I’d like to see a non-commercial option as well, but at least this is a start.
Unlike the French, whose “three strikes” law allows the entertainment industry to remove whole families from the internet at a whim, the Irish apparently have a bit more respect for their citizen’s privacy and due process of law. One of Ireland’s major internet service providers has won a legal victory against the record labels, showing that it would be illegal to force ISPs to identify and disconnect those who are suspected of piracy.
OK Go, as a band, are awesome. This fact is hardly disputable, given their track record of unique-yet-still-catchy songwriting and amazingly entertaining videos. It turns out that they are equally proficient on the intellectual front. Earlier this year lead singer, Damian Kulash, sounded off about a conflict with their label, EMI, over embedding music videos. His public outing of EMI’s “greedy and short-sighted” decisions was beautifully illuminating. Now, he has delivered what I think is the clearest explanation yet of the current state of Net Neutrality as is relates to music (and by extension, culture-at-large).
NPR likes the singer’s analogy of the telecom’s blustering to the record label’s collective face plant in dealing with file-sharing.
I’m equally impressed with his ability to mash up the names of the issue’s major players; Behold, “Googrizon!”
Ok, it’s a little surprising. Even though their music was made and popularized in the ’70s, I would think Don Henley and Stevie Nicks might have a little more cultural understanding.
The Eagles singer said last week in Rolling Stone “The recording industry was bullied by online retailers into removing… DRM,” which completely neglects the fact that it was the consumers who were demanding that the music they purchase be uncrippled. Millionare Henley also reveals his feelings about music-as-an-art form versus music-for-profit in a bizarre suggestion that the U.S. Copyright Office be moved from the Library of Congress to the Department of Commerce.
The Fleetwood Mac frontwoman says “The Internet has destroyed rock.” She must not realize that people who are the same age as were her fans in Fleetwood’s prime now discover, listen to, and buy music exclusively on the internet.
Behold tomorrow’s music UI. Multi touch interfaces promise that missed analog tactility with digital depth and recall. It’s easy to imagine controlling pretty much any DAW or virtual instrument in this way once the hardware itself becomes affordable. Although this demo features a Serato-style DJ interface, one could easily imagine Ableton Live on a screen like this, yeilding a one-stop composition and performance tool. I can’t wait.
There is plenty of media attention given to the dinosaur industry behind popular music as it relates to the consumer, but much less so from the perspective of the working musician or composer. NPR has published a letter from a musician that sheds light on music publisher’s familiar foot-dragging and willful ignorance of today’s technological realities. This guy just wants to buy sheet music online, but he can’t. /sigh
I love discovering these new and creative business models. Wired reports that musician and game programmer Gabriel Walsh is releasing his debut album, “The Earthly Frames, Volume 1” as a set of 50 unique USB drives, each containing one-of-a-kind custom content. In addition to the album tracks, there are audio files for remixing, and some unique fragment of media explaining a piece of the project’s overarching narrative.
The project’s CC/sole ownership license is right on as well, allowing fans to experience the content, legally, the way the artist intends.
You can’t make these things up. The National Association of Broadcasters and musicFIRST, a coalition representing label’s interests, believe every piece of portable electronic equipment, such as cell phones, iPods and ‘Pads, PDAs, etc. should have an FM radio tuner built in. They believe Congress should require this by law. They believe that their garbage programming is so important to that every consumer should be mandated to pay for its receiver. They believe that access to hyper-compressed, focus-grouped top 40 should be a National Objective.
These desperate grasps at an antiquated business model have become so flagrantly appalling that it’s hard to believe they are even serious.
…and your sequencer, and a lot of the other tools used to make music today. This article by O’Reilly (yes, the same company that makes all those “Programming in SomeLanguage” books) digs into the nitty-gritty reasons why trying to lay down ideas with a virtual instrument in some DAW sucks, as compared to, say, jamming on a guitar. It’s no surprise that their findings mirrored known user interface principles.