About Me

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Musician, J.D., Blogger, Lover of Technology, and Obsessed with the evolution of the music business in the digital age. There's always a better way.

Sunday, October 17, 2010

Taylor Swift Sued by First Manager

 photo courtesy of CMT.com

It takes a village to raise a child, and when that child becomes a Grammy award winning artist worth millions of dollars, those who helped develop the child often come seeking a monetary contribution for their efforts.  To protect minors from being taken advantage of by managers in the entertainment industry, several states have instituted safe-harbor laws.  Dan Dymtrow has brought the most recent high profile litigation alleging breach of contract by an under age celebrity and seeking to recover millions of dollars from  country-pop crossover sensation Taylor Swift.
Back in 2004, Dymtrow entered into a management contract with then 14 year old Taylor Swift.  During much of the following year, Dymtrow worked to develop Taylor's career as he played a pivotal role in her record contract with Big Machine Records.  Prior to signing on the dotted line of her recording contract, Swift backed out of the management deal.  Now Dymtrow has returned to seek the 5-10% commission on all of Swift's earnings that he would have earned had the contract not been breached.
Herein lies the problem.  Under New York law, which governs the contract, a minor can void any management contract at will unless it has been reviewed and approved by a judicial court.  Dymtrow and Swift never had the contract subject to judicial review, so there exists great limitations to Dymtrow's ability to recover.  There may however be a loophole as he asserts a theory of unjust enrichment.
The unjust enrichment argument allows Dymtrow to argue that he is owed money for the work he performed on behalf of Swift before she voided the contract.  If Dymtrow can prove as he claims, that he performed substantial work in bringing about Swift's initial negotiations with her record company, and that he introduced her to agents at CAA who later represented her in booking concerts, he may be able to recover substantial damages for the benefit Swift gained before dumping Dymtrow.  If the allegations are true on the surface, that Dymtrow was paid only $10,000 by the Swift family, despite having negotiated the outline of Swifts final recording contract, he may in fact be able to prove that although Swift had a right to void the contract as a minor, Dymtrow is still owed funds for the work he performed under the contract.

Thursday, October 7, 2010

3 Sites for Musicians and Fans

Forget the label! In the music industry it is no longer necessary for an artist to contract with a record label in order to have their music sold or to finance touring. Recently, a bunch of new tools have popped up helping to connect musicians with financing, tour support, and publicity. Here are a few of the best sites to utilize:

1. Nimbit: Founded in 2002, Nimbit is on the front line of DIY music distribution and fan communication. By aggregating internet communications into one service, artists can keep in contact with their fans via facebook, email, twitter and other services through this one location. Nimbit can also facilitate album sales and provide detailed information about an artist’s fan base (demographic analysis, unique views, fan attributes ect.) Nimbit effectively acts as management for an artist, making it possible to cut out a middle man, directly communicate with and reach new fans.  There are free and pay for upgrades, making this service a viable option for musicians of all success and ambition levels.

2. Better Than The Van:  Touring can be incredibly costly for musicians lacking label financing support.  A lack of funding does not need to be a barrier preventing musicians from having a safe warm place to stay when on the road.  Better Than The Van is a free service that connects touring musicians with free places to stay when on tour.  Music fans volunteer their homes to host fledgling artists.  Testimonials are extremely positive and talk about the gratitude of both the fans and musicians.  Artists no longer need to sleep in their vans under parking lot lights at Walmart.  For fans, there is a great potential to host the next “Kings of Leon” at your home.

3. The Ultimate Chart:  Until now, the popularity of a musician could only be determined by looking at the billboard chart or checking SoundScan data.  These charts fail to reflect many ways in which people now consume music.  The Ultimate Chart looks not only to physical and digital album sales, but also to website searches, links, music and video streams and references to artists online.  By seeking to take into account all internet activity, The Ultimate Chart provides a more accurate comparison of the cultural importance of various musicians.  Founded by internet data collectors Big Champaign, this service is poised to change the way influence and popularity is understood.

(Note: This article was featured on www.culturemob.com, a site providing local and national cultural insights)

Pandora Founder Tim Westegren Talks at The Future of Music Coalition Policy Summit 2010


                This past weekend I caught up with hero innovator, music geek and mere mortal Tim Westegren who is better known as the man behind Pandora internet radio.  Since starting the internet based music genome project ten years ago, Pandora has changed the way people in the U.S.A. discover and listen to new music.  Tim spoke at The Future of Music Coalition Policy Summit at Georgetown University on October 4, 2010 where he shed light on past struggles, current realities and future ambitions of Pandora.
                By the end of 2010, Pandora is projected to have 100,000,000 registered users, making it the largest hub for streaming music in North America.  Westegren spoke about the importance of mobile applications on the growth of Pandora, telling the audience that more than half of Pandora’s users are now registered through smart phones.  In its infancy, Pandora’s use spiked during the hours of 9-5 demonstrating that use was primarily taking place on peoples desk-top computers at work.  Today there is a much more fluid chart of usage around the clock as consumers broadcast Pandora from their phones through their car stereos and while walking around town.
                Westegren seemed most excited about pipeline projects with Ford Motors, who will soon be installing car stereos that integrate Pandora via a factory installed Bluetooth device.  The vehicle will detect a driver’s smart phone and scan for the Pandora application which will automatically be available as an option through the touch screen and voice activated stereo.  According to Westegren, drivers will be able to get into their car and say “play Pandora Greenday station” and instantly music will begin to stream.
                Pandora is known for adding unsigned independent artists to the music genome, and streaming them side by side with similar artists.  I asked Westegren how Pandora filters through the thousands of solicitations to determine what will be included.  It turns out that nearly 70% of all music obtained by Pandora is from unsigned artists.  Of this, roughly 30% is added to music that streams across the internet.  Westegren offered optimistic words to unsigned musicians, telling the crowed that “there are only two requirements to getting your music added to Pandora.  First, your music must be available for purchase at Amazon’s music store.  Second, your music must be really good.”  Pandora includes links to purchase streamed music from both Amazon and iTunes, the requirement that music be sold online is merely a screening process to ensure that only musicians seriously pursuing a career in music will be included in the genome.
                On the horizon there are new technological advances that suggest services like Pandora will continue to make it easier for musicians to distribute their music and connect with fans.  This is great news for consumers seeking a user friendly free product, and the artists who necessitate listeners to make a living.  Seldom does a free advertisement based product benefit all sides the way Westegren’s Pandora has managed to do. 

Sunday, October 3, 2010

News from Future Of Music Policy Conference

Stay tuned this week for news updates from the Future Of Music Coalition Policy Summit in Washington D.C.  I'll be there along with top industry folks, to explore and invent what the future of music will hold.  In addition to my live twitter updates (windingforward) be sure to check out the video feed provided by the coalition.  From across the country, you don't have to miss a thing.
visit:  http://futureofmusic.org/events/future-music-policy-summit-2010

Free Room For The Band!

A band is a business.  To be successful you need investment capital, music equipment, consumers, and distribution mechanisms.  Traditionally, live performance is a key way for bands to reach fans and develop a following.  Band's can easily perform in their home town or surrounding cities, but resource constraints often get in the way of touring beyond one's state lines.  A new service, Better Than the Van, seeks to make touring more accessible by connecting bands with free places to stay when touring away from home.
Not only does the service save bands money, but it keeps them safe too.  On their website, Better Than The Van offers war stories of artists having to sleep in Walmart parking lots having no bathrooms or heat.  This program eliminates such risks and allows artists to get a good nights rest in secure locations, so they can do what they do best on stage.  Similar services like "Couch Surfing" have existed for a quite some time, but this is the first service to specifically cater to start-up bands in infant stages.  If you are willing to host, or are trying to put together a tour visit Better Than The Van.


At Winding Forward, we are always looking for grassroots programs to help bands.  If you know of any, please give us a heads up.

Tuesday, September 28, 2010

Wake Up!


Welcome back!  It's a proper exclamation to scream upon hearing the new album "Wake Up" by John Legend & The Roots featuring 10 cover songs and 1 original tune.  The album is coated in luscious orchestration perfectly honoring classic R&B/soul albums from the 60's and 70's.  It's a welcome flashback to the music of Marvin Gaye, James Brown, Sly and the Family Stone and Curtis Mayfield.  Together, Legend and The Roots not only honor the classic style, but they fit in as if it's their standard modus operandi.
"Wake Up,"  the one original tune on the album provides a lesson in dynamics.  The song moves back and forth between verses covered in minimalist restraint and loud jamming choruses with horns and funk guitar.  The album sounds big!  It has the hi fidelity feel of old school analogue recordings.  Listening through laptop speakers the string arrangements pop out with a warmth seldom heard in modern music recordings.  Leave it to The Roots to be the band to bring musicianship back into style. Forget sampling, everything here is played by musicians in the band.  The Roots are among the great bands possessing appeal across societal boundaries.  Because of their presence as the preeminent hip-hop band, and Jimmy Fallon's house band, The Roots have reached a new level of recognition in the common American household.  I'm just saying, this could be the start of a revolution, a return to musicians working a little harder and building lush orchestration behind their studio work.
If I close my eyes when listening to the album its as if I'm back in 1993 listening to NYC Kiss.Fm on the big yellow school bus heading to school in the morning.  On "Hang On In There,"  The Roots feature glockenspiel and a full string section.  Legend brings out a deep croon reminiscent of Isaac Hayes.  Having honed his singing chops in an Ivy League a capella group at the University of Pennsylvania, Legend has made it his career goal put the rhythm and blues back in R&B.  Once again, he has succeeded with this album.
It is the goal of the album to present a modern take on political tunes from an earlier generation.  Legend and The Roots decided that for a time filled with war and turmoil there is a lack of music designed with the purpose of uniting people and promoting revolution as well as togetherness.  It could be argued that this album would better serve that goal by writing new songs, but these classics sound poignant as ever here.  "Wholly Holy" provides a gospel approach of togetherness, calling for people to hold up and support their neighbors.  Proof that this album represents music of a distant pass is the song lengths which hover in the 5 minute range for half the songs on the album.  Long or short, the album is captivating due to the sonic detail behind each recording.

To preview the album, head to grooveshark.com for a listen.

Justjaee.com

From time to time I'll be writing articles for justjaee.com, a music technology blog founded by Grammy award winning producer Jaee Logan.  Check out my first article reviewing the JamHub, a mixer allowing music to be created and perfected in silence.


www.justjaee.com

Tuesday, September 21, 2010

Windows Closer to Challenge iPhone/Droid

Poised to challenge Apple and Google in the mobile phone market, Microsoft will showcase its new Windows Phone 7 operating system on October 11 hoping to gain momentum into the holiday season.  Last week Microsoft finalized the software, which will be the featured operating system for phones made by LG, Samsung, and HTC.  Not much information is out yet about the ease of using the Windows Phone 7 system compared to Android and OS operating systems.  The big news for the moment is that the phone will integrate Zune and Xbox services. Gamers can access features of Xbox Live, and music fans can transfer their on demand Zune music service to the phone.  So long as the phone is on more than one network, it may challenge Apple which has thus far kept its exclusive allegiance with AT&T. 


*Photo Credit: Bonnie Cha/CNET

Saturday, September 18, 2010

Props to Pillows

It's not often that I give in, but recently had a great stumbleupon session that lead me to this video 2 Guys 600 Pillows video.  The shots are remarkable DIY rock video production ala OKGO.  As the name suggests, it's two guys singing a song and colliding in various choreographed ways with white pillows.  The images constantly bring amazement, but the music not so much.  It's unfortunate that the song is so far bellow the video in value.  In fact, the video is the inspiration here and the song is playing mere background.   If you watch the video through the end it turns out it's produced by sleepbetter.org which by all accounts is a site intended to sell sleep products. I do wish there was some chance of this video being put to better use, with a good band.... Rock on pillow director.

Tuesday, September 14, 2010

Next up: Live YouTube

This week, YouTube is performing a test-drive of its new live streaming capabilities.  The first tests will include live interviews with Tony Hawk and other skateboarders.  But the first tests pale in comparison to the end goal.
YouTube's new live function is intended to act in part like Skype.  Imagine streaming video from your home webcam to an open universe where an unlimited number of persons can log in to see your broadcast.  I'm waiting for the moment when I can sit on my couch with a beer and watch the band playing 10 miles away in a dingy pub.  Will atmosphere be missing? maybe, but this technology stands to bring us all closer to being two places at once.

Tuesday, September 7, 2010

Jukebox The Ghost: Everything Under the Sun

photo from jukeboxtheghost.com


Everything Under The Sun, the new album by Washington D.C. trio Jukebox the Ghost is a pop happy innovative tribute to classic piano rock.  Jukebox offers music that feels familiar, complex, energetic, and warm at the same time.  On this sophomore release, the band that started practicing in the music department at The George Washington University, solidifies itself as a unique and creative powerhouse.
For those not familiar with the band's first release "Live and Let Live," the new album offers fewer songs with repetitive sing-a-long hooks.  This is not to the detriment of the album.  Prior successful songs including "Good Day" and "Hold it In" were delightful to be stuck one's head, but were so catchy they could remain their too long.  On the new album Ben Thornwell (keys) and Tommy Siegel (guitar) continue to share lead vocal duties.  As expected, Thornwell continues to shine as a brilliant vocalist, keyboard player, and the heart of the band's sound.  It's difficult to determine whether Thornwell is more talented at singing or playing piano.  With theatrical vocal antics and powerful second nature piano chops, he is easily comparable to Ben Folds.  Thornwell's vocals and songwriting style are perhaps closer to that of Freddie Mercury and Queen.  This is a big to do comparison, but it is well warranted.
Improving on the new album are the vocals offered by Siegel.  Since Live and Let Live, he has clearly benefited from singing on the tour van with Thornwell.  Now Siegel has a strong falsetto and a greater mastery of his own vocal abilities.  Once again, Jukebox chose to keep Siegel's guitar as second fiddle to Thornwell's piano playing.  Although this definitely works for the band's sound, I'm dying to hear the band let Siegel loose.  He's an incredibly talented guitarist who has clearly spent an incalculable amount of time developing his use of guitar tone and effect pedals.  Siegel plays with a bright tone and lingering sustain that sounds similar to the tone of Trey Anastasio (Phish).  Together, Siegel and Thornwell make a great team complimenting each other and developing sounds from their instruments and vocals that make the band feel as if there is a fourth member.
Standout tracks include: Empire (iTunes album features a remix by Freelance Whales), The Stars, and Schizophrenia (performed on Late Night with David Letterman).

Suggestion:  Get the album if you like- Phoenix, Ben Folds, Queen, MGMT

Saturday, September 4, 2010

Merchandizing and the Sex Pistols: Abandoning or Honoring their spirit?


Punk-rock founding fathers The Sex Pistols have officially gone off the deep-end.  Last week a licensing deal was announced, pairing the Sex Pistols with French perfume manufacturer Etat Libre d'Orange.  The new fragrance named after the band comes complete with a Sex Pistols commemorative bottle featuring the band's 1977 "God Save the Queen" art work.  Upon hearing news of this fragrance I had to ask the following question:  At what point does a band lose it's credibility in chasing business opportunities?

The Sex Pistols are now more than 30 years removed from their classic studio work.  The band's hey day lasted from 1975-1978, followed by short lived reunion tours in 1996 and 2002.  Together with the Clash, the Sex Pistols are undoubtedly the most important band in early British punk rock.  Built in part as an art project by their recently deceased manager Malcolm McLaren.  McLaren was a devious spirit known for pushing the limits of fashion and music through his S&M inspired clothing store SEX.  Legend has it that McLaren built and named The Sex Pistols, hand picking people from the local punk scene.  McLaren's greatest gift to the band was manufacturing their attitude (one could argue they were merely a punk-rock version of The Monkeys).  McLaren claims to have planned out the entire short lived career of the band, the story was played out in the 1980 film The Great Rock N Roll Swindle.  A swindler, McLaren may have been.  McLaren retained all rights to The Sex Pistols name and music until the mid-eighties when he lost a court battle to John Lydon (Johnny Rotten).  It can be argued that this new fragrance by The Sex Pistols is merely a continuation of their original identity:  "Make money, turn heads, and do what is not expected."

Perhaps a fragrance costing $51 a bottle is the most punk rock thing a bunch of geezers formerly known as The Sex Pistols can come up with and sell.  Then again, it could be that in the aftermath of McLaren's 2010 death, a new modern swindler has emerged to market the band on its terms.    The perfume deal starring the band was licensed by business partner Live Nation Merchandise.  Executive VP of worldwide retail and licensing for Live Nation Merchandise, Michael Krassner claims that Johnny Lydon and other band members have been closely involved with the licensing decision.  Live Nation shares hefty profits with Johnny and the Pistols for other merchandise including (I did not make any of this up) alarm clocks, shoes, laptop skins, and virtual characters in "The Sims" video game.


When I first learned of the new fragrance my reaction was a hefty:  WTF?!?!  I mean, what does it even smell like?  (Maybe it's a dead ringer for the spoof Gheorghe Muresan cologne?).  Then it hit me, forget the smell.  It's irrelevant whether the classic Sex Pistol's bottle has a worthy fragrance inside.  There are thousands of bands that can't sell a free bumper sticker for every band that has continued selling power more than 30 years after their last new music was released.  My question posed was: At what point does a band lose it's credibility in chasing business opportunities?  The answer is that a band with nothing to prove (30+years of no new music) can't lose credibility.  If a band like The Sex Pistols can still strike a licensing deal for an absurd product such as cologne, they have officially achieved eternal status in the "pantheon of music stars"(thanks Bill Simmons for the pantheon of sports).

Thursday, September 2, 2010

Sony Enters the Cloud

For nearly a decade, the biggest record labels have been experiencing what often appears to be an impending doom.  Brought on by a change in consumer preferred music format (mp3 over cd) and changes in delivery mechanisms (downloading in place of retail store), Sony and its com-padres including Warner Music Group, EMI have often resisted turning to the internet based distribution system that has become the preference of music consumers.  As consumers, we are always on the go and in 2010, we are always connected.  The look of the future marketplace has become more clear in the last year, and finally companies are proactively getting involved.

On September 1, 2010, Sony announced plans to release a new cloud-based music service that will connect users PC's and other wireless devices to music and video media.  The online music store will be called Sony Music Unlimited.  Sony plans to allow consumers to stream their purchased music and video to Tv's, Play Station3, PC's and Blu-Ray devices.  Users will be able to access all their media through Sony's cloud system, eliminating the need to expand home hard-drive storage space. 

More information about the product line will be forthcoming.  Sony anticipates making the service and its many connections available by the 2010 holiday season.  The announcement of this service came on the same day that Apple announced plans to introduce a similar cloud accessing program.  It is unclear how successful the Sony product will be, as there is no information regarding whether it will sync with non-Sony devices such as cell-phones or iPods, or whether the service will offer music by bands not on a Sony label.

Consumers clearly seek connectivity and streamlined use of their devices.  Sony should succeed if their product can enable users to access music without having to purchase only Sony goods.  It is also hoped that Sony will enable consumers to access music they already own, and be able to view the collections of friends and fans of similar music.

Tuesday, August 31, 2010

Jay-Z is Dead Review

 (photo credit to Jay-Z.com)

The dream of dream mashups has arrived! I recently discovered the Spinjunkies project sampling music of the Grateful Dead with Jay-Z's black album called Jay-Z's DEAD!.  Here is a list of the song pairings:

1. Encore/Friend of the Devil
2. 99 Problems/Scarlet Begonias
3. Dirt off Your Shoulder/Fire on the Mountain
4. December 4/Dark Star
5. What More Can I Say/Shakedown Street
6. My First Song/New Minglewood Blues
7. Lucifer/Help on the Way
8. Change Clothes/Slipknot
9. Interlude/Franklin's Tower
10. Allure/St. Stephen
11. Justify My Thug/??
12. Moment of Clarity/The Music Never Stopped
13. Threat/Candy Man

Some of the songs really work great while others crash and burn. The pairings are all smart and work over the versus of Jay-Z's flow. Problems arise in those of Jay-Z's songs that have melodic components including background singers. Encore and What More Can I Say go from incredibly pleasing to horrifying when Jay-Z's backing vocalists clash terribly with the underlying chords of the Grateful Dead. It's unfortunate that the Spinjunkies didn't take the time to use a pitch correcting software program to bring Jay-Z's tunes in sync with the Dead.

Among the best tracks are December 4, 99 Problems, and Moment of Clarity . On Lucifer, the Spinjunkies chose a great version of Help on the Way that really puts Jerry Garcia's dancing guitar riffs up front with Jay-Z's rap. It feels as if the guitar was recorded specifically for the track, as Jerry and Jay-Z playfully trade flows and showcase their respective mastery of skills. The best part about this segment of the album is that the Spinjunkies knew enough about the Dead to keep the classic fan favorite Help on the Way-->Slipknot-->Franklin's Tower progression. Unfortunately Slipknot presents a recurring clashing sound problem where Jay-Z's backup singers holler "change clothes." Dead-heads will be pleased however to hear Phil Lesh's bouncing bass line rumble through this tune.

This man is Grateful to have this mashup as it combines two of my favorite artists.  Because the Spinjunkies missed on a few tracks (where easy solutions exist to fix the problems) this album is more of a mediocre/guilty pleasure.  There are definitely 4-5 tracks that I will return to in the future, the rest is an afterthought once the thrill of figuring out which songs are mixed together passes.

Note that the Spinjunkies have done other mashups with Jay-Z's black album, including Jay-Z Who? (you guessed it, putting Jay-Z with music of The Who).  Check them all out at www.spinjunkies.com

Monday, August 30, 2010

A Muppet, MGMT & the Trippy Desert

The genius of duo MGMT strike again with the video for "Congratulations," the title track of their April 2010 album. MGMT are known for making tunes that unite hipsters and frat brothers on the dance floor. With Congratulations they succeed in showing a slower side that remains full of whirling melody brought forth by the instrumentation. This song demonstrates that Andrew VanWyngarden and Ben Goldwasser (the duo of MGMT) have a keen sense of melody and the ability to layer sounds to develop rich music with or without a grooving dance beat in the background. This is a welcome step in the bands growth and is a sign of bright times ahead. If you are not on the MGMT train, its time to get on board.
This video is striking because the imagery brings out meaning in the song more than the average pop video. Congratulations is a lament on the band's growth and success. The band reflects on their contradicting emotions of loneliness on the road and the popularity that follows them there. The band is seen wandering through the desert joined by a star-wars style Muppet that looks like an anorexic dinosaur/bird/camel hybrid. The creature slowly deteriorates throughout the song, while the duo try to care for it and nurse it along in their travels. MGMT in the end produces a beautiful video where the song and imagery are both captivating. The lyrics of Congratulations are brought to life and given new meaning as the Muppet struggles to make the sand dune journey. Perhaps the greatest part of this video/song combination is that I find myself leaving the viewing experience with a desire to create something. See if the tune does the same for you-

Friday, August 27, 2010

Site of the Minute Profile- Shuffler.fm

During the past few years several great websites have popped up that change the way internet surfers discover new useful websites, and music listeners discover new music.  Today's post is a look at the first site I've found that does both simultaneously.  That's right, we are at the intersection of Pandora + Stumbleupon.  World, say hello to Shuffler.fm

Pandora:  This week happens to be the fifth birthday of Pandora.com, the home of the great music genome project.  Pandora revolutionized the way consumers listen to music.  Operating as a radio station where the listener does not have control over what songs will play next, the user interacts with the station to shape it over time so that familiar and new music fitting the listener's taste is delivered to their ears. 

Stumbleupon:  How does one discover new websites?  If you know what type of site you are looking for, a cursory google search can be great.  For the more adventurous soul, stumbleupon.com is the way to go.  Users of this site select a general category of site they are interested in finding (ex: music, ancient history, cyberculture) and the site delivers you to a random website withing your selected genre.  Users get to skip to a new site when desired, maximizing your control and ability to find new information fast.

Shuffler.fm:  Alas, meet Shuffler.fm.  This site is an absolute gem for music junkies with free time on their hands.  Shuffler is a hybrid of Pandora and Stumbleupon, delivering users new websites and music simultaneously.  The site works by categorizing music by genre.  Once the user selects a genre they are delivered to a random music blog and Shuffler streams a song mentioned on that blog.  Each time a song ends you are then delivered a new song and a new blog.  Of course, you can choose to bookmark blogs or stay at a site if you are really digging it.
The Shuffler project was launched on August 17, 2010 out of Amsterdam.  Already the site offers a wide array of genres to select from, including: hip-hop, indie rock, psychedelic, alt-country, funk, punk, dubstep, mashup, jazz and much much more.  Shuffler definitely requires the user to have time on their hands.  Unlike Pandora, you will want to be visually engaged with your streaming music as blogs are also being delivered.  I can't think of a better way to hear and learn about new music.  This site is particularly useful if you are interested in delving into a genre of music you aren't familiar with.  Give it a try and roll the dice- see what comes up on an eclectic channel like trip-hop, or even "Canadian" (wacky foreigners). 

Thursday, August 26, 2010

Jenny & Johnny the Upcoming Album


Disclaimer: I have high expectations for any new music put out by Jenny Lewis whether its solo or with Rilo Kiley. Forget these other female pop-stars (Lady Gaga, Katy Perry...) who always seem to put a desire to be in the spotlight ahead of the primal urge to make amazing music and write inspiring lyrics. Lewis is the real deal American Woman hero.

Disclaimer: I'm a married man, but for Jenny Lewis there is an unwritten contract between my wife and I that given the opportunity I'm allowed to make out with her. How did I stumble upon this luck? (I married the right woman...) Lewis is simply so talented at what she does and so confident that she can make both men and women swoon in awe of her talent. That's right, if given the opportunity I think my wife would also make out with Jenny Lewis. All of this is gratuitous and about as likely to happen as the Yankees becoming a non-profit organization with the lowest payroll in baseball. The new album "I'm Having Fun Now" (released Aug 31, 2010) by lovebirds Jenny Lewis and Johnathan Rice shows that their romantic chemistry is strong as can be. Frankly, I'm not bitter about their romance. If a healthy relationship between Jenny & Johnny brings more music like that found on this album, he can have her!

I recently listened to the album which is currently streaming until on NPR until the release date. The big song stuck in my head at the moment is "Big Wave" which has all of Jenny's signatures. A great pop hook over snarling melodic guitars and a canvas of backing vocals. This is the classic Jenny Lewis song that makes you want to play drums on the steering wheal as you drive, and make your hair swing around as you move your head (I'm bald, but in my fantasy there is hair, and I'm swinging it shamelessly).

Throughout the album Jenny & Johnny trade roles taking the lead vocals while the other provides backing harmony. These two have voices that really compliment each other well. There is a fearless chemistry between them. Give a listen to the short and sweet "While Men Are Dreaming" which places Jenny Lewis lead vocals (double tracked for texture) over re-verb heavy guitar and a-Capella style punctuated backing vocals by Johnathan Rice.

Prior to this album I was not familiar with Rice, but it has not taken him long to convert me to being a fan. On the opening track "Scissor Runner," Rice and Lewis trade vocals and douse each other in beautiful harmony. Rice has a smooth voice and delivery similar to that of Lewis. Both artists are masters of going from soulful to edgy on a moments notice, and they each have a fun pleasing way of playing with syllables and the delivery of particular vocals.

This album gets a big enthusiastic thumbs up. I imagine it will be a mainstay on the Deutsch family stereo for some time. More info available at jennyandjohnnymusic.com

Tuesday, August 24, 2010

Album Review: Ray Lamontagne & The Pariah Dogs

The reclusive beard sporting man of the woods Ray Lamontagne is finally starting to sound as though he's enjoying life as a musician. Hooking up with The Pariah Dogs as his backing band, the album has a little more funk and groove than Lamontagne's early work. Overall, the move is a good one. Lamontagne has qualities that remind me of early Neil Young records where the brilliance of songwriting and singing came from a painful place. Both artists at times shine in their music when it sounds as if they are singing out of a physical pain too difficult to communicate by any means other than singing from the gut.

Opening track "Repo Man" swings with funk that could be written by Dave Mathews sans saxophone. The song exudes joy, and you can tell Lamontagne is thoroughly enjoying himself singing with a great rootsy country band. This music is truly worthy of the north-east wilderness a-la music from Big Pink (not to mention Ray's vocals are always reminiscent of Levon Helm). Moving on, the album has some tracks where Lamontagne falls back into his comfort zone. The insignificant "New York City's Killing Me" sounds as though Lamontagne was going through writing without emotion just to add another track to the album.

Other standouts include the first single "Beg Steal or Borrow," and "Old Before Your Time." Here is to hoping that Lamontagne keeps The Pariah Dogs around long term. By adding lap slide guitar, banjo, and a little bit of funk, lamontagne has found a group of musicians that bring strengths to his writing and singing that have not been so visible in the past.

Monday, August 23, 2010

Hide Your Kids and Hide Your Wife: YouTube's Accidental Star of the Minute

Folks, it happened once again. YouTube has birthed an “accidental” musical sensation. The unlikely star is Antoine Dodson (commonly misspelled as Dobson) of the dangerous Huntsville, Alabama. If you have not yet come across the song on the internet or terrestrial radio morning drive shows, you can see the video here "Bedroom Intruder".

Dodson's song was produced by the Gregory Brothers, (Twitter: autotunethenews) who have prior YouTube success by producing videos that remix tv news stories to hip-hop music and the auto-tune effect. Using their successful formula, the Greggory Brothers edited a local news clip of Dodson explaining how he saved his sister from a life threatening rape. Horrifying and dangerous yes, but Dodson adds flair to the original interview that results in pure comedy. Dodson is equal parts hero, thug, flamboyant queen, with a third grader's command of the English language. Amazingly, the song has become so viral that it has bee reported on by the BBC, ABC News, and others. Google Antoine Dodson and the following articles appear: " Antoine Dodson: Riding YouTube Out of the 'Hood' (NPR)," "Antoine Dodson is an Internet Star But at What Cost? (Clutch Magazine)", and dozens of websites with postings titled "Homo-Thug is Back- Antoine Dodson."

Dodson has embraced is sudden fame despite being the butt of many jokes and having nothing to do with production of the song. Perhaps the reasoning is that Dodson has suddenly turned a tragic event into a small goldmine. Bedroom Intruder is available for purchase on iTunes and has sold enough copies to be listed at 89 on this weeks Billboard Hot 100. Dodson and the Gregory Brothers are splitting the proceeds of the song 50/50, and Dodson has set up his own website www.antoine-dodson.com where he sells t-shirts and solicits donations. Dodson has embraced his inner "ghetto" by posting the following on his site: "Hey guys! I just want a real talk session with you guys on why I'm doing the fan line. This fan line will help me and my family move out of the hood and a percentage of the earnings of the fan line will go to a Juvenile diabetes charity."

Accidental success, butt of a joke, 15 minutes of fame. We can all debate the good and the bad, but for the Dodson family tragedy may be their ticket out of the ghetto and into the American dream. Viva la YouTube.

Sunday, May 2, 2010

Lala RIP

Its amazing what can happen in a day. On May 1, Lala posted a notice on its website that it will be closing down on May 31. Yesterday's post is now only a glimpse of what people could have experienced.

I hope to get more details on why the sudden close is occurring. Sit tight and keep the musing streaming.

Saturday, May 1, 2010

Lala, Apple Owns its Stiffest Competition

Cloud computing is going to change the way we consume music. The revolution begins with Lala.com, a site offering ownership in place of streaming radio. Unique features offered by lala include the ability to try music before purchasing it, and the ability to purchase two different licenses that offer more or less user control over the music being purchased.

Step one; try your music. The days of the local music store are essentially gone. I recall going to a local chain store at the mall that allowed customers to listen to an album in store before purchasing it. Good luck doing this at a big box store like Walmart or Best Buy. Lala restores this feature by enabling users to listen to any song once in its entirety before acquiring a license. You can even listen to an entire album straight through without making a purchase. If you like what you hear, move to step two.

Step two; listen online. Particularly useful to persons who have internet access on their mobile phone, or who generally live their lives within reach of internet devices, lala offers a cheap license for unlimited lifetime internet streaming of its songs. For only $0.10 a song can be acquired. In most cases, the internet license for an album will cost less than a cup of coffee. As the internet slowly creeps into our on the go lives, from car stereos to mobile phones and tablets, this feature may be the best deal available for legal ownership. The only real downside of this feature is that you must have an internet connection to access your music account. Lala allows users to up their license, thus if you acquire the limited internet use license you can always splurge to buy full ownership of the music for ten cents less than it would otherwise cost.

Step three; take your music with you anywhere because you own it. If a limited internet only license is too hi-tech or too limiting for your lifestyle, go all out and buy the full use license. Lala charges $0.89 per song, remarkably less expensive than the iTunes price. At this price, you own the mp3 track and download it to your hard-drive. You will also have access to listen to the song online remotely, if you are away from home.

Apple, Inc. acquired Lala in late 2009. iTunes is currently the largest music retailer in the world (in sales), yet Apple offers lower prices through Lala. It is unclear whether the full purchase price of $0.89 will last, perhaps it is being used as a short term effort to boost consumer use of Lala. Since being acquired by Apple, Lala has expanded its music offerings and has licensing agreements with the big four record companies, EMI, Universal Music Group, Sony-BMG, and Warner Music Group. With several smaller labels on board, consumers have the opportunity to acquire lots of music for very little money. For the tech-savvy individual who likes having tangible ownership, Lala was practically made for you.

Tuesday, March 2, 2010

Benjamins, Dead Presidents, Mullah....

Billboard Magazine recently released its list of the top 40 money making artists for 2009. As usual, the top earners made their living money by touring. This trend is one of the primary catalysts pushing record companies to seek "360" contracts with their artists. The 360 deal allows record companies to keep a piece of the action not only from record sales, but also from tour income and other ventures such as sponsorships, publishing and merchandise sales.

This year the top 40 earners took in between $9,421,947 and $108,601,283. The nearly $100 million difference is remarkable. At the bottom end of the spectrum is Bette Midler. The aging diva has an ongoing 90-date Las Vegas engagement at Caesars Palace. The top dog on the list is U2, whose 360 tour was the most expensive tour project ever. U2's cost to run each show was a staggering $750,000 but the band more than made up for this cost by performing stadium concerts in the round. The band was able to sell more tickets at each venue by rotating the stage and playing to all angles. Remarkably, U2 earned nearly twice the amount of runner up Bruce Springsteen ($57,619,037). The top ten was rounded off by Madonna, AC/DC, Britney Spears ($36.4 million of 38.8 million was earned from tour), Pink, Jonas Brothers, Coldplay, Kenny Chesney, and Metallica.

Year after year, data shows that live music touring generates the greatest incomes. This has notably kept hip-hop artists off the top earnings list. The top earning hip-hop artist this year was Lil Wayne, ranking at number 30 ($12,855,174). Musicians looking to build a sustainable and profitable career should start by honing their skills as a live performance act. Album sales have been hurt by piracy and the growth of on demand internet radio. One principle remains: No matter how much technology advances, the live concert performance experience cannot be replaced.

Friday, February 26, 2010

Record Sales & Digital Steaming Cake: and Eat it Too

Wired Magazine recently wrote about a research project by NDP Group that suggested interactive music streaming sites such as Spotify decrease music purchases by consumers. According to NDP Group, users of interactive sites purchase 13% less music, while users of non-interactive tailored sites such as Pandora, actually increase music purchases by 40%. These numbers don't sound realistic, but the principle remains. As stated by Wired, Pandora provides internet radio, Spotify provides a record collection. The respective effect on sales of music is expected by the business model being deployed.
Both formats greatly increase music consumption, a benefit that increases consumer identity with the artists they listen to. Record companies, as the frequent owners of sound recording copyrights, receive a royalty each time a song they own is played on the internet. The rate is higher for interactive services than it is for non-interactive services. The Copyright office has provided this benefit with the understanding that interactive services have the potential of offsetting music sales. Point being, record companies are getting paid for the use of the music which is far more beneficial than pushing consumers back to acquisition by piracy. Piracy is a unilateral street, interactive services extend benefits to all interested parties.
Eliot Van Buzkirk of Wired writes: "But it’s not a bad thing for the industry that on-demand services like Spotify and Rhapsody replace sales — that’s what they’re designed to do. It’s no accident, and neither is the much-higher premium — a penny per stream — that labels and publishers extract from them, which is ten times more what streaming radio sites pay."
Internet streaming services are left to figure how to make the burden of paying a high royalty for sound recording broadcasts. Some like Grooveshark have chosen the advertising revenue model, others like Rhapsody use a subscription model, while services like Spotify use a hybrid. Rhapsody has only 700,000 subscribers compared to the 2.7 million users that signed up for Spotify in its first 6 months.
Ultimately, the threat of dwindling sales continues to rear its head and pose trouble for recording companies. The digital royalty serves to offset this problem. I predict a push by record companies to legislate non subscription interactive services out of business through license fee hikes and other restrictions. The true danger of interactive services replacing purchases will not occur until many more people have access to mobile plans that can access streaming services on the go. At that point the celestial jukebox will be a full reality and anyone with a connection won't need to purchase their tunes.

Wednesday, February 24, 2010

Wearing a Different Hat, Guantanamo Bay

We are all in the habit of living 24 hour days. For nearly three years my hours have been spent vigorously pursuing a legal education. This education has not been limited to class room experience, nor has it been limited to the traditional law school curriculum. In addition to the standard fair, two interests have consumed my focus. The first is exploring issues in law related to music and the internet. This interest is the broad subject matter expressed through this blog. The second interest is investigating the Guantanamo Bay Detention Facility.
As a research fellow with Seton Hall Law's Center for Policy & Research (CP&R)I have spent thousands of hours researching government documents and records relating to the military base. This work has been poured into several of CP&R's 17 published reports, many of which have been cited by the U.S. Supreme Court, Congress, European Parliament, New York Times, Washington Post, and many more sources. Most recently, CP&R published a report titled "Death in Camp Delta," exploring the events surrounding three alleged suicide deaths that occurred on base during the summer of 2006. The following article is a brief explanation of our lengthy report. On February 16, 2010, a 40 minute interview discussing CP&R's investigation into these events aired on NPR's "The Story." The interview which featured myself, student Kelli Stout, and Professor Mark Denbeaux can be heard here. Furthermore, I encourage you to read the March issue of Harper's Magazine, in which author Scott Horton significantly expands upon CP&R's research.


In Search of Truth at Guantanamo Bay
By Adam Deutsch (written for "The Cross Examiner," Seton Hall Law's internal student news paper)

Shortly after midnight on June 10, 2006, prison guards found three detainees hanging in their cells at the Guantanamo Bay detention facility. The detainees had been dead for at least two hours. Guards said they were stiff with rigor mortis, cold to the touch, with blue extremities and no pulse.
Later that morning, the Department of Defense (DOD) forced all of the detainees’ attorneys and press members to leave the military base while an investigation began. Contemporaneous to the forced evacuation of non-military personnel, the DOD announced that the detainees had engaged in “acts of asymmetric warfare” against the United States by committing suicide. The government issued this conclusive statement on the cause of death before autopsies were performed, and before persons on duty were interviewed. By holding the early press conference before performing its due diligence, the DOD skewed the objectivity of the subsequent investigation and forever altered the public’s perception of these deaths. It is now clear that the DOD’s final investigation was either grossly incompetent or a concocted cover-up of the truth.
How could three people commit suicide by hanging in one of the most secured prison facilities in the world? In 2008, more than two years after the purported suicides, the DOD released a three-page summary of the Naval Criminal Investigative Task Force (NCIS) investigative findings and a massive, heavily redacted file of investigative interviews and documents. Research fellows at the Seton Hall Law Center for Policy and Research (CP&R), headed by Professor Mark Denbeaux, began analyzing more than 1,000 pages in redacted documents to better understand how the three detainees died.
What the research fellows at CP&R found is remarkable. According to the DOD’s interviews of Guantanamo personnel, each deceased detainee braided a noose by tearing bed sheets and clothing, made a mannequin of himself so it would appear that he was asleep, hung sheets to block guard views of the cell, tied his feet together, tied his hands together, placed cloth in his mouth or throat, hung the noose from the metal mesh of the cell wall, climbed upon the sink basin, put the noose around his neck and released his weight to result in death by strangulation.
According to the base’s Standard Operating Procedures (SOPs), the detainees should not have had possession of enough fabric materials to complete the suicidal act described above. Furthermore, it was an SOP violation to hang a sheet that would obstruct a guard’s view of the detainee cell for more than a few minutes while one used the in-cell toilet. These sheets, like the detainees, hung for more than two hours. The SOPs dictate that guards are to walk the cell block every 10 minutes and take visual count of each detainee. The guards on duty failed to complete this task a minimum of 12 times while the detainees hung dead in their cells.
These details are only the tip of the iceberg. While making sworn statements, several guards were accused of making false statements or failing to obey direct orders. However, not one Guantanamo employee was disciplined for failure to obey the SOPs. Even though the detainees were reportedly found dead beyond the point of resuscitation, they were given invasive medical treatment, which in some cases included use of defibrillating machines, tracheal tubes, catheters and intravenous injections. None of these procedures could have saved the detainees, and yet there has been no explanation as to why post-mortem mutilation of the bodies occurred.
In early December 2009, Seton Hall Law’s CP&R released “Death In Camp Delta,” a report uncovering discrepancies and issues with the DOD’s investigation. Since then, members of Congress have called on Attorney General Eric Holder to conduct a new investigation into the DOD investigation, and Harper’s Magazine published an article taking CP&R’s research further. Harper’s author Scott Horton spoke with several people on duty the night of June 9, 2006, who confirmed that the three detainees did not die in the way that has been alleged. Horton found that those guards who were stationed in observation towers, which provided a clear view of the entire camp, did not see any bodies carried out of their cells to the medical facility. Harper’s identified what it believes to be a non-DOD facility at Guantanamo that might be a CIA “dark cite.” It suggests that the detainees died elsewhere on the base, confirming the investigation as a probable cover-up. Horton has thus extended the investigation that Seton Hall’s CP&R began.
“Death In Camp Delta” is the sixteenth report published by CP&R that examines the Guantanamo Bay detention facility operations. These reports are researched and authored by Seton Hall Law students under the guidance of Professor Denbeaux. The reports have been cited in U.S. Supreme Court opinions, Congressional records, the European Parliament, the New York Times, Washington Post and numerous other academic and periodical sources. While the full truth of what occurred on June 10, 2006 has yet to be uncovered, public dialogue toward ascertaining the truth, with the help of Seton Hall Law’s CP&R, is as vigorous as ever.

Tuesday, February 23, 2010

Warner's Dillema

In early February, Warner Music CEO Edgar Bronfman Jr. announced that his company would not be issuing licenses to free (non subscription based) interactive music streaming services. Bronfman has arguably been the most outspoken of the major label CEO’s when discussing the life of music as it collides with new technologies and the internet. While Bronfman’s sound-bites are entertaining, one must ask whether they make good business judgment.
BBC News quoted Bronfman as saying ”free streaming services are clearly not net positive for the industry and as far as Warner Music is concerned will not be licensed. The get all your music you want for free, and then maybe with a few bells and whistles we can move you to the premium price strategy is not the kind of approach to business that we will be supporting in the future.” Warner is singling out those services such as Lala, Grooveshark or Europe’s Spotify, which allow users to select specific songs and entire albums to stream on demand without paying a fee. It is the position of Bronfman, and many other recording industry executives that such legal services have the potential to permanently displace the sale of music.
Fear that record sales will continue to decline as the use of free on demand streaming services rise is rational. This fear was directly addressed by Congress more than ten years ago when they provide sound recording copyright owners with an exclusive right to digital public performance of music. Through this right, Warner collects a royalty each time music they own is played by a licensed webcaster or streaming service over the internet. In contrast, Warner does not collect money when their music is played over traditional radio airwaves. The royalty compensation provides a steady stream of income to copyright owners, while providing consumers a way to remain connected to music and to try music in advance of purchasing it. Furthermore, it is unlikely that streaming will completely replace music purchases because consumers do not have constant access to internet streaming.
According to NDP Group, a researcher of trends in the music industry conducted a study analyzing the use of internet music among the key teenage demographic of 13-17 year olds. Teenagers purchased 19% less music in 2008 when compared to 2007. At the same time, the demographic also acquired less music through illegal means during this period. Use of Peer to Peer networks declined by 6% and the “ripping” of music from friends dropped by 28%. One area of music consumption that dramatically increased was the use of internet radio and streaming services. 52% of teenagers listened to online radio in 2008, compared to only 34% a year earlier.
Trends clearly show that the legal consumption of music over the internet is increasing, while illegal means of music acquisition is declining. The rational consumer will always seek to acquire product at the lowest economic cost. Although the theft of music via peer to peer networks has been stigmatized enough to decrease the practice among consumers, the practice of acquiring music for free remains in high demand. The copyright code has been adjusted to provide royalty payments and therefore incentivize record companies to participate with and encourage new technologies such as streaming. If it chooses not to allow consumers to acquire music through the most economically efficient legal means, Warner runs a significant risk of alienating consumers. Alienation may result in a return to illegal acquisition of music, or simply moving consumers away from the consumption of musical recordings owned by Warner. The remaining big three record labels are unlikely to follow Warner’s example, and this increases the potential self-inflicted wound Warner is chasing.

Thursday, January 28, 2010

Listening Habits

Among the strongest arguments in support of internet radio and internet music subscription services is that music fans can have access to more music of a greater variety. The most well known sites, Pandora and Last.FM seek to expose listeners to music they are not aware of but that fits their self described musical taste. Emerging artists often pay stations like Last.FM to play their songs next to similar artists. The hope is that this breed of direct marketing will turn into music purchases or at a minimum, new fans. Nearly every internet based music service provides a direct link to an artist's website as well as a music store where their music can be purchased. Exposure to new tastes is inevitable, right?

What happens when listeners use subscription services that allow the user to pick the music instead of being fed a steady stream of radio? Interestingly, listeners can't seem to break away from their top 40 taste. Spotify is an on demand music service in Europe that allows listeners to choose specific songs to listen to. Users can be subject to advertisements between songs, or pay a fee of 10p per month in the UK to have advertisement free music on their mobile phones and computers. Spotify boasts 4.5 million songs to choose from, and they have licensing deals providing access to a very wide range of recording label rosters. The habits of Spotify users in the UK were remarkable during the first 6 months the service was available there.

From February to July, 2009, 2.7 million people signed up to use Spotify in the UK. During this time there were a total of 1 billion streams, averaging at 370 songs listened to by each user. Although listeners had access to 4.5 million songs, only 3 million were ever listened to. But here is the kicker: According to Spotify the top 100,000 played songs accounted for 80% of all plays.

It appears that when music consumers are given unlimited access to music through an on demand source, there is an aversion from trying new music. Perhaps people do not know where to start seeking out new music when confronted with so many options. This phenomena occurs elsewhere in our lives as well. We are all creatures of habit. This means that when looking for music produced in previous years, we are more likely to seek out what we already know. Looking forward however, it seems that services like Spotify provide a great opportunity to discover new music as it is being released. As internet based services offering a greater selection of music continue to replace terrestrial radio in the lives of music consumers, listeners may become more open to expanding their musical tastes.

To the extent that our music habits are a function of building social connections and having songs or artists in common with our own friends, the expansion of social networking components to internet music services will strengthen these connections. Already, services are allowing listeners to share songs or recommend songs to other listeners. This can serve as a catalyst to exposing listeners to new music and fostering social connections to that music.

For now it appears that old habits die hard. Personally, I love the idea that the next great artist could be a click away. Take the gamble and listen to something you have never heard. It's worth the reward and the music is free.

Monday, January 25, 2010

Blip Review

The goal of Blip appears to be streamlining one’s musical impulses to be representative of what ideal radio could be. Blip seeks to combine concepts of Twitter and Facebook with radio. Upon creating a free D.J. account, one types in the name of a song they would like to hear. Blip’s search engine seeks the internet for a link that hosts the song you are looking for. Blip provides audio and video clips, the majority of the latter come through youtube. The D.J. can preview the track to make sure it is what you were looking for. Upon approval, the user “blips” or broadcasts the song along with an option message of up to 150 characters.


Selected songs are then broadcast within the Blip website and to other social networking sites including Twitter and Facebook. The user must synch their accounts at other sites for Blip to broadcast there. As a user of Facebook, it is fun and incredibly easy to post songs and videos through Blip for friends to hear. Blip tracks a D.J.’s song picks and links them to other D.J.’s with similar musical tastes. When you are not broadcasting your own selections, Blip produces streaming radio based upon the selections of similar users.


Perhaps the biggest downside to Blip is the inability to produce a long play-list, and to control the order of that play list. Each time you select a new song it is automatically broadcast, and the new song begins to play. There are many music fans who get their kicks listening to the first verse and chorus of a song before forwarding to the next track. For me however, I need to hear the whole song. Blip would be a more useful site if one could drag songs into a play-list that would broadcast each song to other users when the track begins to play.


The second biggest problem with Blip is that you may have trouble finding the exact version of the song you are looking for. More often than not Blip sought to fulfill my request by producing a youtube link featuring a live version or cover version of the song. When you are seeking out a particular tune, the last thing you may want to hear is somebody's bedroom cover filmed in Kansas (no disrespect to Kansas or bedroom rockstars). There are clearly licensing issues, because many authorized recordings and album versions of songs are blocked by Blip. Blip remains far superior to conducting a search through Youtube, even if many of the hits lead you there. I love the idea of having both video and audio options through one radio site.


Blip’s ability to find similar music is not as impressive as systems found on other radio sites such as Pandora. Perhaps Blip needs more users before they can get a wide enough sample to judge what a user’s musical tastes are. In fairness, I have been using the site for one week and have not yet blipped hundreds of songs. The accuracy may improve as my own tastes are broadcast more regularly. Some users might use Blip to its full potential by seeking out D.J.’s and following them, much like on Twitter. For most people however, it seems that the purpose of social networking is merely to maintain contact with one’s establishes connections. Even so, Blip has charm. Most music that one discovers is through friends, not by chance. Finding a new song posted by a friend on Facebook or Twitter is a great surprise, and I am always willing to listen.


Check out Blip for its simplicity, ease of use, and broadcasting capabilities. Go elsewhere if you want to build a long playlist to listen to over a long period.


Listen to my D.J. Station by following Liondeutsch on Blip.FM