions because they involve different rights and different royalty systems. 15/ This is why an artist can have millions of views… Fill stadiums… Trend every week… …and still receive a royalty payment that surprises everyone. Because popularity isn’t automatically the same as documented copyright use. 16/ So why do some artists receive millions while others receive much less? Generally because of: • More qualifying radio & TV airplay • More licensed public performances • Proper registration of their works • Their ownership share of the copyright Not simply because they’re more famous.