NARM 2009 State Of The Industry: Michael Masnick from NARM on Vimeo.

Mike Masnik of the Techdirt blog tells music retailers – relax, it’s not all doom and gloom.

Portland School of Rock Pixies show w/ Frank Black from mark lewman on Vimeo.

Teenager of the year Frank Black joins Portland School of Rockers Hannah Lewman (guitar), Julian Hixson (guitar), Oscar Gayet (guitar), Nola Versfelt (bass), Max Griggs (drums), Jacob Weber (vocals), and Michelle Brayson (vocals) for Where Is My Mind.

The sold out show featured all the classics, and the energy between the kids on stage and the 500 kids in the crowd was so awesome. This was the first time performing for many of the students.

Click image to play

As Dave continues the test drive he took the Lincoln MKS out to Portland International Airport to pick up his friend, the acclaimed Belgian electronic artist, Von Von Von, who has just returned from exile in Europe. Hear what Von has to say about coming out of exile and what he thinks of the Lincoln MKS…

Click image to watch the video.

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The Lincoln MKS (left) the acclaimed Von Von Von (right)

The Ford Motor Company and their Lincoln division have chosen Nemo’s Dave Allen as a ‘digital influencer’ and handed him the keys to a fancy red Lincoln MKS for a few days. Dave was tracked down by Ford through his highly trafficked music blog, Pampelmoose, that he runs for Nemo. Dave will be in full Top Gear mode for the next three days as he runs around Portland. Yesterday Dave used the car to pick up the acclaimed Belgian New Wave electronic artist, Von Von Von, from Portland International Airport and we will shortly be posting a video of that trip. Stay tuned for all the pics and video and a final overview of the driving experience from Dave.

Black Lips- 4/24/09 Portland, OR from Nemo Design on Vimeo.

Pic by Alicia J. Rose

A new one from Portland faves Viva Voce, and it’s a good one. Check it out.

Viva Voce – Devotion

Nemo friend, DJ/Producer/Mixer Tommie Sunshine gives his usual energetic and whacky touch to Imogen Heap’s Hide and Seek.

Imogen Heap – Hide and Seek [Tommie Sunshine's Acid Edit] Click or Right click to open with iTunes.

Tacky Souvenirs of Pre-Inaugural America.

“As Ice-T implies, the thing called authenticity seems self-evident: obvious in its presence, glaring in its absence. As a question of being true—to beliefs, institutions, and traditions—authenticity strikes many as worth defending, or mourning. The epitaph “Hip-hop is dead,” for instance, is almost as old as hip-hop. Typical is the reaction of Ice-T, a rapper since the heyday of beatboxing, against Soulja Boy Tell ’Em, who’s still too young to drink. Soulja Boy, who produced his breakout singles in a home studio and became famous through social-networking sites, is emblematic of a new and notably independent moment in musical promotion. But to Ice-T’s aged ears, he’s complicit in the desecration of hip-hop’s authentic essence—the raw sound, the social message—in favor of the saccharine hook.

……authenticity today, in the expanded field of media, is more deeply in crisis. This crisis does not involve mere negation, but inversion. Inauthenticity, which looks a lot like the opposite of authenticity, is actually its successor—or its mirror.”

I came across a post on the Creative Review Magazine’s CR Blog entitled U2 Linear: it’s not a music video. And indeed it is not. It is a short movie commissioned by the band and directed by Anton Corbijn.

This is a great idea. I have an aversion to the music of U2, although I have been a fan in the past, but I enjoy Corbijn’s work immensely. In the No Line On The Horizon [Box Set] [Limited Edition] [CD/Poster/Book/DVD] edition of U2’s latest album you will find the movie Linear and here’s the interesting part – “It is not an extended music video or a U2 documentary, it’s a new way to listen to a record – a new way to use film to connect to music,” claims Corbijn.

Click on image to see an excerpt from Linear.

Corbijn is right when he says it is a new way to listen to an album. His idea fits neatly alongside my idea of The Music Album as The End of The Organizing Principle. I argue that musical artists are free these days to explore the delivery of music well beyond the boundaries of the CD and its artificial restrictions. It is nice to find myself playing in the same sandbox as U2 and Anton Corbijn.

The University of Oregon in Portland is showing a free screening of the documentary ‘Copyright Criminals’ and I have been invited to interview the director afterwards. The documentary takes a look at the many hurdles that hip hop artists, DJs and producers have to overcome to use samples of other peoples work in their ostensibly new or reworked versions of classic songs and beats. Those interviewed in the documentary include – Chuck D of Public Enemy, James Brown’s drummer Clyde Stubblefield and co-founder of the Creative Commons Larry Lessig. It also includes performances from Run DMC, The Beastie Boys, Grandmaster Flash and more….

Wednesday April 15 @ 6 PM No Charge and open to the public.
The University of Oregon in Portland
White Stag Block
70 NW Couch St, Portland Oregon

“an amazing documentary on the history of sampling…it kicks
you in the head with how radically the sampler redefined
music…” Blender Magazine

Co-sponsored by the UO Portland Library & Learning Commons and the Portland State University Sociology Club. Promotional considerations by KPSU.

Leave it to Billboard Magazine, a scion of the fading music industry, to resort to old media tactics. This editorial on their web site is worthy of discussion but unless you happen to subscribe to the magazine for $24.95 a month you do not have the ability to comment. Clearly what happens as a result of this madness is that Billboard’s music business subscribers can hold up this editorial as a sign of “things aren’t so bad after all chaps…” and then continue to ignore the future of their business whilst looking backwards at the good old days. [Ironic note: check the image above and note the arrow in the right corner and the line 'Teen music spending drops.']

It’s not my ego nudging me to write that I can’t help thinking Steven Wilson is talking about my article, ‘The End of the Album as The Organizing Principle‘ when he sarcastically writes about ‘industry experts’ here – “Reports that CD sales continue to decline—they fell 14% in 2008 compared with 2007—have once again inspired a pundit-led roll call of the music industry’s dead and dying institutions: major labels, record stores, terrestrial radio and the CD itself, to name but a few. Recently added to the obituary page is the album itself, thanks to industry “experts.” However, I’m happy to say that the reports of the album’s death are greatly exaggerated.”

I am pleased to say I don’t consider myself an ‘industry expert,’ at least not a ‘music industry expert.’ Although I have had a long career as a professional musician [Gang of Four, Shriekback] and have run record labels etc, I would rather be remembered for jumping feet first into the future of music by joining eMusic.com as GM in 1998.

Unfortunately Wilson’s editorial completely ignores what is actually happening at the MP3 stores that he mentions – Amazon MP3 Store and Apple’s iTunes – music fans are buying more single tracks and not so many albums. He recognizes that the vinyl album is making inroads into the market place once again but he misses the point about the end of the organizing principle whilst admitting that people don’t have the attention span these days – “When the computer becomes a listener’s main source of listening to music, it’s hard to focus for 40 minutes, let alone 70.” It’s not about the computer Steven, it’s all about the Cloud and what Rio Caraeff, EVP of Universal Music’s eLABS understands when he says “the browser is the new iPod.” The browser is everywhere on almost all mobile devices, millions of them around the world – and users are not listening to album after album on them, most likely they are listening to their own playlists.

And here’s Wilson’s killer ‘make the recording industry feel better’ moment – “…. the argument that technology killed the album is a diversion—the mere availability of downloadable music is irrelevant to the question of the format’s viability.” The part of that statement that I have bolded out is simply an idiotic statement.

Technology doesn’t kill anything. In fact it moves things forward. For artists, technology and the advent of almost ubiquitous broadband has brought unparalleled freedom of expression. I wrote in my article, with regard to the early technologists who devised the album-length organizing principle, that – …..musicians and bands were not part of that decision in the first place then why would they complain of what modern technology now brings – their craft has been unchained from early technological limitations and they now have endless amounts of time and bandwidth to spread their creative message far and wide; along with unfettered artistic control.

I also wrote –
How music was delivered used to be in the hands of the few – bands, concert promoters, record companies and their retail distribution companies, radio, and video shows such as MTV. In tech-speak this system embraced ‘push’ – we the mighty and powerful will “provide you” [at a price determined by "us"] with access to our treasures when “we” feel like it. These days that system is rapidly breaking down as music fans now ‘pull’ what “they” want to listen to.

Control has moved from the few to the millions of many. Dull labels and dull bands offering dull, flat, non-experiential product – e.g. a CD, will go the way of the CD as it goes the way of the Dodo. Consider what Cirque Du Soleil provides as an experience compared to Barnum and Bailey’s circus. Or Burning Man compared to your average music festival. Even the Las Vegas Beatles-themed show ‘Across The Universe’ wipes the floor with most rock concerts these days.

If these ideas and opinions, not to mention the debate around them, are ignored, then the recording industry and Billboard Magazine will definitely follow the CD into extinction…

The six remaining Virgin Megastores in the U.S. including the Times Square location (probably the single highest volume music store in America) will be closing for good over the next few months, leaving 1,000 people unemployed.

At its peak in 2002, Virgin had 23 stores across the U.S. with $230 million in sales. Virgin’s billionaire founder, Richard Branson sold off the retail chain years ago and it is currently owned by a joint venture of real estate companies. Though CD sales are down (they fell by a staggering 20% between 2007 and 2008), the stores are being liquidated because their owners think that they can make way more money off of the sale of the property than CD sales.

And, what will be taking over the prime Times Square real estate? None other than the cheap chic apparel chain, Forever 21. The shuttering of these six stores really does signal the end of an era. The brick and mortar music retailers as we once knew them are nearly dead.

Another one bites the dust…

Click image to got to video. It’s a music clip and YouTube don’t allow embeds for that stuff remember…

Er, cough, cough…

Radiohead’s ‘Down Is The New Up’ is no longer an ironic title – take a listen. Radiohead – Down Is The New Up

Found on The Music Slut.

Red is the new black? Nope – less is the new black

Everywhere one looked recently on the blogosphere, especially social media blogs, the ever-so-informed pundits were banging out their year end lists around mid-December and by today the 2009 predictions/trends/forecasts lists were rapidly turning from a flurry to a blizzard. [US-based bloggers, especially on the East coast, are panicking as the clock ticks down to Midnight.] So I give thanks for two forecast contrarians – Ana Andjelic and Fred Wilson.

Ana Andjelic runs the I Love Marketing blog where she posted ‘The Problem With Forecasts.’ When a post begins like this: “The end of the year is known for releasing “best of” / “worst of” lists, forecasts, & trends that will “shape” the next year. While I heart lists, it’s the trends that I found real dumb. And no, I am not alone in this. Predictions usually go from plain ridiculous to rather obvious and to those that are there for shock value – “blogging is dead”, “podcasting is dead” that no one but Armano really takes seriously.” You know you’re in for a fun read. She’s spot on.

From there I linked to Fred Wilson’s A VC blog where he posted not a forecast list but a wish list of what he’d like to see happen in 2009. Two interesting wishes are 1. a $1.50 gas tax which I agree with and 2. a request of Apple – “I just want Apple to come out with an aggressively priced touch screen mobile computer that can be used to read books, blogs, watch movies, listen to music, and work as a home remote too. This is a huge opportunity for them and others too.”

And by the way, I found both these blogs via Twitter which I have been using more and more as a business tool lately – finding I can’t live without it these days..

So, having written the above I will now throw caution to the wind and present you with a 2009 forecast that is only marginally tongue in cheek. Here’s my baker’s dozen:

Malcolm is thinking about a new book

01. Malcolm Gladwell will publish another book.
02. The New York Times print edition will continue to arrive on my doorstep.
03. It will be cold and wet when I arrive at the Oregon Coast tomorrow.
04. “Feels free” will take a hold. [I've been waiting for this since my time at Intel in 2000.]
05. The CD business will continue to shrink but the music business will grow.
06. Art will be smaller, leaner, cleaner.
07. Consumer products will be simpler – see the Flip.
08. Socially conscious projects such as public housing will thrive under Obama.
09. Blogs will not die.
10. Twitter will see a huge growth spurt and continue to have growing pains.
11. U2’s new album will be as boring as the last 3 or 4 have been but will sell millions.
12. The rich will continue to cut back on their mistresses.
13. And finally, less is the new black.

Got your own 2009 trends, forecasts or wishes list? Post it in the comments section…

Portland electronic duo, Little Hunks

Social Cache is but one window into the world of Nemo HQ. The multi-talented Nemo designer, fashionista and blogger Nubby Twiglet and myself post up to Social Cache as often as time will allow between posting to our respective blogs NubbyTwiglet.com and Pampelmoose. The Nemo blog world also includes StudioNemo and Roger Bridges’ Strange|Beautiful and all these blogs feed the Nemo cultural hopper.

Another spin-off is the Pampelmoose New Music Hour that airs twice a week on 94.7FM KNRK, Portland’s biggest alternative radio station. The show is dedicated to bringing the on-air audience as much of the best new music we can squeeze in to an hour as well as playing as much local Portland music as we can. All the songs are then posted to Pampelmoose and archived for streaming or downloading.

This is the final 2008 Pampelmoose edition of the New Music Hour on Portland’s 94.7FM and it’s time to take stock of all the great music that I’ve been able to play from Portland’s vibrant music scene. I have 14 songs from some of Portland’s finest. They are by no means ranked in any order, nor are they songs necessarily from ‘08 releases, just a selection from many songs that I could have played. The choice was difficult but having room for only 14 bands forced my hand. To those that didn’t make the list be assured that in ‘09 you will be played on the show and maybe the list will be longer next year and I can accommodate more bands…just keep the great music coming.

Hockey – Song Away
Starfucker – Holly
Little Hunks – Came To Party
Lackthereof – The Columbia
Holy Sons – The Feral Kid
Peter Broderick – With The Notes In My Ears
The Mint Chicks – 2010
Red Fang – Reverse Thunder
The Shaky Hands – We Are Young
James Low – American Dream
The Wherewithals – The Point
Bark Hide and Horn – Change It
Loch Lomond – Blue Lead Fence
Microfilm – Fox And His Friends

Stream or download all the previous Pampelmoose 94.7FM shows here.

The pop star and the professor … Mike Skinner talks to John Gray. Photograph: Suki Dhanda

Mike Skinner and me have some things in common – we are both well-known musicians; me as bass player for Gang of Four and he performing under his moniker The Streets, although he is arguably more popular. That aside I now find that we are both ardent supporters of the work of the philosopher John Gray, especially his book ‘Straw Dogs: Thoughts On Humans and Other Animals‘.

In The Streets recent release ‘Everything Is Borrowed,’ Skinner reveals Gray’s influence in his lyrics while Gray’s influence on me comes through in my writings on the conceit of ’social media’, a term that I feel is empty and is peddled furiously only by those that would profit from harnessing social networks for the purpose of creating advertising revenue. Here we are then – two musicians, a philosopher, Charles Darwin and Facebook; such a wonderful mashup. Much food for thought. Here’s the interview:

Few records this year addressed themes such as human consciousness and evolution (as well as reflecting the linguist’s pleasure in a good piece of slang) as smartly as the Streets’ fourth album, Everything is Borrowed. OMM detected in it the influence of the work of the philosopher and occasional Observer contributor John Gray – and a quick call revealed that Mike Skinner is a huge fan of the Straw Dogs author. That bestseller, first published in 2003, argued that humans have still not come to terms with Darwin or accepted that they are like other animals – thereby knocking the humanists’ belief in progress.

It seemed a good idea to put the pop star and the professor together, and so they met for a wide-ranging conversation – covering the art of storytelling and the imminent collapse of Western capitalism – in a north London pub hours before Skinner’s performance at the BBC Electric Proms.

Mike Skinner: Reading Straw Dogs… I was aware of the idea that consciousness is an illusion, but it really made me think about a lot of things differently.

John Gray: The book is not intended to convert anyone to anything or to impose my world view. It’s intended to stir people’s thinking so that they see their lives in different ways. People have said to me – young people, old people, a couple who were trapped in a religious cult for 40 years – that they liked the book because it helped to weaken the story that they’ve woven of their lives, the story that was ruling them.

MS: What you seem to be saying is that it’s all an illusion, life goes on and shit just happens…

JG: Well, good things happen too.

MS” But what’s a good thing? It’s just something that we perceive to be good…

JG: I’m not saying we should rid ourselves of the need for stories, but when that need becomes tyrannical then we can give up too much of our freedom. One story of the past few years was that wealth was going to grow indefinitely – we were all going to get richer and the ups and downs of history weren’t going to apply to us. Well, stories are not true or false in the way that science is, but some are closer to human reality. And this Prozac-like story of the last 20 years – people believed it!

MS: The financial situation: the impression I have is that we’re not in as much trouble as we were in 1929.

JG: Not yet.

MS: OK… and the reason for that is memes – it’s the knowledge that if you don’t bail the banks out, we’re in really deep shit. So does that represent progress?

JG: It’s an interesting question. And I’m serious when I reply by saying the proof will be in the pudding. You can say we studied the 1930s and so we won’t commit the same mistakes. We’ll do what should have been done then and maybe it will work. But there is a different way of looking at it. Even if avoiding those mistakes now is the right thing to do, there will be different consequences which will get us into different types of trouble. Bailing out the banks might lead to the sort of stagflation we saw in the 1970s.

The point is: there’s an element of luck, and while I’m not a religious believer, if you want stories in your life, it might be better to follow religious stories rather than those you know to be shallow – like the story of unending growth.

MS: Your work can be very dark. But as a person you seem very amiable…

JG: Well, I’m not writing in order to provide consolation. One idea that’s really unpopular nowadays is that there are any aspects of a human being which are inherently bad. But one thing that’s distinctive in human beings – it might not be unique – is cruelty.

Now what should we do about cruelty? There’s a belief that if people have a proper education, if they live in a peaceful, safe society, there won’t be any evil. But is evil – for example, cruelty – normal or abnormal? I think it’s normal. It doesn’t mean you have to accept it.

MS: Isn’t it dangerous to say evil is natural?

JG: It’s the opposite. I’m a big fan of JG Ballard…

MS: I’m halfway through High-rise

JG: The very book I was going to mention! Ballard says that people from Catholic countries are less shocked by his books than people from Protestant countries, because they still believe in original sin – there are murderers and psychopaths inside us. It doesn’t mean you accept that state of affairs, it means you have rules and conventions which stand in the way. That’s what used to be called civilisation – though, of course, there’s nowhere that’s more than half-civilised. In general, I’m interested in looking at what’s happening now and trying to deal with it. For instance, climate change is not fully solvable…

MS: Because it’s natural or… because we’re fucked?

JG: [Laughs] Well, my best understanding is that the planet is not like a clock that we can wind back. Once the carbon is in the system, there are inexorable results. Also, there’s global dimming – the darkening of the skies by pollution, which also makes the world cooler than it would otherwise be. Getting rid of pollution too quickly could accelerate global warming.

Most greens are horrified by the thought that we can’t stop climate change, but that’s childish. Am I telling people to give up? No. In Holland, for instance, they’re giving back land to the sea and building more on stilts because they expect sea levels to rise… and I find that uplifting, even though it’s a very sober approach.

MS: Just to get a bit Dr Who, if we’ve also lost control of technology, could robots take over the world?

JG: There’s nothing inherently unique and inexplicable about humans, so we could create devices that could indeed become conscious. But if we create robots that are only conscious – that don’t have the 99 per cent of unconscious mental life that we have – could that hollow replica of how we imagine ourselves to be start painting in the same way as van Gogh?

Most creativity in the arts, and even in science, comes from levels of the mind that are not conscious. Conscious thought is a tiny, tiny part of the life of the mind. Have you heard of transhumanists? These are people who are interested in technologies that will allow them not to die – some of them end up having their brains frozen. They think they can remodel themselves. Now I’m not as unhappy as they are with the idea of human life…

MS: But you don’t want to die – you’re never going to want to die!

JG: Is that true? Do we really, really want to be different from all the human beings in the past and all the other animals?

MS: I think we all do. I think you do!

JG: If I could become the sort of creature that doesn’t need to die, I’d be different from the way I am. And I don’t want to become like a robot.

MS: I was famous, I guess, for a while, and one of the fascinating things about it for me – and one of the unnerving, scary things – was how my boundaries completely controlled me. I wasn’t as autonomous as I thought I was.

JG: The person you were before was a by-product of your limitations and circumstances.

MS: Exactly. Dying is a boundary. Everything we do is to try not to die, and once you don’t have that… I’m 30 soon and all I’ve got behind me are the years when I thought I was never going to die.

JG: If the boundaries that you associate with growing up are removed, you can live in a different way. The picture you have of yourself alters or dissolves. But if the wall of mortality disappeared… well, you can almost not imagine the change; I think it would turn us into something different.

MS: If we believe in Darwin we have to believe that every evolutionary stage brings an advantage.

JG: Darwin has been turned into a humanist icon. Darwin’s followers think they’ve renounced religion, but they cling to the idea that while other animals can’t control their destiny, humans can – a belief that comes from Christianity. Darwinism has actually been turned into another religion.

• ‘Everything is Borrowed’ (679) is out now; John Gray’s latest book is ‘Black Mass: Apocalyptic Religion and the Death of Utopia’ (Penguin)

Moving towards ‘feels free’ while further devaluing music.

A press release arrived within the email pile today and it trumpeted this – Nokia launches pioneering ‘Comes With Music‘ digital entertainment service. New service offers customers unprecedented freedom and value. EMI Music, independents and music publishers join offering.

Let me take a deep breath here……ok. There’s nothing but hyperbolic exclamations here. I have to ask, why does the music industry continue to shoot itself in the foot? And why, via their mouthpiece the henchmen of the RIAA, do they continue to whine over falling music sales when they happily embrace giving away music? Perhaps the labels and publishers were happy to receive bucket-loads of cash to license their music in return for allowing Nokia to train young folks in the art of always getting music for free!!?

Nokia announced the debut of its pioneering Comes with Music digital entertainment service, which offers consumers a new way to discover and enjoy music. Customers who buy a Comes With Music device will be able to explore and enjoy a diverse catalog of music of international and local artists with unlimited access to millions of tracks for a year, keeping the music once the year is over and revolutionizing their digital music experience.

Dear Nokia, consumers have been discovering and enjoying music for years, for free, via the internets. That’s why music sales are down. It’s nice to see that you are helping to make more free music available to these consumers though.

“Comes With Music sets a precedent for consumer value and convenience that the rest of the digital entertainment industry is already copying,” said Tero Ojanperä, executive vice president and head of the Nokia entertainment and communities business.”

Consumer value and convenience = internet. Otherwise that’s just marketing double-speak.

“Trying out a music recommendation is spontaneous as customers can download without worrying about the cost of an album or a track – the freedom and simplicity of the service is unparalleled.”

See above.

Comes With Music gives you unlimited access to the millions of tracks in the Nokia Music Store and the music is all yours to keep – because it’s not a revolution unless you get to keep your music.

WOW!

“With the launch of Nokia’s Comes With Music, fans now have a new avenue to find and enjoy music from EMI’s catalogue, and our artists have a powerful new way to reach their fans,” said Douglas Merrill, president, digital business, for EMI Music. “By encouraging music discovery in an innovative and consumer-friendly environment, Comes With Music will continue to push experimentation in the digital music industry.”

Experimentation in the digital music industry – fancy that? Only 10 years too late…

The winners here are Nokia [enhanced phone sales] and music lovers [more free music]. The losers are musicians and songwriters [believe me, my royalties on digital sales are miniscule] and the record labels [training kids to get music for free is so 1998...]

Spin The Black Circle

McLuhan and Vinyl? I know – I sometimes stretch an idea to its snapping point but isn’t that why I bother to type all day?

Here goes – As I sit on the panels I’m invited to I often forget to remind myself that at the heart of all my discussions about music and technology the root of it is about my enduring passion for music.

Computer technology, especially web 2.0, has fooled many of us into thinking that we now have a “new” way of communicating. That is simply not true; we forget that Marshall McLuhan pointed out decades ago new technologies simply create new environments – the old environment then becomes the content of the new environment; Facebook simply allows us to digitize our Rolodex. The computer and its keyboard are the medium in this particular message. Our constant need to remain in touch with friends and family endures, and still will well beyond technology.

We should really be considering technology’s effect on the individual and society. Remember, e.e. cummings warned that “progress is a comfortable disease.” So where does music with its myriad genres and forms, its emotions and passionate responses, its common currency, fit into a “technological” culture?

Well consider this – Music is the medium is the message; bear with me here.
If music is the message then in McLuhan’s terms the vinyl record can be described as a technological extension [the medium] of the musicians body. The medium then creates the environment that produces effects [the media.] This then has an effect on society and culture where the starting point is always the individual – that is, you and me. McLuhan also advised against a rigid separation of the physical from the psychological.

If we then consider that the physics of media have changed yet the media that provides the atmospheres has not, and we understand that the effect is still psychological and can not be separated, do McLuhan’s ideas help us unravel the mystery of what innately binds us to the rhythms and lilts of music around the globe? [My argument carries over into live performance too where the instruments are extensions of the players bodies.]

Vinyl racks at Music Millennium Portland

Anyway, on to my thoughts about vinyl.

In a world of 320kb MP3s, FLAC, loss-less this that and the other files, I’m going to take a leap of faith here and hope that many of you jump in too – my premise is that a vinyl record surely has to be the purest embodiment of our universal love for music. It’s the closest thing to experiencing music live that I have heard. When compared to A to B, with A being an analog record and B being a CD, A wins every time for me. I share Neil Young’s comments in the digital vs analog wars – Young has acknowledged the benefit of hiss-free recording that digital technology offers, with the caveat that “along with the hiss went depth of sound and the myriad possibilities of the high end where everything is like the cosmos, exploding stars, echo.” [Read more of this discussion here.]

Digitizing music has made music more affordable and provided ease of use in portability but at the huge expense of having the emotional range, the highs the lows the rumbles, removed in the process. What we have been hearing on CD is a compressed version of a digital slice of the possible range of sound available to our ears. At live shows the bass sub woofers in the PA system allow you to literally ‘feel’ the bottom end, on CD or MP3 that experience is simply not available to you. Yet, when you play a vinyl record through a great hi-fi system you can experience it in a recording.

For some reason I decided at about exactly noon last Saturday to drive over to Music Millennium on Portland’s east side to buy some vinyl. Any vinyl. I came home with three weighty albums – comfortable with their heft and size and glad that I couldn’t just peel them open and stick them in the car’s CD player. [That's rather like the audio equivalent of Slow Food, Slow Music.]

The universe works in mysterious ways. Why is it that when I spend my day riffing on ideas like the ones in this post, drawing them out like an endless piece of string only to have it end up in a tangle of knots, why, why do I find myself buying three vinyl albums for completely different reasons and upon getting home and spinning them find validation for my thinking in the lyrics of a song each on two of them?!!

Nick Cave’s ‘Dig!!! Lazarus Dig!!!’ pressed into oily, rich, satanic black 180 gramme vinyl suggests an artisan at work tattooing a litany of sins and black portents upon the skin of Lazarus himself. In typical N.C. fashion all the lyrics revolve around the push and pull of sex and death yet here the underlying theme is of resurrection and a return to the grave as if the grave is a better place than the world currently is. Quite by coincidence the story of Lazarus provides a fitting metaphor for the resurrection of the vinyl record.

Along with the album comes a free 7″ single with a 7 minute long song pressed over two sides called ‘More News From Nowhere.’ In its epic journey, Cave bangs [pun intended] into woman after woman in a world of no consequence, of ‘news from nowhere,’ as if he’s hearing nothing but white noise from all the multimedia outlets, as if its the end of decency; a Rovian embrace of the end of history, a plague on us all this constant transmission from each of us to millions of others often unknown and without consequence – until its too late.

don’t it make you feel so sad, don’t the blood rush to yr feet
to think that everything you do today
tomorrow is obsolete
technology & women & little children too
don’t it make you feel blue, don’t it make you feel blue
for more news from nowhere, more news from nowhere
don’t it make you feel alone
don’t it make you wanna get right back home
more news from nowhere
more news from nowhere
goodbye/goodbye/goodbye

Wonderfully bleak but kinda makes me reconsider Twitter.

I also picked up ‘Cardinology’ from Ryan Adams and his Cardinals. Although a talented and prolific song writer he isn’t in the same league as Cave. Adams gets to a deep grey but never reaches the dark bloody hues that Cave revels in. [BTW, Cave is an apt surname now I think about it.] ‘Cardinology’ is strong but no game changer like Dig!!! Lazarus Dig!!!.

The song here that caught my attention is ‘Magick’ – where a song is often the total sum of our emotional response to music, wherever we hear it, however we hear it we can’t deny it. In ‘Magick’ Adams suggest it rights all wrongs, overcomes rogue nation states’ sabre rattling, fends off missile attacks and shuts down “power hungry clowns.” He says “give ‘em radios & heels and wake ‘em up with jams.”

I wish I had secret powers, I’d find all the power hungry clowns
and I would shut them down
Give ‘em radios & heels and wake ‘em up with jams on
right after I disappear then disarm, disarm, disarm
and watch the record go round….

In these lyrics the music is on vinyl and the theme is again resurrection – the record keeps on going round. It’s recurring, ‘Magick’ is the power it always brings to challenge popular culture and most importantly, politics. It’s also about addiction.

Pearl Jam visited this space well before Adams with their song ‘Spin The Black Circle’ released on Vitalogy in 1994. This from Wikipedia – According to singer Eddie Vedder, the track is about his and the band’s love for vinyl records. At the band’s July 1, 2003 show in Bristow, Virginia at the Nissan Pavilion, Vedder proclaimed “This song is about old records, old records, anyone remember old records?”

The lyrics play on the similarities between drug addiction and addiction to records and music, as many of the lyrics may be interpreted either way. It is unclear to what extent this is intended to be a serious comparison of different types of addiction and to what extent it is just intended to make the lyrics interesting. Jon Pareles of The New York Times referred to “Spin the Black Circle” as “one of the few songs from Seattle in which a needle has nothing to do with heroin.”

All for the love of vinyl.. Vinyl has a special place in the hearts of a certain demographic – I’d guess those in their late teens and early twenties, definitely those over 40, DJ’s, analog freaks and audio purists. Vinyl brings something to the ear and the heart that MP3s don’t – full-range emotional sonic ra[n]ge…

On a side note it is obvious to many that vinyl has seen a substantial rise in sales over the last few years. Whilst still a small percentage of overall music sales it is carving out its niche amongst music lovers. The labels have embraced this in different ways, mainly through different incentives in the area of giving away MP3 downloads with the vinyl purchase. For the Cave release, Anti allows 3 downloads, presumably as back up should you lose the files, but asks for an email address. Lost Highway offers only 1 download of the Ryan Adams album but doesn’t ask for an email address. Amazingly Warp offers no downloads at all for the Nightmares On Wax album.

Irony of irony’s – after they have fought tooth and nail against the drop in CD sales, music retailers are selling USB record players! Perhaps a better move would be to sell medium to high end turntables. It’s a hardware and software play.

Liz trying an ice cold Coors

We can never get enough, we have to always come back for more. The StudioNemo RSVP list stood at 1,532 by the afternoon of Oct 31st. On the night the lines were long, both to get in and to get a drink, but people persevered and the vibe was one of mass fun, good times. If you were at the party you can watch the slideshow above to find yourself or check out our Flickr page. Here’s to next year!

L.A. gets its party on.

Nike Sportswear at The Montalbán Presents
Justice
A Cross The Universe
Directed by Romain Gavras, So-Me and Justice

West Coast Premiere
Friday, October 31, 2008

Nike Sportswear at The Montalbán is proud to present the West Coast Premiere of A Cross The Universe. Extraordinary meets the unexpected in A Cross The Universe, which follows Grammy-nominated French duo Justice as they embark on their second U.S. tour. Co-directed by multi-award winning directors and intimate friends of the band, Romain Gavras (”Stress” director) and So-Me (”D.A.N.C.E.”, “DVNO”), the film documents every second of the three week tour that translates into surreal, weird, horrendous, fascinating, and paranormal moments that are not only about how cool Justice’s live shows are, but are about the extraordinary things that can happen when a bunch of French artists are dropped in dreamy America. A Cross The Universe debuts on Friday, October 31, 2008.

The premiere for A Cross The Universe will feature an introduction by Busy P and Justice. Following the film will be the official launch of the Busy P x Nike Air Force 1 sneakers from 1WORLD collection. The DVD and Live Audio CD for A Cross The Universe will be available in stores everywhere on December 9.

Friday, October 31, 2008
6pm: Opening reception with cocktails courtesy of Belvedere Vodka
7pm: Film Premiere introduced by Busy P and Justice
8pm: Busy P x Nike Air Force 1 Sneaker Launch

Tickets are available on a first come, first served basis. For more information, visit the concierge desk at Nike Sportswear at The Montalbán, Nikesportswear.com, or flux.net.

Justice – DVNO [MP3]

Simple user interface, giant database of videos, easy search that works…and all built on the back of free content handed to them by the recording industry. Ha!

MTV Music

This is a beta version of the trailer for Spooky’s Birth of a Nation re-work

I spent last week traveling coast to coast with a stop at the SanFran MusicTech Summit as a panelist, a visit to Venables Bell to make a social media presentation, then on to NYC to speak on a panel at the CMJ Music Conference. Both panels covered social media but the audiences in SF and NYC were wildy disparate – music technologists at one and college students and musicians at the other. I intend to follow up this post with one about the SF visits but first I wanted to write about my fellow panelist at CMJ, the artist Paul D. Miller aka DJ Spooky.

Paul D. Miller is an artist who embraces the current fractured cultural landscape with abandon. A DJ by nature he is used to mashing, mixing, beat-colliding, deconstructing and rebuilding. He resists the idea of boundaries, everything in his world can be re-booted, shaped and formed anew. He is multi-disciplined and multi-genre. As a musician he regularly tours the world giving away thousands of copies of his CD remixes as he goes. He’s a writer whose latest book, ‘Sound Unbound – Sampling Digital Music and Culture‘, is a collection of essays from the likes of Steve Reich, Bruce Sterling and Simon Reynolds; it is of course accompanied by a free CD of avante-garde music.

DJ Spooky(l) and Dave Allen(r) at CMJ Oct 08

His latest work is “Rebirth of a Nation” – remix of D.W. Griffith’s 1915 film “Birth of a Nation.” – literally a movie mashup that Miller has ‘remixed’ and re-purposed into a 21st century take of that classic movie by adding contemporary clips of social unrest and cultural upheaval seen through Miller’s particularly modern lens.

Miller describes in his own words the process of his work:

“Like an acrobat drifting through the topologies of codes, glyphs and signs that make up the fabric of my everyday life, I like to flip things around. With a culture based on stuff like Emergency Broadcast Network hyper edited new briefs, Ninja Tune dance moguls Cold Cut’s “7 Minutes of Madness” remix of Eric B and Rakim’s “Paid in Full” to Grandmaster Flash’s “Adventures on the Wheels of Steel” to later excursions into geographic, cultural, and temporal dispersion like MP3lit.com – contemporary 21st Century aesthetics needs to focus on how to cope with the immersion we experience on a daily level – a density that Sergei Eisenstein back in 1929 spoke of when he was asked about travel and film:“the hieroglyphic language of the cinema is capable of expressing any concept, any idea of class, any political or tactical slogan, without recourse to the help of suspect dramatic or psychological past” Does this mean that we make our own films as we live them? Travelling without moving. It’s something even Aristotle’s “Unmoved Mover” wouldn’t have thought possible. But hey, like I always say, “who’s counting?””

Miller is a 21st century digital/analog mash up artist. He soaks up culture and remixes and re-purposes it every day. Nothing is sacred, everything is up for grabs. His work belies the efforts of those who embrace online social networking as something “new” brought to us by “new” technological tools. Miller’s work is an antidote to that wrong-headed thinking. In a world that is populated by digital youth there are already hundreds if not thousands of younger versions of Miller creating mashed up works every day. Their numbers grow daily.

Before the end of this decade these young artists will constitute a digital tsunami that will sweep aside current social media and social networking conceits.

Uupdate: Here’s a link to the site for RIP: A Remix Manifesto, where Web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers.

Pic from HuffingtonPost.com

I have been an enthusiastic user of Amazon’s MP3 Store ever since it launched. The store challenges the hegemony of the Apple iTunes Store which is the front runner because of savvy marketing and the superior hardware that is the iPod, but there is no reason that music lovers shouldn’t be able to gather up music from other sources whilst reaping the benefits of DRM-free MP3s; people need to be educated about Digital Rights Management or DRM and obviously it isn’t in Apple’s interest to do that. *See footnotes for explanation about DRM.

Here’s the rub – MP3s purchased from Apple’s iTunes store can only be played on an iPod or a computer authorized by the user to play those MP3s, they can not be transferred to other devices. *See footnotes on how to work around Apple’s DRM. Locking down the music to Apple devices is the technological equivalent of the buggy whip manufacturers back in the day, getting laws passed to ensure that anyone driving a Model T Ford had to have someone walk in front of the car to warn pedestrians of its approach….

Steve Jobs has long maintained that the decision to go with DRM in the first place was because the major record labels demanded that their music files be protected. Critics have long pointed out that it is in Apple’s interest to use DRM to lock the music to the iPod as all of Apple’s profits are in the hardware not the content. And now that Amazon has opened its MP3 download store offering major label music at twice the file size, 256kbs to Apple’s 128kbs, and at prices cheaper than iTunes, Jobs’ argument is beginning to wear thin. *See footnotes for an explanation of MP3 file sizes.

And now comes the G1 Android-based phone, every one of which includes Amazon.com’s DRM-free MP3 store pre-loaded. The G1 users may have never understood the benefits of DRM-free songs and they may never have heard of Amazon’s MP3 store, yet it is not a stretch to imagine that once they use the Amazon service on the phone and realize they can move their music downloads freely and easily across all MP3-playing devices it will make them look askance at the iTunes store.

The Amazon MP3 Store works seamlessly with the iTunes application too so there’s no worry of having to use another application to play MP3s. Upon download of MP3s from Amazon its downloader populates the songs into your iTunes folder, it’s that simple. After that if you own a Zune or an iRiver you can simply sync the device up and the MP3s will appear just as they do on an iPod – you no longer need an iPod to play MP3s unless you have purchased MP3s from iTunes with DRM… Once public awareness spreads of the benefits of DRM-Free files, [no doubt by word of mouth as it is not a media-driven story,] iTunes may have to think again about using DRM.

* About DRM

DRM is short for Digital Rights Management. From Wikipedia – Digital rights management (DRM) is a generic term that refers to access control technologies used by hardware manufacturers, publishers and copyright holders to limit usage of digital media or devices. The term is used to describe any technology which makes the unauthorized use of media or devices technically formidable, and generally doesn’t include other forms of copy protection which can be circumvented without modifying the media or device, such as serial numbers or keyfiles. It can also refer to restrictions associated with specific instances of digital works or devices. Digital rights management has been and is being used by content provider companies such as Sony, Apple Inc., Microsoft and the BBC.

* How to remove the DRM from an iTunes purchased MP3:

Simply create a new playlist in your iTunes application. Drag the purchased album or any individual purchased tracks to the playlist. Click ‘Burn CD’ and insert a blank CD-R. After burning the CD click ‘Import CD’ after ensuring that you have set the preferences for importing to ‘MP3.’ The newly imported songs from the CD are now all DRM-Free MP3s. After successfully importing from the CD you can either delete the original MP3s with DRM or keep them for back up.

* An explanation of MP3 file sizes.

In the iTunes applications preferences click on ‘General’ then ‘Import Settings.’ Select ‘MP3 Encoder’ then click on ‘Setting’ below. You now have a choice of file size settings. Apple tags the settings Good Quality – 128kbs, High Quality – 160 kbs and Higher Quality – 192 kbs where the number of kbs refers to the kilobit size of the MP3 file. The higher the number the better quality of the MP3 file for playback. You can also select a custom setting to go higher still. Some people argue that 320kbs is near-CD quality for instance. Apple’s iTunes Store offers downloads at 128kbs while Amazon’s MP3 Store offers files at 256kbs, twice the size in other words.

Pic ©Losanjealous.com

We live in a world of constant updating. News moves swiftly from PDA to mobile phone to laptop to desktop in seconds. We Twitter, we text, we temper our every moment if we are not careful; we modify our immediate world-view for consumption online to passive recipients who make what they will of our digital discourse. Who owns the information that you have set free? Dwell on that a minute as I move on.

Google is your friend for research and your archenemy if you don’t own what Google’s spiders discover as they crawl every nook and cranny of the web. The information that others post about you or your company should reference content that you have delivered, written and posted yourself and preferably be content that can be verified easily from third party sites and other online sources. Own your message, if you don’t someone else will.

Today I received an email from the publicists for the indie rock band, The Airborne Toxic Event [we'll leave the Don Delillo reference aside for now,] which contained an open letter to a ‘music critic,’ Ian Cohen, who works for the indie music fans’ online bible, Pitchfork. In short, in his review of the band’s new album, he eviscerated it as a work of musical plagiarism.

Cohen is of course entitled to his opinion, his purview as a critic demands it. He is a filter and an influencer and he writes for Pitchfork which in turn operates within those same modern parameters; Pitchfork has taken on the mantle of challenging the once-hallowed print journals of music criticism and therefore its responsibility does not end at the node of an ISP. Within that responsibility lies a problem – the print magazines had editors. Editors who once were the filters and influencers, soft blocking and often hard balling writers who turned in weak copy, guiding and counseling writers who had the metaphorical fish on the line and teaching them how to land the story. The internet has swept that aside and Pitchfork has happily built and attached its business to those loose moorings.

Worse still, Pitchfork does not embrace openness – you cannot comment on any of the posts – it’s a good old-fashioned web site, so communication is restricted and readers opinions will never be taken in to consideration.

And that’s why The Toxic Airborne Events’ open letter to the music blogs of the world was a very smart move. They were able to calmly and sensibly challenge Ian Cohen’s review without stooping to the same low levels that his review had reached. They took the high road. They accept his criticism but challenge the presumptions he has formed about the band – “You’re wrong about our intentions, you’re wrong about how this band came together, you don’t seem to get the storytelling or the catharsis or the humor in the songs, and you clearly have some misconceptions about who we are as a band and who we are as people.”

And they don’t hold back as they defend the music scene in Silverlake and Los Feliz that was once much lauded by writers such as Cohen – “….it also seems to have very little to do with us. Much of your piece reads less like a record review and more like a diatribe against a set of ill-considered and borderline offensive preconceptions about Los Angeles. Los Angeles has an extremely vibrant blogging community, Silver Lake is a very close-knit scene of bands. We’re one of them. We cut our teeth at Spaceland and the Echo and have nothing to do with whatever wayward ideas you have about the Sunset Strip. That’s just bad journalism.”

In the face of a negative online story The Airborne Toxic Event did exactly right thing – they responded immediately and intelligently. No Pitchfork swift-boating for them.

Click image to play ‘Because of’

I found a YouTube video of a song from one of America’s greatest living song writers, a video of a song in which he delivers an ode to passion, old age and inevitable decline. A look back at what was, has been and perhaps now will no longer be.

In this recent song, ‘Because of,’ Leonard Cohen revisits his youth, a time of prodigous output when he wrote great songs such as Suzanne and Famous Blue Raincoat and one of my favourites, Chelsea Hotel #2 in which Cohen captures the freewheeling essence of Manhattan in the 60’s – “I remember you well in the Chelsea Hotel, you were talking so brave and so sweet, giving me head on the unmade bed, while the limousines wait in the street. Those were the reasons and that was New York, we were running for the money and the flesh.” There were always women surrounding Cohen and the threads of those relationships wove their way into his songs. As his Wikipedia entry says his work often deals with the exploration of religion, isolation and sexuality.

The POV of the video for ‘Because of’ is via a porthole, or perhaps a lens intended to focus on the subject matter – women dancing half-naked on a bed. And Cohen, in that famous gravelly voice, intones rather than sings the lyrics of his lament.

“Because of a few songs wherein I spoke of their mystery, women have been exceptionally kind……and they say, “look at me Leonard, look at me one last time…”

The song brings to mind another talented artist in Cohen’s peer group, the writer and novelist Philip Roth; they were born within a year of each other, Roth in 1933 and Cohen in 1934. In 2007 Roth delivered Exit Ghost, a novel of immense power, in which the novel’s central character Zuckerman struggles with his past [there are references to The Ghost Writer a previous Roth novel] and his incontinence and impotence due to an operation to combat his prostate cancer. Roth/Zuckerman sums up his helplessness when he writes “I gave up swimming regularly down at the college pool for the bulk of the year (with bloomers under my (swim) suit) and continued to confine myself to sporadically yellowing the waters of my own pond during the Berkshires’ few months of warm weather, when, rain or shine, I do my laps for half an hour everyday.”

The difference in these end game soliloquies from each man’s perspective is that Cohen seems more hopeful, as if there is more beyond the life he now lives, yet Zuckerman/Roth sees only despair, decline and finality. Clearly, even to the end, true passion not only consumes us but also never dies.

According to Forbes.com, rapper 50 Cent pulled in and astounding $150 million in earnings over the last year. His portfolio includes stakes in VitaminWater, the G-Unit clothing line and record label, films, video games and more.

Overall, rappers are known to have more diversified portfolios when compared with pop and rock musicians who accumulate most of their earnings from touring and selling music.

While 50 Cent clocked in at first place for earnings, Jay-Z captured the second spot, P. Diddy the third and Kanye West was in fourth at $30 million. Perhaps the most amazing of all, Tupac Shakur (who’s been dead for over 10 years) still raked in $15 million dollars.

Magic Flashlights from Mike Benson on Vimeo.

On September 6th, during Portland’s annual MusicFestNW music festival, Nemo will play host to two panel discussions presented by The Recording Academy Pacific NW Chapter, Nemo Design, The Musicians Union Local 99 and Spectre. This event is Free for MusicFestNW attendees and for Recording Academy members.

From 1PM to 4PM on Saturday September 6th there will be two panels. At 1PM ‘Get In The Van! – A Survival Guide to Touring’ a panel on what to do now that gas prices are crimping bands’ touring plans will include:
Wes Howerton, Barsuk Records
Ben London, The Recording Academy
Slim Moon, Shotclock Management
Alicia J. Rose, Doug Fir Booking
Tracie Verlinde, BMI
Tom Windish, Windish Agency

At 2:30PM Get Out! – Building An Audience Online and Off a panel on using the internet wisely to build your fan base offline will include:
Dave Allen, Nemo
Amanda Diaz, YouTube
Kate Jackson, Sub Pop
Kevin Kusatsu, Sony/BMG
Frank Nieto, 230 Publicity
Julianne Shepherd, The Fader
Bekah Zietz, Suicide Squeeze

A reception follows the panels from 4PM – 6PM. For more information please call +1 206.834.1000

Nemo is located at 1875 SE Belmont St, Portland, Or 97214. +1 503.872.9631

Click image to Play

Today’s Digital Youth are already well-versed in Trust and Fame, they understand very clearly that their song, their video is only as good as the one that went before it on YouTube unless it is awesome, catchy and fun. Seattle’s Natalie Portman’s Shaved Head worked with the video crew That Go to cut this clip for their song ‘Sophisticated Side Ponytail.’ That Go also made a great clip for Thunderheist recently.

We seem to have dropped into a musical theme over the weekend and with that in mind I wanted to point out a post that David Byrne wrote on his blog. As you can see above he is pondering the idea of less press and pr and more online discovery. I believe Byrne is doing the right thing as there will be plenty of buzz around a new Byrne and Eno album on the blogosphere. And Byrne and Eno are both influencers and trusted sources. Those two elements alone will help any PR 2.0 campaign gain traction. I posted a slide show about PR 2.0 here, and also wrote an essay about Social Media, Blogs and Advertising which can be found here. Meanwhile I’m looking forward to spreading the word on the new Byrne and Eno album, Everything That Happens Will Happen Today. You can hear a cut from the new album and download it too. Click Here.

Happy Prescriptions “Thought it’d lead us..”

Getting it right, getting exposed. A comment on the Girl Talk post, left by a user named ‘Natron’ led me to a web site for Happy Prescriptions, no doubt the web site for said ‘Natron’ who it turns out is a Portland musician. Another click of a hand [you have to visit the site to get that] led me to Happy Prescriptions MySpace where I found the video above. There’s also a free MP3 ep there. Circle complete.

Girl Talk live in Detroit. Photo – Christos/Detroitartist.org

Gregg Gillis is more well known as the musician Girl Talk. And he believes very strongly that he is a musician and not, as many people have called him, a DJ. If you haven’t heard his work you might wonder why there would be any issue for Gillis but upon hearing his craftily designed songs you will notice that each track is made up of many short snippets of samples of songs that you know you’ve heard somewhere else. On his recent album, Feed The Animals, that he released online Radiohead-style on Illegal Art he told the New York Times that it includes more than 300 samples and that he estimates that each minute of “Feed the Animals” took him about a day to create. That’s a lot of days.

More importantly though his preferred method of “song writing,” i.e. using riffs borrowed from other people’s work puts him front and centre in the debate over copyright law and fair use. His stance is that he is using such tiny samples of other people’s work that he argues his actions are protected under fair use. Not all legal experts agree but so far he has avoided the threat of litigation.

As a musician [I am a founding member of the UK post-punk band, Gang of Four] with my own copyrights I share his stance as I believe that copyright laws have become far too stringent and are now limiting artists’ abilities to be creative. Many people would like to see the law relaxed in certain areas to allow more creativity to spring forth. One area that definitely falls under the term known as gray is the practice of creating mashups. A Mashup in the musical form is exactly what Gillis is doing, literally intermingling or layering beats and samples from various songs on top of and into each other. The end result is surely a completely new work. As Wikipedia puts it – a mashup is a digital media file containing any or all of text, graphics, audio, video, and animation, which recombines and modifies existing digital works to create a derivative work.

Any digital media is open to the process of mashing, and just like a collage, where found images are most commonly rendered onto a canvas, the end result of this creative process should be considered a new original work. There should be no threat of litigation for artists such as Gregg Gillis who create these new works of musical digital art. Go here to hear Gillis in action as Girl Talk and see how many songs you recognize.

In that spirit I post here a mashup that I recently created in collaboration with the musician Jon Ragel who goes by the moniker Boy Eats Drum Machine. Rather than sampling we decided to actually perform the mashup by playing live in the studio on top of sampled drums. The song borrows parts from the artists Talking Heads, Aaliyah, Van Halen and The Cure.

BEDM feat. Dave Allen – Talking Heads/Aaliyah/Van Halen/Cure Mashup [MP3] Click to play, right click to download.

It seems that the powers that be at Facebook and their archenemies over at the record labels need to hurry up and reach agreement on what is Fair Use when it comes to posting videos online. I received yet another lovely notice from Facebook today about “possible infringement” not “actual” but “possible.” Read on -

Notification of Alleged Copyright Infringement
We have removed your video entitled “Cut Copy, party at Dave’s, Nemo puts up the posters” uploaded at 2:23pm April 29th, 2008. We did this because we learned that your video might include copyrighted material owned by a third party, such as a video clip or background audio. If you are the copyright owner, or have permission from the rights holder to upload and distribute this material on Facebook, you may file a counter notice of alleged infringement by following the link below.

The Facebook Team
copyright@facebook.com

So lets refer to the video from the Electronic Frontier Foundation that spells out our rights under the DMCA rules.

Here’s the story behind the video that was taken down. The Australian band, Cut Copy, and their manager Neil are friends of mine. I invited the band to dinner at my house in Portland prior to their show in town. We had a good time, we shot video, I edited it and posted it. Seemed harmless enough but clearly not. I have filed a counter claim with Facebook so we’ll see how that goes. And someone should let Universal Music know that I fed Cut Copy dinner that night too….I’ll send Universal a bill… Watch another video from the same night here.

Related Post: How YouTube Could Make Some Money with Viacom

AdWeek reports that “Federated Media Publishing, the blog-centric ad network helmed by Industry Standard founder John Battelle, has partnered with Microsoft to launch CrowdFire, a music-themed social media platform where fans can share and consume videos, photos and personal accounts from live concerts.”

Reading the story and then digging through the CrowdFire site I can’t help but feel that this is just yet-another-social-network. The site is clean enough and easy to navigate but seems a bit jargon-heavy as in the use of the word crowdsource. And Battelle comes over as oddly quaint when he says that the idea for CrowdFire was sparked when he attended several recent music festivals, and saw how prominent cell phone cameras and other portable video recording devices have become. That sounds so 2000 to me….

My good friend Brian Zisk, the man behind the always interesting SanFranMusicTech Conference, has announced the next gathering. It will be back at San Francisco’s Hotel Kabuki on October 20th. There are early bird tickets currently available through August 8th which you can grab here. I will be there as a panelist along with the following folks:

Bob Heyman – Mediasmith, Chief Search Officer
Steve Jang – imeem, CMO & Head of Business Development
Ethan Kaplan – Warner Music Technology, VP
Rachel Masters – Ning, VP of Strategic Relationships
Jack Moffit – Speeqe, CEO / Chesspark, CEO & Lead Developer / IceCast Streaming Media Server, Creator / Xiph Foundation, Co-Founder
Sean O’Connell – Music Allies, Founder & CEO
Dave Ulmer – Motorola, Sr. Director Multimedia Products and Services
Carnet William – Sprout, Co-Founder & CEO
Brian Zisk – SanFran MusicTech Summit, Executive Producer / Future of Music Coalition, Technologies Director

As CNet reports today, Hollywood and YouTube may be edging towards their own version of Pax Romana. Meanwhile, beyond the learned walls of the law courts and Google’s battle with Viacom, we here at Social Cache have been scratching our heads over Viacom’s position.

Obviously Viacom is up in arms over what it argues is copyright infringement whenever one of its artists’ songs are used in a user-generated video. Their lawyers are even arguing that in most cases they want to set aside the notion of fair use. That in itself is ridiculous as in a lot of circumstances Viacom has stepped over the edge of copyright boundaries. In 2007 Viacom sent YouTube 100,000 takedown notices! And as this video from the EFF points out, many of those videos that Viacom had asked YouTube to remove, were not infringing anyone’s copyright.

We ourselves received a takedown notice and had a video removed from YouTube. The video was of one of our numerous snowboarding expeditions to Mt Hood and it included a clip of a song by the group White Zombie. We could have argued that under the law if we had used the music for parody, for comment, for criticism, for news reporting or for non-commercial use then we’d be in the clear. In this instance it was the latter – non-commercial use. We couldn’t be bothered, we weren’t that attached to the video and anyway, like millions of other folks, we put up videos at an alarming rate. Here’s our latest.

So here’s the Nemo and Social Cash POV. By removing our video Viacom denied thousands of people the pleasure of hearing a White Zombie song. One of its own artists! And no money was changing hands. One solution – Viacom should provide YouTube with a license from a roster of its artists who agree that their music can be used in a video for non-commercial use. In return YouTube provides its users with a simple license that allows users to add music from these artists to their amateur videos for non-commercial use for a small fee of, perhaps $3.00. Now Viacom and its artists get a share of this revenue, YouTube users won’t receive takedown notices, and Viacom can go a long way to recouping its, no doubt, millions of dollars it is spending on these lawsuits.

You’re welcome. Let me know why it won’t work….

Meanwhile over at MySpace, Rupert Murdoch’s News Corporation has a business that’s built on the backs of thousands of unsigned musicians. Who is looking out for them?

My Online Marketing Presentation About Radiohead from iaintait on Vimeo.

John Mellencamp, free songs via Vanity Fair

Thinking about social advertising and targeted marketing perhaps we should take a leaf out of the book of the rock stars. The biggest story last year in the music world was how Radiohead bucked the recording industry’s distribution and marketing system and gave away their new album. The short story is that they simply told their fans that they could go to a Radiohead web site and pay whatever they liked to download the album, with $0.00 being an acceptable amount. It was an extremely successful campaign – not only did most people pay for the files but the band received unprecedented amounts of positive media coverage around the globe.

Other bands have followed the model not least Trent Reznor and his band Nine Inch Nails. The band released a limited edition 2,500 units of a coffee table book that included multiple CDs and DVDs. It was exquisitely packaged, signed and numbered and cost $300.00. It sold out in two days.

I believe this form of social marketing could serve as a model for companies that have customers who are literally fans of their products. And I don’t mean Apple.

If we think of the bands mentioned above as companies that sell product then we can take a look at what these companies have been doing to increase sales of their product. Here’s what they do online:

01. They have blogs to which actual band members [think executives] post regular updates.
02. They ensure that the blogosphere is alerted to any new and breaking news or important posts.
03. They offer early access to special offers and discounts for their customers loyalty.
04. They give away free samples of their product.
05. They are active in their customers communities.
06. They never push unwanted messages to their customers.
07. They ask their customers to interact directly with their product through competitions.
[Both Radiohead and Nine Inch Nails had remixing competitions where they made tracks available to their fans for that purpose.]
08. They allow sharing of their products amongst a community.
09. They work closely with influencers.
10. They openly discuss their problems with their customers and allow negative comments to remain on their blogs.

Number 11 in my list would include the fact that they have dedicated staff working on this online communication 24/7.

These “companies” also use printed media to their advantage too. John Mellencamp has hooked up with Vanity Fair magazine to get two free song downloads into the hands of his fans. This is a win-win for both parties. Here’s the link if you fancy grabbing the songs.

In an article in the Wall Street Journal today [subscription req.] a report says that YouTube will will fall short of revenue expectations. The twist to this chatter is that Google has found that 80% to 90% of video watchers hate to watch pre-roll advertising and they leave the video the minute they see any hint of a pre-roll. The story goes that Google intends to ignore its own research and go ahead with pre-roll anyway.

And the reason that most pages on YouTube are ad free? Because Google is fearful of showing that it is profiting from copyright infringement. They already in the middle of a copyright infringement lawsuit filed by Viacom. That apparently leaves Google with only 4% of the videos being legally a-ok to advertise around as they have been approved by the copyright owners.

Bottom line for Google and the lawsuit they face, is that it is very unlikely they will receive a ruling in their favor to make money from copyright-violating content. It also will be a barrier to entry for anyone trying to launch a social media advertising program around these big content sites. Even Rupert Murdoch’s News Corporation doesn’t own the copyright to hundreds of thousands of songs on its MySpace site.

It’s not often I come across a major musical artists’ web site and find that I can say to myself – “these guys got it right.” Today I visited John Mayers site and although I’m not a fan of his music the site is a great example of how to get the message across simply and elegantly while giving his fans the ability to interact on many levels. The tie-in with Blackberry is genius too. The Blackberry micro-site just spreads the Meyer messaging and interactivity far and wide by offering exclusive Meyer content – audio, video, pictures and more.

John says “hi.”

John Meyer has a blog and he seems to use it, at least I hope it’s him because the most egregious offense is having someone else blog for you. I’m going to keep checking back on this one. In fact there are multiple blog links on the home page. This one is written by “Scotty” who may be in the band or may be the T-shirt vendor, it’s hard to tell. The blog focuses on the new T-shirts – “A collaboration with Loomstate – a completely organic, sustainable tee. Very limited… We only made 587 of the shirts, each hangtag is hand-numbered.”

And there’s even a place to send in your encore requests for the shows you’ll attend. Customer happy time I reckon. And client happy too, Blackberry made a wise choice sponsoring this musician.

Credit: Mayer web link found on the Mediapost blogs.

The news today is that Proctor and Gamble is getting into the music business. Just as Starbucks is going in the opposite direction and exiting the CD sales business, more brands are jumping in to fill the void left by the collapse of the CD retail store business. Music sales in the UK were once again down 11% over the same period in 2007.

For the labels, attention from product companies is a good thing. I see the logic here. CD sales are plummeting and online sales are not filling the void, a company comes along that wants to license the record label’s music to promote a brand and it appears that a match has been made in heaven. Rhianna had a lot of success this way working with Totes Isotoner to help them improve sales of umbrella’s. Umbrella was the title of her hit song, I wrote about her arrangement with Totes here.

Proctor and Gamble, and other companies using music to promote their brands, are jumping in deeper though:

“At a time when online file-sharing is rampant, record stores are closing and consumers are buying singles instead of albums, getting into the music business might seem like running into a burning building. But as record labels struggle to adjust to a harsh new digital reality, other companies are stepping up their involvement in music, going far beyond standard endorsement contracts and the use of songs in commercials. These companies — like Procter & Gamble, Red Bull and Nike — are stepping outside of their core businesses to promote, finance and even distribute music themselves.”

I believe all of this extra-curricular activity by these brands may pay off for them in the long term. The music fan has shown her willingness to buy music online although only singles, not albums. Album sales are no longer the preferred format. The labels created this nightmare for themselves when they scrapped the single as a sales format. They blamed their losses on file-sharing online but they ignored their own disastrous moves in the market place. They weren’t listening to their customers. And then they began to sue them. Even Apple can’t persuade music fans to buy albums.

There is a lesson here though and it is one that Starbucks learned the hard way. Brand and product companies should not get too deep into the music sales business. The P&G deal with Def Jam may work well as it is a joint venture where presumably each side does what they do best – Def Jam runs the label side, P&G markets its product with Def Jam music and pays for everything.

I discussed the following issue in a recent post: To the music fan music becomes cheapened by being used as a commodity to sell products. The artists behind the music have their celebrity enhanced and they then go on to use their brand to sell more products. Music fans understand that music is now a commodity and refuse to pay for it. The music industry and the artists both complain that no one pays for music and to account for the decline in sales accuse us of stealing it online. The commodity is over-priced; no one is buying it.

Unless you are a brand with a product to sell.

In the many years that I have had a MySpace page I have never once clicked through on any of the ads pushed to me. Here’s an example in the clip I took from the home page above. I never read Spin Magazine and I can’t stand Coldplay. Even the tag line from Chris Martin – “Our album will probably save the world” fails to entice me as the comment is so shallow. The good news though is that the digital issue of Spin is free. Now they’re thinking.

I’ve been a proponent of the Long Tail theory since stumbling upon Chris Anderson’s blog of the same name. Reading the book affirmed some thoughts I’d had about how certain niche products found a life online that they most certainly would not have found in a regular bricks and mortar retail outlet.

Granted, because of my background in online music distribution the theory immediately appealed to me. I saw it as an idea that would help unlock the gatekeepers stranglehold over the discovery of music either as CDs or legal music files. Those gatekeepers being terrestrial radio, the record companies and online music retailers such as iTunes who wrapped their music files with DRM.

A simple explanation of the Long Tail theory is that the internet gives us unparalleled access to more products across the “tail” and doesn’t just expose us to those mass products at the “head.” It suggests that people are willing to search and pull a song from say, Tortoise, an alternative music outfit that sells modestly, rather than sit back and be bombarded by iTunes trying to sell them, or push, a song from Coldplay. As the theory goes, Tortoise could make a living selling its music vertically in its slice of the tail.

Like any good theory it is open to question and discussion. This is where Anita Elberse steps in with her article in the Harvard Business Review entitled ‘Should You Invest in The Long Tail?’ Meanwhile Chris Anderson has been gracious enough to accept the challenge to his theory by responding to it on his blog.

I need to spend time with the article as it is not only lengthy but includes a lot of data and links to sources, as well as concluding with advice to different businesses on how or not to include the Long Tail in their marketing efforts. Anderson’s responses will take some digestion too. Perspective and insight is required before comment. That’s why it’s frustrating to me that people like Lee Gomes of the Wall Street Journal’s Portals column has jumped in gleefully accusing Wired magazine [where Chris Anderson is Editor-In-Chief] of having a “template” where they “take a partly true, modestly interesting, tech-friendly idea and puff it up to Second Coming proportions.”

Gomes is of course allowed his opinion of Wired magazine articles but I wonder if he has really had time to read and digest Elberse’s paper as well as study Anderson’s responses. It’s also odd that he blames bloggers for “talking up the theory, which is no wonder considering how it held out the promise that even the most obscure among them could win a robust audience.” As a columnist for the WSJ he has been happily debunking the Long Tail theory since it inception as he did in this article from July 2006. Is he more fearful of the Long Tail theory or of the bloggers who may gain audience share along the tail away from the WSJ head?

Whatever the outcome of the debate between Elberse and Anderson I doubt that there will be immediate agreement on the benefits or not of the Long Tail. One things for sure, it is way too soon to be joyfully jumping upon its supposed grave.

David Bowie in persona as Ziggy

David Bowie is, or more correctly, has been one of our more chameleon-like musical performers since the late 60’s. By 1972 when Bowie had adopted a new persona, Ziggy Stardust, his performances were memorable not only for introducing a new genre, Glam Rock, but for his wildly coloured orange hair, his sci-fi inspired modern outfits and his androgynous stance. As the music critic Robert Hilburn says of Bowie in retrospect, it was hard to tell “whether Bowie wanted to be the new Elvis Presley or Judy Garland.”

Bowie’s use of personas to present his music as well as his world-view continued through the albums Aladdin Sane [A lad insane] and Diamond Dogs, and reached its apotheosis with his Thin White Duke persona for the album Station to Station, which many people criticized as too close to a portrayal of a Nazi for comfort. Bowie and his supporters blamed his cocaine addiction at the time. He recovered from the bad press to deliver a trilogy of his greatest work Low, Heroes and Lodger, known as the Berlin Trilogy, all produced by Brian Eno.

All of this brings up an interesting question – Which version of Bowie do/did you relate to the most?

Bowie’s Ziggy persona catapulted him to fame in the USA, but who was more famous? Bowie or Ziggy? If we take the dictionary definition of persona it defines persona as so: the mask or façade presented to satisfy the demands of the situation or the environment. And identity as so: the state or fact of being the same one as described.

That’s not helpful. Bowie could be identified as Bowie as he steps from the stage still in his Ziggy costume if we look beyond his Ziggy persona. For example a fan might exclaim – “that’s David Bowie dressed as Ziggy Stardust.” More likely though a fan would exclaim – “There’s Ziggy Stardust.” Persona and identity become inseparable.

And of course all these thoughts bring me to Social Media which was not an online phenomena in 1972. With regard to personas vs identity on Facebook for instance, I read this post on idunno.org – “The ease by which fake profiles can be created on social networking sites clearly defines the separation between the two concepts. From a technical point of view a users identity is tied to authentication and authorisation (claims in SAML talk); your identity on facebook is your login information nothing more, and we’re gradually becoming well trained not to give that away. What other people recognise “you” by is your persona; the public facing information you provide; and there is no way to check the veracity of that persona, except by validating those incidents or attributes known by shared experience.”

In other words we can argue that we know Bowie was “acting out” his persona mainly in performance because we can “validate those incidents” as mentioned above. On Facebook we may never be able to “validate those incidents” amongst our hundreds of “friends.” I’ve argued before that especially for marketers, they don’t exist.

Meanwhile Bowie was very successful at it, as Robert Hilburn points out referring to the soon to be released 1972 Santa Monica concert – “For the encore, he turned to “Rock ‘n’ Roll Suicide,” a delicate, anthem-ish number from “Ziggy.” Reaching out to the audience, Bowie offered these soothing words: “You’re not alone . . . gimme your hands.” Thousands in the auditorium reached out to him.”

What does Hilburn mean by him?

Antony and the Johnsons in concert with the Oregon Symphony, conducted by Nico Muhly, and part of the 2008 Time-Based Art Festival

September 5, 2008 at 8:30 pm Arlene Schnitzer Concert Hall

Starting at 10 am on Friday, June 27, 2008 PICA will begin a special MEMBERS ONLY pre-sale for tickets to see Antony and the Johnsons in concert with the Oregon Symphony, conducted by Nico Muhly as part of the 2008 Time-Based Art Festival. Available to the general public on July 11th, 2008, tickets range in price from $20-$75 and seating is assigned.

Not a PICA member? Join now to to be the first to buy your tickets and receive the discounted member price. You can also become a member by calling 503-242-1419.

DNCHARD and LVHARD too, why not?

Here’s the soundtrack to all that – Sébastien Tellier – Sexual Sportswear

From Salon.com – the best part of “Gunnin’ for That #1 Spot” is the actual Elite 24 game. (This year’s tournament will be held on Aug. 22.) Taking up at least a third of the film, the game is a supercharged, fast-paced, immersive experience that celebrates the players’ showmanship and true talent. Yauch replays, rewinds, slows down and speeds up the footage to explore the plays from different angles. Exquisitely cut to a fast-paced hip-hop soundtrack, the game is part music video, part video game and part pure, joyful basketball.

Cool Hunting dropped the word on Portland’s Rock Camp For Girls documentary. How both of us missed the fact that it opened March 7th is a crime! We here at Nemo at least can take credit for hosting Shayla Hason’s – Hope Is A Muscle photo exhibition starring the Rock Camp For Girls kids.

Most reviews of the 2007 documentary “Girls Rock,” might mention it’s a tearjerker (it is) or praise it for being uplifting (also true), but none so far mention the overwhelming urge you will get to take out your checkbook to support the cause. Arne Johnson and Shane King (two seasoned SF-based documentarians and longtime pals) tell the story of four girls, all dealing with their own struggles in adolescence and gender, over the course of their time at Portland, OR’s Rock Camp for Girls. The film deftly relates their struggles and giggles, unapologetically delving into the issues without preaching and with surprising honesty.

We highly recommend you check it out for yourself. To find out screening dates and locations, check out their site. (You may want to check their blog also as it seems to be updated more regularly.) Also, donate!

After reading Nubby’s post on The Power of Celebrities as Brands I came across a post on Sasha Frere-Jones’ New Yorker blog where he talks about Jeff Leeds, a music reporter for the New York Times, who was recently laid off. Frere-Jones has entered into an email discussion with Leeds where they discuss music writing and criticism today:

LEEDS: I’m not sure that it’s so easy anymore to write about the art without acknowledging the commerce or vice versa. It’s also just more fun, as a writer, to inhabit the middle. There is a case to be made that the cultural role and the experience of music now are just inextricably tied to commerce and the new ways that artists and listeners perceive each other. Even as a fan, isn’t your relationship with music and artists at least somewhat different depending on whether you subscribe to e-music, share a station with a friend on Pandora, or watch someone’s show on your cell phone? Is U2 still the same U2 if they’re in an iPod ad? I think the message and the medium are much more intertwined than they were ten years ago.

FRERE-JONES: This behavior parallels the world of online friendships, at least in form. People who could just as easily call or e-mail each other decide to make conversations public through blogs or Twitter or MySpace comments. The platform chosen for each message changes the effect of the words, who can read them, and how long they will hang in the air. (The Web is creating a multiple-exposure version of memory: words remain, reappearing over and over, even if nothing more than cocktail chat. “Nice dress!” echoes in the hall of mirrored servers. An LOL is not an LOL is not an LOL.)

LEEDS: I think that sort of transparency, where we’re all declaring our positions publicly, is here to stay. In music it means that all these little tribes and congregations of fans can mobilize in really powerful ways. And that in turn is contributing so much to the changes you see in the relationship between the artists and the machinery, the industry underneath and around them. It’s a crucial space to watch. I always think of music as Patient Zero in all the disorder that is changing everything in entertainment and media, including, by the way, newspapers. It’s worth paying close attention.

Leeds and Frere-Jones are suggesting here that transparency, aided and abetted through the use of social media, affects the way that music fans “perceive” the artists and the music industry. With its machinations no longer hidden from them, fans interact differently with their favorite musicians. As musical artists use their celebrity to sell products one area where this perception could become dangerous is over-exposure.

In an article in the New York Times, Nothing Sells Like Celebrity, the story of the teenage R&B pop star, Rhianna, her song ‘Umbrella’ and her deal with the umbrella manufacturer, Totes Isotoner, is typical of the arrangements made between a celebrity’s brand and a product these days:

“Rihanna and her representatives wanted Totes to do more, however, than merely use her [song] to peddle a product. They wanted Totes to create customized umbrellas featuring sparkly fabrics and glittery charms on the handles — all recommended by the emerging star and her team. Totes also guaranteed the singer a percentage of the sales of the umbrellas”.

Apparently the arrangement between the star and umbrella company was successful but what does this say about the future of music as an art form? As Leeds says – “I’m not sure that it’s so easy anymore to write about the art without acknowledging the commerce or vice versa.” To paraphrase him – Is Rhianna still the same Rhianna if she’s in an umbrella ad? Do her fans blur the line between seeing her in a video on MTV and then seeing her in a Totes ad?

Sales of hip hop and R&B music have dropped off precipitously lately and many have blamed the over commercialization of the music and its ties to products; too much bling in other words. Does hearing a song repeatedly through an advertisement cheapen the artist and the song? And then in turn, does social media – Facebook, Twitter etc, allow these “little tribes” as Leeds calls them, share the idea that ‘too much exposure is quite enough thanks, we’re moving on to the next artist’…become gospel? I think so. Leeds and Frere-Jones are on to something.

As these all important “little tribes” spin off into tightly-knit social groups online, all of which will independently coalesce around their favorite subjects, be it knitting, hang gliding, musicians, movies, actors et al – the large social media sites and networks will fracture into millions of laser-precise spin-offs. As Frere-Jones says, the words and messages of these “little tribes” become “echoes in the hall of mirrored servers.” As he also says, the web and social media are “creating a multiple-exposure version of memory,” – is that U2 on MTV or U2 in an iPod ad, I may ask myself?

Beware all marketers who intend to try and reach these ever-shifting, nomadic, online groups; as I said in a prior post – the people who are members of these groups don’t exist, only their personas do.

The music industry should be careful too. Music becomes cheapened by being used as a commodity to sell products. The artists behind the music have their celebrity enhanced and they then go on to use their brand to sell more products. Music fans understand that music is now a commodity and refuse to pay for it. The music industry and the artists both complain that no one pays for music and to account for the decline in sales accuse us of stealing it online. The commodity is over-priced; no one is buying it.

The Tower of Babel

Cities live and breathe. As I wrote in a post last week on Social Media, cities are no more artificial [technological] than the hives of bees. As we go about our daily lives [mostly unconsciously,] we psycho-drift from block to block through neighborhoods that we know well, in amongst communities that have been drawn together by like-minded people. Think East Village in Manhattan, Venice Beach in Los Angeles, Camden Town in London, Pigalle in Paris – and here in Portland, the Pearl District.

Where we tend to live and work is often amongst communities of like-minded people, unless, as in the USA, one lives in a far-flung exurb and commutes for hours to work. Over centuries we have moved as a species from the rural countryside into large urban centres. As we have done so the ‘idea’ of the city sprang up. Throughout different periods in history, planners and architects have had differing ideas about how to cultivate urban living arrangements. There has been some success and much failure.

As James Kunstler writes in his book, The City in Mind, – “[the] nation’s massive suburban build-out was an orgy of misspent energy and material resources that squandered our national wealth and left us with an infrastructure of daily life that, left as is, has poor prospects in the new century.” Kunstler points out that as global warming, oil depletion and other epochal disorders are upon us, we must reconsider what is a ‘city.’

He argues that one of the chief side effects of the move to suburbanism is “the cultural destruction…especially the loss of knowledge, tradition, skill, custom and vernacular wisdom in the art of city-making that was thrown in the dumpster of history….”

A city is not just a series of streets and avenues with buildings on either side, a city is people, culture, society and the networks that form to bind those societies together into communities. The suburbs were literally a dream, an idea that General Motors had of a drive-in utopia in its plan for a World of Tomorrow. Kunstler goes on to point out the folly of the “Edge City,” a term coined by the writer Joel Garreau. Kunstler says “I essay to show how Atlanta took the urban model of car-crazy Los Angeles to its most ludicrous, and in my view, terminal stage. With Atlanta, you can forego agonizing over the future, because the present doesn’t even work there.” As he points out “our human ecologies – namely our towns and cities – remain devalued, depopulated and decivilized.”

In America we prefer landscape over urbanism. What then now as our dependence upon oil, refined as gasoline for cars that transport one person at a time from these suburbs to the cities, proves the folly of these far-flung suburbs? Will we see a move toward urban vitality? A migration back to the city?

Government spending at any level, state or local, does little to help. We need to “nurture the unplanned civic engagements that make mixed-use city life so appealing” – writes Douglas Rae, the Richard Ely Professor of Management and Professor of Political Science at Yale University, in his book, City; Urbanism and Its End. “Small scale retailing, neighborhood clubs, informal enforcement of sidewalk civility and new urbanist design may be the keys to the future.”

I agree with Rae on the idea of “nurturing unplanned civic engagements” as he puts it but that’s as far as I would go. The rest of his thought sounds like the issue of we humans being in control of our destinies again, trying to have the answer that is beyond nature, beyond what we actually do when we congregate in cities. Our desire for urban centres always seem to be about ‘order’ or ‘cleanliness’ and ‘organization.’ So on one hand we have the thinkers – the planners and the architects, and on the other – the citizens who actually inhabit the space that we call city. What we might call the ‘Few and the Many.’

Alongside a piece by the New York Times film critic, A.O.Scott, called Metropolis Now, where he writes about the idea of how yesterday’s film sets became today’s cities, there is a sidebar that takes some lines from Fritz Lang’s 1927 film “Metropolis” – “The minds that had conceived the Tower of Babel could not build it. So they hired hands for wages. But the hands that built the Tower of Babel knew nothing of the dream of the brain that had conceived it. One man’s hymns of praise became other men’s curses.” There’s that word again, dream.

We humans dream. We dream of controlling nature, we dream of saving the earth, we dream of organizing our cities. Those dreaming deny the fact that cities live and breathe. Not the concrete architecture, not the buildings – the people that inhabit them. When someone talks of Rome having a ’soul, a feeling’ they are misinterpreting the difference between the city and its cultural makeup; people can be said to have souls and feelings, we ‘know’ this – buildings don’t have soul and feelings.

As Fernando Pessoa writes – “Only if you don’t know what flowers, stones and rivers are can you talk about their feelings. To talk about the soul of flowers, stones and rivers, is to talk about yourself, about your delusions. Thank God stones are just stones, and rivers just rivers, and flowers just flowers.” We dream and we delude ourselves.

Richard Florida, author of The Rise of the Creative Class dreams of organizing urban centres [which he correctly identifies as 'place'] around the idea of a mythical “creative class” who are bound by the idea of the “three T’s,” Technology, Talent and Tolerance. This dream involves cities having a strong technology base, a “creative” class as he calls it, and a strong gay community. And of course the idea he spins is that to grow a city’s economic base it should invest in nurturing the “three T’s.” Once again – The Few and the Many. Planners and architects can no more decide what a city’s culture will be than we know that a stone has feeling.

The fabric of a city is its population. Like a bee hive [architecture] or an ant colony [social network], natural rules of engagement spring up through the daily interaction of those who inhabit a city. They commune. They gather in tribes in their ‘places.’ They share information, ideas, things they like. They become less ’selfish.’ They are city.

As John Gray writes in Straw Dogs – “Anyone who wants to escape human solipsism should not seek out empty places. Instead of fleeing to the desert, where they will be thrown back into their own thoughts, they will do better to seek the company of other animals. A zoo is a better window from which to look out of the human world than a monastery.”

Most large cities have a zoo.

Listen to and download Psycho Drift. Shriekback – Psycho Drift

For references –
References:

James Howard Kunstler – The City in Mind. Published 2001 by The Free Press.
Joel Garreau – Edge City
Douglas W. Rae – City; Urbanism and Its End. Published 2003 by Yale University Press.
Richard Florida – The Rise of the Creative Class. Published 2002 by Basic Books.
A.O.Scott – Metropolis Now. Published in the New York Times magazine June 6th 2008.
Fritz Lang – Metropolis
Enrique Peñalosa – Man With a Plan. Published in the New York Times magazine June 6th 2008.
Fernando Pessoa
John Gray – Straw Dogs. Published 2002 by Granta Books.
Solipsism
Shriekback – Sacred City [Compact Disc]. Released by World Domination Records 1992.
Barry Andrews – Lyrics to Psycho Drift.
Peter Carey – 30 Days in Sydney.

Weezer cover Radiohead’s Creep, live in Portland from Dave Allen on Vimeo.

Weezer came to Portland last night and rounded up 200 local Portland musicians and fans via a radio call-out from KNRK 94.7, our local alternative radio station. A few of us here at Nemo got the tip so we headed off down to the Oaks Park Fairground pavilion to watch everyone stream in and learn the songs, practice a little and then have a great time performing with their favorite band. The video here is the band and their fans performing Radiohead’s ‘Creep’.

In an age when it is difficult for bands to break through the white noise of popular music culture, Weezer have come up with an interesting idea – tour up the west coast dropping in on radio stations and inviting their fans to come jam with them. They record each nights’ performance and then they will select the best cuts for a limited edition CD to follow. Judging by last night’s crowd it’s the perfect way to engage directly with your fans in an unassuming and non-pretentious way.

The back cover of the Damaged Goods EP

On June 18 I spent an afternoon with the University of Oregon’s philosophy department class presenting a talk on Gang of Four and our place in the “creative, potentially transformative popular music pantheon.” It was fun. As a band our achievements are well known, mainly in critical circles, but also from the few thousand passionate hard core fans who continue to hang on dearly to their vinyl copies of ‘Entertainment!’ For a band that didn’t sell very many albums we continue to draw new listeners and thought leaders to our music. Hence the invite to speak today.

It was fun taking questions from the students, and very good questions too, about our lyrics, our political stance, how we messaged through our music. We also discussed where music is going and how will musicians be able to make a living. The students appeared to take to heart my idea that musicians are no longer in the music business, they are in the T-shirt business.

As I researched for the talk I came across the Damage Goods EP ripped from vinyl and made available as a download along with a hi-res file of the back cover. 30 years ago, on June 28th and 29th 1978, in Cargo Studios just outside Manchester England, the original Gang of Four line-up recorded the EP. Two days, live recording, minimal overdubs, recorded and mixed. Three songs – Damaged Goods, Armalite Rifle, (Love Like) Anthrax.

It’s amazing to listen to today [the students loved it.] The disarming, sprawling charm of the non-production stands out. Performed basically live this version of Damaged Goods seems now perfect – unhurried, raw, prickly guitar, Jon sounding like he’s just yelling in a room. I’m glad I never trust my memory.

Dave Allen, Director, Insights & Digital Media, Nemo Design

Gang of Four – Damaged Goods (EP version 1978)

Damaged Goods 3 song EP Click, right click or control click to download. It’s a 12mb zip file and it includes a hi-res back cover image.

Obama’s viral timepiece.

These days the advertising and marketing world is all abuzz with phrases such as – Social Media, Social Advertising, Facebook Ads, Mass Media Networking Advertising…..etc, etc.. In the last two weeks I have been a panelist at the L I S A seminar in Portland and the Hawaii MusicTech Conference in Honolulu. L.I.S.A., which is an acronym for Lessons In Social Advertising, was aimed at marketers and advertisers who [for some reason] don’t understand social networks or haven’t yet worked out how to advertise effectively to them. It focused on topics such as ‘What is social advertising?’ and ‘How do you get young people to recommend your brand?’ The Hawaii MusicTech panel discussed how musicians could effectively use social networks such as Facebook and MySpace to reach an audience and communicate with them.

Two sides of the table as it were. One group wants to advertise, or push, their messages to a mass audience, while the other wants to create a network of like-minded people who hopefully will pull content such as free MP3s and then “evangelize” on behalf of the musicians by spreading messages by electronic word of mouth. With no hint of schizophrenia I happily migrate between both camps.

To understand and embrace social networking is to place the idea that says “technology makes this possible” to one side and embrace the idea of the basic human need to stay in touch with other like-minded people at all times. As Clay Shirky says “The desire to be part of a group that shares, cooperates, or acts in concert is a basic human instinct.” Think about rock concerts for a minute…..

Most people that take a position on social networking and advertising come at it from a technological point of view, as in “technology has created the means for everyone to be connected and to stay in touch.” I disagree with that statement because it removes nature from the game. It is entirely natural for humans to want to interact as often as possible as we are all social animals. Cities are no more artificial (technological) than the hives of bees. Therefore the Internet is as natural as a spider’s web. People who believe that technology is driving our interactions are missing the point – we ourselves are technological devices, invented by ancient bacterial communities as a means of genetic survival. Bottom line – social media is as natural as apple pie as we all want to be as connected as possible – we can’t help it. [A really good book from which I have borrowed some thoughts is 'Straw Dogs' by John Gray, professor of European thought at LSE, published in the UK by Granta.]

Online networks might be seen as antidotes to boredom at work, school or college. These new social networks do more than transmit information about their members, they change behaviour by propagating moods. These days we can all share “news” really fast, even about ourselves – for example, my Facebook or Twitter status might say “I’m heading to the beach in Waikiki…” and the mood that simple statement makes might become very contagious.

The Internet confirms what we have all known for a long time – the world is ruled by the power of suggestion but in the case of social networking it is “influencers” that lead the suggesting. Then suggestions might become “group think.” John Gray writes – “in evolutionary prehistory, consciousness emerged as a side effect of language. Today it is a by product of media.”

So, the question currently being asked by companies and advertisers is “how do we market and advertise to social networks?” Having to ask that question suggests the rocky ground that online advertisers are standing on. For instance, Jack Myers sees nothing but doom and gloom in online marketing: He says “Advertising is simply not a sufficient revenue model to sustain content companies into the long-term future.” And goes on -

“I have preached evangelically for nearly three decades about the bifurcation of the media and advertising marketplace into 1) a transactional commodity business model and 2) a relationship-based brand-focused premium marketplace. Most media companies and agencies are investing appropriately in the technology resources required for their transactional businesses. [But] Brand building, relationship-based business models and premium-priced enterprises require completely new and innovative models, and can take years before they generate returns that justify the investments. Industry realities place enormous pressure on executives to adhere to traditional business models, and companies that foster and advance innovation are often drained of resources before they can deliver the return-on-investment demanded by the stock market, equity rights holders and VC investors. Typically, implementation of new business models must be forcefully imposed by the CEO, need the blessing of investors, and they cannot be managed by executives trained exclusively in the ways of traditional media and advertising.”

Neil Perkin in a slideshow entitled ‘What’s Next in Media’ that can be found here says that today – Social Media is counter-intuitive to communications media. Here’s one of his slides that shows just how counter-intuitive things have become for marketing online:

Meanwhile, the old way of marketing is through push messaging and therein lies the mistake of many of today’s marketing managers. Take a look at this slide to see how things don’t stack up nicely into a marketing message or ‘drop’ that has been long planned waiting its turn on the calendar.

The Linear model above reminds me of traditional TV and Print advertising. Some people in advertising and marketing today still view the Internet as a “channel” rather like TV.

Let’s consider another buzz phrase – viral marketing online. The success of YouTube in extending an advertising campaigns length and reach is now common currency. We’ve all seen the videos, perhaps even this one – My girlfriend and the Wii Fit. 2.2 million views and going strong.

The viral aspect of YouTube pleases advertisers and marketers because they can take pride in the statistics – 2.2 million viewers, that’s great! Not so quick though. The wise online marketer knows that it’s not all about page impressions. Broad use of metrics is far more important – users, time-spent, interactions and pass-alongs. The Wii certainly got a lot of exposure in that video but how can the results be tracked? Where’s the ROI?

Those YouTube stats don’t show the whole picture. It is clear that the video is very popular and it fits the rules of users, time-spent, interactions and pass-alongs, but there is no clear ROI except in its “value.” By value I mean that the brand is being talked about, the brand via the video is being shared, people are “spending time” with the brand. The ROI though is difficult to judge. Even if Wii sales were to jump by 5% in one week can we really say it was due to this “viral” campaign. Probably not. The video’s value will continue throughout its lifetime on YouTube. Talk of value over ROI makes marketing managers queazy.

Viral campaigns are not just online. From Adrants: Jack Goldenberg tells the story of how he and Kevin Glennon turned a custom-made Obama for President watch into what could become a fairly sizable viral campaign for the candidate.

“Most people think of viral marketing as something they’ve seen on YouTube or a similar site. But in reality, a viral is any communication that causes one person to be so affected by “experiencing” the viral that they communicate it to another.” He also argues that “Happy Meal toys were an in-home reminder of the need to visit McDonald’s. Kids would see two or three of them on their desk in their room and say, “Mom, Dad, we HAVE to go back to McDonald’s. I need 3 more Star Treks Happy Meals to complete my collection…..the Happy Meal was viral – kid to parent-multiplied by the millions of kids who frequented McDonald’s.”

That’s an example of an early viral campaign. We can perceive its “value” but we can’t perceive its ROI. And that’s why Jack Myers, as I quoted above, says “(completely new, innovative models) can take years before they generate returns that justify the investments.” If as marketers we don’t understand social media and merely pay lip service to viral marketing then we are basically flying by the seat of our pants.

Chris Anderson, editor-in-chief of Wired Magazine and blogger at The Long Tail, has pitched in to the social media advertising conversation with a post entitled You may be on Facebook But the Money’s in the Long Tail. He also posits that “social networks should be a feature, not a destination.”

As Chris says, and I agree, “I’ve been thinking a lot about how to integrate social networking into websites better. Right now the world is focused on stand-alone social networking sites, especially Facebook and MySpace, and the fad of the moment is to take brands and services there, as companies build Facebook apps and MySpace pages in a bid to follow the audience wherever they happen to be. But at the same time there’s a growing sense that elements of social networking is something all good sites should have, not just dedicated social networks. And that suggests a very different strategy – social networking as a feature, not a destination.”

He has a proviso too – “social networking to me means the tracking of individual preferences and behavior and giving users the ability to draw upon implicit or explicit connections between them and other users to do something useful.” This brings me to Ning, a social network platform that both Chris and I like. As he says “Ning, suppresses its own brand for the sake of those of the microsites it hosts.” Go here to see how the hip hop/rap label, Rawkus, uses Ning as its entire web presence.

Chris goes on to say – “As I think about the current Facebook craze and the notion of it as an all-encompassing platform, sucking in functionality from other sites across the board, I find myself skeptical. With my Long Tail hat on, I think that one-size-fits-all will fail in social networking, just as it has everywhere else.”

Meanwhile MySpace admits that it is not making as much money through ads as it would like. See Selling Ads For MySpace is Hard Work. MySpace COO Peter Chernin said:

“We remain incredibly optimistic about social media. But there are specific challenges 1) Tons of inventory. Lack of scarcity creates a liquidity challenge. Working on bringing big brands aboard. 2) People who are visiting social networks are there for different reasons, different uses. Figuring out how to target. 3) What’s the value of a “friend”? Trying to figure out new metrics to communicate with marketers.”

Bottomline: It’s the wild, wild west out there.

Anderson points out that ad rates on MySpace go for an astonishingly low $0.13 cents per CPM (one thousand impressions.) So that’s $0.13 on a general-purpose social network like MySpace and on his Ning-hosted network DIYDrones he’s getting $7.00. Even with a more generous scenario–$0.50 on MySpace and $5.00 on a focused Ning site–the difference is still a factor of ten. He believes that as big networks like Facebook and MySpace struggle to target ads based on the faint signals of consumer behavior in a generic social network, the smart money is going to the niche sites, where laser-focused content and community makes targeting easy. I couldn’t agree more. Also see: Facebook Ads Don’t Rock an experiment by Bob Gilbreath, an advertising executive who ran an ad on Facebook. It’s a real eye-opener. And another – Ad CPMs Are Higher In The Tail. And of course companies are springing up that think they have the answer to your problems in dealing with big social networks. Here’s one.

What this all points to is that companies should be advertising directly to those niche groups and networks that include people who would like to hear from their brand. The brands need to wait until they are invited in. A mass, scatter-shot approach to the large social networks will only fail.

Companies also need to consider Radical Transparency. For those unaware of this concept there’s a great article here on Wired Magazine’s site. I also wrote about it myself when Wired’s web site crashed. The basis of this theory is that you open the company’s doors [only as much as you like] by creating communication between your company and its fans and detractors. It’s a big step and for some, especially executives, it will cause a great deal of unease.

Wal-Mart used this approach to great effect. Here’s the original story from the New York Times and here’s just one bloggers’ reaction. And here is the Wal-Mart blog.

As the NYT article says “Known for its strict, by-the-books culture — accepting a cup of coffee from a supplier can be a firing offense — Wal-Mart is now encouraging its merchants to speak frankly, even critically, about the products the chain carries. This unusual new Web site, which was quietly created during the holiday shopping season, has become a forum for unvarnished rants about gadgets, raves about new video games and advice on selecting environmentally sustainable food.

Corporate blogs are nothing new — General Motors, Dell and Boeing have them — but Wal-Mart’s site, called Check Out, turns the traditional model on its head. Instead of relying on polished high-level executives, it is written by little-known buyers, largely without editing.”

And the key point there is “without editing.” Once a company opens the doors it can not close them. If a company starts a blog [and it should] it can not moderate the comments. And the CEO and other executives should not be contributing to the blog if they do not have the right “authority” or “voice”. By that I mean authenticity. It’s an overused word at times but in the right context it is completely accurate. If a CEO were to jump on the blog to blow her own trumpet non-critically about a company’s service or product the readers would see through it immediately. Being authentic means the blog author is a “trusted source” and this trust can never be abused.

A blog is a micro social network. My blog garners around 100,000 unique visits a month and its adherents are seeking out what I have to say about music, technology and the web. I am well versed in those things. I have an opinion about them. I also provide free music downloads from artists that I have “filtered.” I only post music from artists that I like and I believe that my audience will like them too. In short I have become a trusted source [people like my opinions,] a filter [people share my musical tastes,] and I am an influencer [I push certain artists and online companies that I support,] as well as an authority [people believe that I know what I am talking about.] A company’s blogger or bloggers need to have all these bases covered if they are going to safely cover the company’s communications through the blog.

Meanwhile the executives have to sit back and allow the comments, both good and bad, begin to flow. They can never interfere if they want the blog to be taken seriously. They will feel insecure and perhaps a little nauseous but if they wait it out it will work fine. It works for Wal-Mart, the world’s biggest retailer.

A company with a good blog policy will be listening to its customers and then shaping its communications around that data. It will also create content that is both relevant and hopefully surprising. Influencers will pass along the good stuff creating the viral moment that marketers pray for. Then people in the outer circle of the influencers will also start to talk about the brand, and as they do the company has to make it very easy for its core fans to spread the word. Do not fear negativity, it is just more communication – let it roll. There should never be a barrier to communication or interactivity. Remember, it’s not about technology, it’s about people. Bloggers have to be about having an opinion and sharing it but never about reporting….it’s a two-way conversation.

Sometimes people look at it backwards. Points 1 and 2 in this slide are wrong. As I said at the beginning of this post, we are technological beings and we are naturally immersed in technology; it can’t be any other way. And you can’t enforce social cultures online as there is no central “being.” Facebook’s “soul” is merely the millions of disparate people who are members. When Facebook goes away, as it will, those millions will migrate to the next application that allows them to socialize freely and easily.

For marketers this is a huge dilemma. In social media we create a selfless or virtual “self” – for instance, in the Facebook friends network one might see a coherent global pattern but that pattern only emerges from the activity of all its members (friends). The group or network seems to be centrally located but in fact it is nowhere to be found. No one has the slightest idea what these people do or want; they actually don’t exist. The good news is that within each of any of these social network groups resides at least a couple of influencers; again, companies and brands must wait to be invited in. These are parties that can’t be crashed.

Dave Allen, Director, Insights & Digital Media, Nemo Design.

The following URLs link to people, companies, articles or stories that are referred to in this post:

Grammy’s Hawaii MusicTech Conference
LISA 08
Content Marketing = Brand New Marketing
What’s Next In Media
My Facebook profile
My Twitter
My music and technology blog, Pampelmoose
Clay Shirkey’s blog
Jack Myers’ Web Site
Neil Perkin’s Blog
Wii Fit YouTube video
Adrants Obama watch story
Obama watches web store
Wired Magazine
You may be on Facebook but the money’s in the Long Tail
Social networks should be a feature not a destination
Rawkus, a social network on Ning
Selling ads on MySpace is hard work
Bob Gilbreath’s Facebook ad experiment
Ad CPMs are higher in the tail
Lotame.com
Blog reaction to Wal-Mart blogs
NYT story on Wal-Mart blog
WalMart blog

Find more videos like this on NEMO

Nemo hosted Shayla Hason’s Hope Is A Muscle photo exhibition last night. Here’s the video with Shayla discussing her work with the Portland Rock N Roll Camp for Girls.

HOLOCENE’S 5 YEAR ANNIVERSARY WITH…
The Shaky Hands
Starfucker
Horse Feathers
DJ Beyonda
DJ Magic Beans
come celebrate one of the most cherished & established venues
in the portland musical landscape…congrats guys!!!

HOLOCENE
1001 se morrison
8pm till late
21+ celebrators
FREE! FREE! FREE!

I’ll never break my Mac habit to go for a Zune but if there ever was a reason to own one this may be it. Limited edition release of 500 units engraved with the Joy Division iconic artwork created by Peter Saville. Get your finger on the trigger on June 17th.

Click on the tape and have a listen to what we are listening to this week.

There is no business more maligned right now than the music business so it’s always a surprise to me to find that brands and their agencies haven’t been following the story. Where once every college students dream was to graduate and land that much-sought-after job in the mail room at Warner Bros Records, I would argue today that they are far more interested in joining Google or one of the myriad of new media start-ups rather than getting a job at, or being signed to, the now unsexy music business. In fact one of them is no doubt creating a new, new, new media company as I write.

And then along comes Macys’ American Rag brand campaign – from AdWeek under news, non-traditional – a series of documentary Webisodes will follow the lives of five young people who want to break into the music business. The series, “Ragged Road,” launches in the fall. WPP Group-owned MEC Entertainment developed the show, which will play on YouTube. Nancy Slavin, svp of marketing at Macy’s merchandising group, said this marks a first for the brand in “doing something wholly dedicated to a communications strategy on the Web.”

So Macys’ merchandising group has plunged head first into a web-only strategy. Brave. The clothing brand targets 18-24 year-old males and females and they have deduced that music is one of the passions of this demos primary targets – true, but – music is just one of the passions not the primary passion.

“There’s a lot of people who want to get into the music industry, but don’t know how to go about it. So, we said, let’s find five people who have a passion for the business and want to see what the career opportunities are and what different paths there are to get into the music industry,” said Chet Fenster, managing partner at MEC. – I believe that statement is rather insulting to kids today, it sounds like a justification for making the webisodes rather than reinforcing a need that came out of a focus group session with young people.

All five cast members will be wearing American Rag clothing. They will also be given the opportunity to shop for the brand as they travel across the country. For YouTube users interested in buying the clothes, the Macy’s site will serve as a shopping portal.

Cast members huh? I don’t understand why the agency didn’t find a cool young band that are actually working hard on the road but are struggling to make it. That would have been the truly authentic route to go. Driving a bunch of “cast members” around the country on a bus and giving them “the opportunity to shop for the brand” as they go doesn’t sound so compelling to me. A more authentic way into the music market was showcased recently by Dennys, the restaurant chain, with their Adopt-A-Band campaign where they picked up touring bands and gave them a helping hand in the way Kids like their fashion to be unique. of free meals and other opportunities. Bands and music fans are very nocturnal and always hungry at after hours so this made sense in many ways. Dressing up a “band” in American Rag outfits and giving them a bus to travel on is so fake. It doesn’t take into account the harsh reality for thousands of young touring bands in the USA (gas at $4 bucks a gallon anyone?) nor does it take into account young kids’ propensity for mashing up their fashion sense into something unique, their own style.

More fun here.

Nemo Design presents Shayla Hason’s Hope is a Muscle: Photos from the Rock n’ Roll Camp for Girls exhibit opening on Friday, June 06, 2008. The show will run through Tuesday, July 01, 2008 at Nemo Design: 1875 SE Belmont Street in Portland, OR.

“It has been a great honor to watch the camp grow, and with every session to see the girls gain
knowledge, confidence and strength in a single week. As a documentary photographer, I am most interested in the small, sublime moments at camp and the interactions between the girls in the days leading up to the showcase,” said Hason, who has been taking photographs at the Rock n Roll Camp for Girls since 2001, the second year of its existence.

The Rock’n’Roll Camp for Girls, a 501(c)3 non-profit, builds girls self-esteem through music creation and performance. Providing workshops and technical training, we create leadership opportunities, cultivate a supportive community of peers and mentors, and encourage social change and the development of life skills.

Nemo Design is a Portland-based integrated branding, marketing and design shop. Nemo Design’s capabilities include brand strategy, design, motion graphics, interactive development, film, video, print and photography production.

May 13th is now officially Frank Sinatra Day. Next time your in Palm Springs you can rent Frank’s old pad.

Well it seemed like a no-brainer, right? Wrong according to Urb Magazine’s blog.

“We didn’t do it together so it ends up being just this weird long song with sort of everybody with lots of their own personalities separate,” Santogold told Gigwise when revealing the track.

Urb says – Maybe it’s the lack of interaction between artists that keeps them from ever even talking about important issues, let alone record songs in an attempt (however vain) to make the world a better place. Or maybe it’s just that with the record industry on it’s ass, musicians have to learn to make due with the money they can earn when they can earn it, leaving less time for charity. Maybe it’s just easier to sellout when facing a ProTools file, rather than your actual peers in a recording studio.
Listen—we love Pharrell, Santogold, The Strokes AND Converse.But if Bob Dylan, Stevie Wonder, Bruce Springsteen, Hall & Oats and two dozen other A-listers could get into an actual recording studio together to make “We Are the World,” couldn’t today’s rockers try just a little bit harder?

Slowly but surely Apple’s iTunes and its accompanying device, Apple TV, are narrowing the gap for me when it comes to TV viewing choices. My cable package with Comcast frustrates me – it’s like the mobile phone provider packages too, you get all locked up with stuff you don’t need, to get access to the stuff you do need. It’s just like walled gardens with the social networks and music services online, it’s a model that has to be broken. And Comcast and other ISP’s need to understand that the end user, their customers, treat Internet access as a utility like electricity so it’s about time that the “one price fits all” model is dismantled too.

With iTunes and Apple TV I can pick and choose the shows I want to watch and I can time-shift, i.e., watch them when I want. If I want to watch all the Deadwood episodes in one weekend marathon I can. And I will own them too and have the ability to watch them anywhere – iPhone, MacBook, iPod.

Let’s give Radiohead credit for trying. As they point out on their blog, for a modern rock band touring is highly inefficient – 125,000lb / 55,000kg of Sound, Lighting, Video, Band Gear, Office and Catering equipment needs to be moved between every show. They have looked into alternative methods of transportation such as rail but that didn’t work out. They have managed to find a way for their truck drivers to cool their cabs while they sleep without running their diesel engines all night which helps. What they seem to have overlooked is the geographical position of where their shows are taking place.

An article in Billboard points this out – Adding fuel to the fire is Radiohead’s self-stated intention of making its summer tour as environmentally friendly as possible. According to one fan post, “One-third of the concert-goers that night were driving around in circles, burning fossil fuels all the while. This is your save the Earth tour … and yet you play in the middle of nowhere with no public transportation leading there. You owe us!”

And from another, “If you gave even one tiny llama turd about environmental impact, you would never have scheduled a show at a venue 40 miles away from downtown D.C., nowhere near public transportation of any kind.”

Here in the Northwest the band is skipping Portland and Seattle to play the White River Amphitheatre which is located in Auburn, Washington, on the Muckleshoot Indian Reservation 15 miles northeast of Tacoma and 35 miles southeast of Seattle. So for Portlanders or folks from say Idaho, Montana and even Washington, it means jumping in the car and driving for hours not to mention that gas is now $4 a gallon….time for a rethink I reckon.

(LOS ANGELES, Calif.) Times are tough for touring artists and Denny’s wants to help. Denny’s restaurants has just launched a unique new music program entitled Adopt-a-Band to provide free meals, promotional support, and concert after-parties to “adopted” bands on tour across the U.S.

The preferred choice of late-night dining crowds across the country and strongly entrenched in the after-hours lifestyle culture, Denny’s is not only supporting local bands on the road, but also enhancing its menu with new late-night options.

Inaugural adopted bands include EndeverafteR, Forever The Sickest Kids, Foxy Shazam, Saving Abel, Switches and Take The Crown.

Denny’s is also a proud sponsor of the 2008 Sasquatch! Music Festival May 24 – May 26 in George, Washington. To feed hungry bands and music fans, Denny’s is constructing a Denny’s Lounge in the campground featuring favorite late-night and breakfast standards.

A new Denny’s online music hub, will feature songs, tour dates and road diaries from all of the adopted bands; a place to vote for future adopted bands; blog updates with current music news; and a visitor gallery where bands and fans alike can submit photos from concerts and Denny’s late-night visits. Bands can also enter to become a Denny’s Adopted Band on the site, while fans can enter to win prizes from each participating artist.

Grand Theft Auto IV sold 6 million copies in its first week at $60 a pop in the USA. Globally it brought in $500 million. That outstrips all of the first weeks music CD sales from top artists since 1991. Here’s the top 5 list of those week one sales in units not dollars:

1. ‘N Sync – No Strings Attached – 2.4 million
2. ‘N Sync – Celebrity – 1.9 million
3. Eminem – The Marshall Mathers LP – 1.8 million
4. Backstreet Boys – Black and Blue – 1.6 million
5. Britney Spears – Oops….I Did It Again – 1.3 million

On April 29th one day sales for Grand Theft Auto IV were 3.6 million copies. Now, let’s hear it from all those folks who say that internet file sharing is killing music sales….

Here’s one of those moments where modern culture and history collide very nicely. The modern part being the simple viral nature of YouTube, an email from my friend Maf who is traveling around his birthplace, Wales and the old Llanfrynach Church organ. And like anything to do with UK history it comes with a simple tale. This one is about gaining access to the church – “Here’s a little video of the old pump organ in the church next door to my Brothers house in Cowbridge, Wales, UK (yes near England). To get into the Church you must got to the pub across the road and ask at the bar for the key. It feels impolite to ask for the key without getting a drink. I think a lot of people may be drunk when they visit the Church… awesome.”

Find more at Maf and Tara’s blog.

From Dickipedia:

Simon Phillip Cowell (born 7 October 1959) is a British record executive, television producer, “author,” celebrity talent judge, and a dick.

Through the creation of television programs such as American Idol, Pop Idol, and Britain’s Got Talent, he has managed to force both his abrasive personality and the abrasive personalities of a number of mediocre “artists” into homes across the world. Uniquely, while many celebrities became popular despite being dicks, Cowell became a celebrity because he is a dick.

Cowell worked at EMI for a time in the 1980s before founding his own label, Fanfare. When Fanfare’s parent company went bankrupt, Cowell took his hard-edged, wheeling-and-dealing executive skills back home, literally. He moved back into his parents’ house, where he was able to “sign” less popular “artists” like “his mom” to make him “breakfast.”

While Guy Ritchie was busy shooting Nike’s The Next Level Madonna was doing the vacuuming….

It’s like, “I’m just saying…” Erykah is the real deal.

Here’s a message from SqueakeClean, who’s in the Nemo circle of friends one way or the other, talking up his crazy fun times working with Kanye West on the Glow in the Dark Tour. From Sam in his own words:

“Hey all!
I just spent the last month orchestrating Kanye West’s Glow In The Dark Tour. It was one of the most inspiring creative endeavors I’ve ever been a part of, as Kanye is a very inspiring person to work with. He is SO PASSIONATE about making everything he does great in a time when there is a great deal of mediocrity in mainstream music. Seeing his crazy HUGE vision come together for this tour from inception to reality was unreal.

Kanye first asked me to do a remix of his song “Flashing Lights” for a video styled after an old school horror flick. He loved the cinematic qualities I added to the music and asked me to orchestrate his tour. As we developed the sound for Glow In The Dark and he began to figure out how it was an epic space story/adventure, we began to realize it had a strong Star Wars aesthetic. At all times, we had two screens of Star Wars Episodes 4-6 playing on the TV’s at the studio. What I ended up doing was redoing almost all of the songs somewhere between John Williams’ Star Wars score and Vangelis’ Blade Runner score, and also doing segues between most of the songs as well. This means big orchestra, brass, woodwinds, timpani, and tons of synths to help Kanye tell his space adventure story. I also ended up bringing in Skywalker sound (the people who did all the sound design for the Star Wars movies) to do sound fx for the show to enhance the experience for the audience, and we mixed the show in surround sound so it is really like going to see a sci-fi movie in the theater. Kanye had the most amazing people build his set and he even got Jim Henson to build him an alien! Kanye figured out this crazy way for all of his songs to tell this amazing story which takes place mostly in his spaceship and on an alien planet, where all of the songs (along with some dialogue) tell the story.
It’s an amazing show!! Go check it out!!! Glow In The Dark!! Coming to a galaxy near you…”

Glow In The Dark Tour is coming to Portland.
6/3/08 Portland, OR Rose Garden

Here’s the link to Kanye’s blog (which is really cool), where he posted some stuff about our work together…

Peace!!
Sam

Check these out:
Squeakeclean website
Squeakeclean MySpace
Squeakeclean T-shirts

Ever wonder where A Tribe Called Quest got their cool samples or you could swear “hey, I know that song” when you here someone else’s song? Well now you can find out with The History of Sampling.

“Each square represents an album, with sampled artists on the lower half and sampling artists on the upper half. Albums are placed horizontally according to release date, while vertical placement reflects the number of samples on that album. The middle resprents the area of most sampling, so commonly sampled albums are closer to the side with the sampling albums, and vice versa. The rectangles that appear to the right of a selected album represent the individual songs. Songs with taller rectangles have a higher sample count.”

4 Hero and J Dilla – Over The Breaks

Starbucks continues to struggle and is now looking to “examine all aspects of our business that are not directly related to our core” according to this article. This means that the first decision was to let go of Ken Lombard, the unpopular head of Starbuck’s entertainment division. That wasn’t unexpected, I covered this earlier this year. The unexpected part of the re-org is that Starbucks’ Chief Technology Officer has been chosen to run “the division which selects and markets music, books and other items sold in Starbucks coffee shops.” Mmmm, watch this space.

Here’s an excerpt from the article:
“Starbucks shook up its entertainment division on Thursday in the latest bid by the company to invigorate its sagging sales. The chief of Starbucks, Howard Schultz, center, and Ken Lombard, the entertainment unit president who has left the company. The overhaul comes a day after Starbucks said it would post weaker-than-expected earnings for the second quarter amid slumping sales and a darkening outlook for consumer spending.

In a statement, the chairman and chief executive, Howard Schultz, who has previously taken steps to bolster the chain’s coffee offerings, said the company was “committed to examining all aspects of our business that are not directly related to our core.”

As part of the changes, Starbucks said Ken Lombard, president of the entertainment unit since 2004, had departed. Chris Bruzzo, the chief technology officer, will take the reins of the division, which selects and markets music, books and other items sold in Starbucks coffee shops. Starbucks also said it would turn over management control of Hear Music, its in-house record label, to its partner in that venture, the Concord Music Group.”

Related Post: Starbucks’ Hear Music Program Messes Up.

What would a music video look like if it were purely directed by the music? Not driven by a concept, nor by a desire to build an image, but purely as an expression of a great song? Designer Jakob Trollback shares the results of his experiment in the form. The song is “Moonlight in Glory,” from David Byrne and Brian Eno’s classic album My Life in the Bush of Ghosts, remastered in 2006. Jakob Trollback is a designer and creative thinker and he’s also a DJ. His company is Trollback + Company. From the TED Conference 2008

Cool stuff in the mail at Nemo today – that box pictured above. What I’d call the best business card yet, an audiobox from Jason Edwards at Newcrackle. Jason offers up sound design, foley and adr plus broadcast mixing. All your sound production needs in other words.

Gaspard Augé and Xavier de Rosnay aka Justice the French ‘band,’ if you can call two electronic DJ/Musicians a band, have hooked up with Surface to Air to create a clothing line. Justice are now the biggest band on Ed Banger Records and it appears that they are extending the brand…now you too can dress like a French DJ.

Surface to Air was born out of a beat up old loft in Union Square, NY in 1996. Its initial members began to work together as artists, and the space quickly transformed itself into a cultural breeding ground for other new and emerging artists to come and create and exhibit their work in an environment that supported them. This was the birthplace for a new underground movement. With the recognition of the talent that was being displayed by the various members, the interest of the public was piqued, and various characters began coming to the space as a place to witness the new avant-garde in its formation. From Harmony Korine to Donald Baechler to Alfredo Martinez, you never knew who was going to stop by and what would happen when they did. [From their website.]

Daft Punk – Human After All [Justice Remix] [MP3]

The Nike ad.

The man himself – Saul Williams

Chuck Klosterman weighs in on the decline of the music business but more interestingly chooses to focus on where did the money go – as in if the music biz is down $4 bil who is spending how much on what?

Even if you know nothing about the music industry, you probably know this: People don’t buy albums anymore. Everyone is aware of this, mostly because this phenomenon is reported on constantly. The soundtrack to High School Musical was considered a commercial success by selling 2.9 million units in all of 2007; seven years before, Britney Spears was able to sell 1.3 million copies of Oops! . . . I Did It Again in a single week. That disparity should be shocking, but it isn’t — by now, anyone who (even casually) follows the music industry is inundated with similarly grim statistics all the time. Interestingly, these stories tend to make music fans happy. People hate corporate record labels and love reading about how the industry is failing. As such, the media coverage of plummeting music sales almost always focuses on how labels are losing money. But this coverage usually ignores an economic element that is less tangible but more interesting: What is happening to all the money not being spent on music? It’s worth a read.

The blogosphere is all a-twitter about the new Bjork video from Encyclopedia Pictura. It is a truly breathtaking piece, gorgeous to look at. Watch it here.

Pop star/rapper, Daft Punk masher, Kanye West will be your pilot today. Well ok not really but if you want to “Fly away with Kanye!” as his web site proclaims then you can. The rappers company, West Brands, has struck a deal with Travelocity to offer online travel services via KanyeTravel.com.

Ladytron’s new album comes self-produced with assistance from Alessandro Cortini (Nine Inch Nails) and Vicarious Bliss (Ed Banger Records) – Velocifero drops June 3rd.

Ladytron – Black Cat MP3

Related Post: Podcast feat. Ladytron and LCD Soundsystem

 If you have to ask…

Click to hear what Easter Egg has to say..
We pulled it off. Brooklyn’s Your 33 Black Angels made it to town after driving all night from Southern Cali arriving in time to rock the house at Nemo Design – more on that later. First up, the night kicked off with Portland’s party DJ, Easter Egg. Here he gives us some of his thoughts before he hit the laptop and the Nemo Web Cam…Ratatat – Cherry (Easter Egg’s Bellmore Remix)