This has less to do with the music side, but with the relational labor side as it applies to journalism.
There’s a new pioneering “tribe” in today’s news organizations: those working on engagement. To be specific, I’m not focusing on those working in audience engagement but more on journalists who are engaging with and empowering the public to support communities to thrive. Less transaction, more relation; less on audience, more on community. One of the notions in defining community engagement is a role to purposefully put the public at the center of what we do, bring together the people who accurately represent all of the voices and then to authentically listen, facilitate and connect those conversations as a reflection of the whole story. I’m keenly interested in journalism in service to civic engagement that is thick, impactful and at scale, referencing Ethan Zuckerman’s Beyond “The Crisis in Civics.”
More –> http://mediashift.org/2015/11/engagement-is-relational-not-transactional/
“Of all the places you might attend an event on “Fair-Trade Music, Virtual Reality and The Blockchain”, the headquarters of British music-industry body BPI is one of the more surprising.
Aren’t its most powerful members – the three major labels – exactly the kind of companies who have most to lose from an all-new, uber-transparent system of tracking music rights and paying for usage?
Maybe. Which is certainly one reason for being curious about how such a system would work. But the early evangelists for such a system – notably PledgeMusic founder Benji Rogers, argue that the blockchain would enhance the businesses of the BPI’s members, rather than destroy them.
That’s why the BPI invited Rogers in on a windy Monday evening for the first in a planned series of “thought-leadership events” tackling big topics and new technologies.
He was joined by musician Imogen Heap, who’s also been digging into blockchain technology in recent months from an artist’s perspective. For an hour and a half, they explained what they’ve been doing, what they’d like to do next, and fielded questions from the audience about the potential challenges.”
More –> http://musically.com/2016/02/02/benji-rogers-and-imogen-heap-talk-building-the-music-blockchain/
“The new dashboard solves one of Spotify’s headaches this year: the fact that its previous partner for providing analytics to artists – Next Big Sound – was bought by another streaming service, Pandora, earlier in 2015. Fan Insights has been developed in-house as a replacement.
Ahead of the launch, Music Ally got a demo of the new dashboard from Spotify’s head of artist services Mark Williamson and VP of product Charlie Hellman, who said that its emphasis is on “actionable” information rather than a deluge of data.
‘In our early days of going out and speaking with artists and managers, we went out with reams of data: ‘here you go, let’s see what sticks’,” said Williamson. ‘But this is not about how we can throw as much data at you as possible and get you guys to process it. We’ve listened to the whole ‘too much data’ theme you’ve been hearing about on panels, and tried to focus on stuff that’s useful.'”
More detailed explanation here: