Tim Anderson muses on Apple Music providing a walled garden of goods that, though they could not have imagined it to be successful, sounds great and has nothing revolutionary about it.
Each year, the musician advocacy nonprofit group Future of Music Coalition holds a conference in Washington, DC, bringing together artists, executives, and policymakers. Reporting from this year’s Future of Music Summit, Tim Anderson finds that despite the music industry’s many troubles, much optimism still exists.
In the final installment of this series on podcaster Bob Frantz and his venture Boneyard Industries, the frustration that comes with advertising and getting local listeners on board is explored.
Upon being released after his home station embraced a format change, radio personality Adam Carolla responded by creating a “network” of podcasts he could use to sell advertisers listeners in aggregate. Bob Frantz quickly looked to this strategy as a way to continue an over-the-mic career after the death of a ten-year radio career and recruited a number of friends and former broadcast buddies to populate the Boneyard Podcast network. Part two of a three-part post.
Is there any such thing as local digital media? Looking at the case of local podcasts, Tim Anderson argues that people indeed do, and always have, inscribed the local in their digital media creations.
Treme’s focus on how its culture and cultural economies are created and presented through music and cuisine has meant a majority of its almost 22 narrative hours watching musicians struggle with bar owners, the recording business, the law and each other.
The British invasion of Sterling Cooper at the end of season two has resulted in a noticeably different firm and a noticeably different direction to the series. This has also meant moments of audible change.
The third day of SCMS 2010 has passed and Friday is our humpday. And, yes, I am over the hump with some midway thoughts… 1) SCMS is big and small at the same time – This is my fifteenth year…
Devo’s forthcoming studio, long play release is their first in twenty years and return as a working act comes in a new era where “de-evolution is real and Devo is normal”.
In an era of fragmentation it’s the only media program left that has any kind of mass ritual component. Which, of course, is not only why so many debate its contents but why and how we , as scholars, should approach the program.