But that doesn’t come close to describing the breadth of material that has accumulated in The Belle and Sebastian Email Mailing List over the past 20 years, resulting in what resembles a rough draft of a massive novel in which the characters are all startlingly alive, even if the plot remains discursive. The notion of a fan email list also doesn’t capture just how frequently, eloquently, and hilariously the emails depart from the topic of Belle and Sebastian completely, the band becoming the thinnest of tissues, more of an inspirational sensibility, connecting an altogether different kind of internet community.
A typical email would begin by discussing how “all this talk of Czech weather and soft-core pornography has inspired me to speak up and introduce myself”; or how someone has “a bellyful of wine and passiflora” and “still can’t sleep”; or how another gets “mocked for having Nietzsche under my bed … not a book … the actual german philosopher.” Actual friendships formed through the list; one former list member, Joe Brooker, told me that he “came to meet people who made music, and thus … ended up making records and playing live as a direct result of all this.” And after a while everyone clearly knew everyone else, to the point where one man told the list that he was “ponder[ing] the idea of a Sinister retirement village, an everlasting bowlie weekender/perpetuality-er.”
Via The New Republic. More–>
There are probably two main reasons for the cellphone ban at Paisley Park. First is an attempt to preserve the purity of the live music experience, to encourage people to watch and absorb the show rather than their screens. Apart from a woman who used her phone flashlight to look for something she’d dropped, earning a stern word from an alert member of staff, everyone seemed to respect the rules. At one point, while he scrolled through his iPad, deciding what to play next, Prince playfully asked why everyone was looking at him. Later, I could only find a single, blurry image from the show on social media.
The other reason is Prince’s fierce commitment to protection of copyright. He does not take kindly to unauthorized recordings and images. There is surprisingly little to be found in places like YouTube. What does exist is usually unauthorized and only survives for as long as it takes to issue a takedown notice. Which Prince, or whoever he’s paying to handle this task, does with great regularity. There is plenty of Prince material on non-U.S. video sites, which are harder to deal with under American law.
Via NPR. More –> http://www.npr.org/sections/therecord/2016/03/08/469627962/poor-lonely-computer-princes-misunderstood-relationship-with-the-internet?utm_source=twitter.com&utm_medium=social&utm_campaign=nprmusic&utm_term=music&utm_content=20160308
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: