Posts Tagged ‘music’

Now that’s what I call crowdSPRING

Wednesday, November 2nd, 2011

If you ever happen upon the cS office it’s a madhouse of…well, normal office stuff. All things considered, it’s actually really quiet save for the occasional passing train, phone call and click clack of keyboards. But at each desk there’s more often than not a musical smorgasbord. We recently polled  the office for their heavy rotation work albums and are happy to present you with the cS playlist (complete with player at the bottom)

Bianca - Theophilus London: “Timez Are Weird These Dayz”

Going by the decidedly awesome moniker Theophilus London, this Brooklyn-by-way of Trinidad  MC brings a style that’s more 80′s nu-wave and grinding electronic beats than your standard hip-hop. You’ve gotta love his nod to the Smiths on the title of 2009′s “This Charming Mixtape.”

Audree – Foo Fighters : “In Your Honor”

Audree goes to prove you can have your cake and rock out with it to; her pick is the 2005 double album from The Foo Fighters. No introductions needed here, this album can go to 11 with the heavier disc one, but the really interesting move is the mellow, reflective side of the Foo’s on disc two. Fun fact: “Friend of a friend” was originally written in 1990 on a guitar borrowed from then-bandmate Kurt Cobain (hence, the “friend of a friend.”)

Ross - Mumford and Sons: “Sigh No More”

A favorite around the cS office, there’s really so much to say about this album and still, you can’t get close to accurately conveying just how amazing it is. This album is urgent yet never loses any eloquence. Above all, it’s just..heavy. Seriously, turn this album up and just TRY not to stop your feet.

Mike - Ra Ra Riot: “The Rhumb Line”

This is just good music. It’s dancy, upbeat, employs a full time violinist- what’s not to love. RRR manages to craft an endearing album suited for road trips and other spontaneity, high-fiving The Cure on the way and tastefully dodges and “indie” pigeonholes along the way.

Chris – DJ Shadow: “Endtroducing…”

You don’t get a whole section of your album’s wikipedia page dedicated to its legacy and have that stick unless it’s a straight-up bonafide classic  album.  Built on countless hip-hop breaks, dusty R&B grooves and early electronica, this is the album all other DJ’s should measure their craft by. Give it a spin and find one bad song. Okay, how about one mediocre song…we’ll wait. See? You can. not. do. it.

Kevin – I Am The Avalanche: “Avalanche United”

Formed out of the remnants of various Long Island hardcore and emo acts, I Am The Avalanche put out a killer debut album, toured like crazy and then dropped off the face of the earth. Six years later, IATA is back with a second album: Straight up punk ethos paired with a moshy stomp and throaty vocals. This album is the hallmark of a sound that’s quickly becoming all too rare

Adriano – U2: “The Joshua Tree”

Speaking of legacies, here’s another album that’s solid through and through. It’s strange to think now, with such a storied career, that these guys were  still in their 20′s and that this was only their 5th album. It’s hard to describe, but you know form the moment “Where the Streets Have No Name” kicks in that you’re listening to something huge and irreplaceable.

Jonas – Bent: “Programmed to Love”

This is “chill” personified. Crafting a lush soundscape of ambient sound with the occasional interspersed vocal track, you have no choice but to relax. Having a rough day? Queue up this mid tempo goodness and drift away.

Amanda – Iggy Pop: “Lust for Life”

The one and only “street walkin’ cheetah with a heart full of napalm” defined an era of punk with The Stooges. That alone is enough for most, but Pop is never one to rest on his laurels…let’s not forget that magical moment where Iggy Pop teamed with Ziggy Stardust (aka David Bowie) himself to release two solo efforts, “The Idiot” and 1977′s “Lust For Life.” A remarkably accessible album in contrast to The Stooges work, Pop shines on the eponymous track, but really falls into the darker rock n roll vibe of the album on “The Passenger” and “Neighborhood Threat.”  A must have album for any collection.

Thanks for listening! If you have any recommendations, let us know in the comments!

Sweet Music Doc Straight Out of Austin

Monday, May 2nd, 2011

Echotone, is a stellar documentary covering life in the Live Music Capital of the World, also known as Austin, TX.  As people flock to Austin to experience its eclectic music culture, it produces a catch-22 for those working artists and their new neighbors.  Echotone showcases the fight between the preservation of the music scene and development of Austin’s infrastructure.

Echotone is not only a social commentary, but also a telescope into the lives of Austin’s working musicians struggling with finances, integrity and originality, and the vicious cycle of almost catching a break. The documentary spotlights several local artists, such as Black Joe Lewis from Black Joe Lewis and the Honey Bears, who delivers fish by day and sells out concert venues by night, singing songs about being broke while hundreds of fans sing their praise. Then there is the dynamic Bill Baird from Sound Team, who had a brief stint at Capital Records, only to be dropped shortly after. And Cari Palazzolo, who fears that her band, Belaire’s success will rob their music of its art and transform it into another commodity.   Echotone takes you on a roller-coaster through the construction of a city crumbling at its base, which is the Austin music scene.

Since we love you guys so much here is the official Echotone Soundtrack free for you to download. Rock on CrowdSpring!

Soundtrack

Bands Featured on Echotone Soundtrack
Bill Baird, Belaire, Black Joe Lewis & The Honeybears, Dana Falconberry, Fancy Feast, Ghostland Observatory, Hacienda, JC&CO, Machine, Sound Team, Sunset, The Apeshits, The Black Angels, The Octopus Project, The Pity Party, The Strange Boys, The White White Lights, and Ume

Bring Echotone to You by Hosting a Screening!

For More Information Visit: http://echotonefilm.com/

 

10 things entrepreneurs can learn from musicians

Monday, March 21st, 2011

I have written several posts now about ways entrepreneurs can learn from people and from the world around them. A few months ago I wrote about how much we can learn from kids (e.g. kids know how to entertain themselves) and last month I shared thoughts about what we can learn from dogs (e.g. dogs love to play). I have been looking around me and considering the things that influence my life as an entrepreneur, and also the things that inspire me to be more productive, learn more effectively, and run our business more effectively. I can’t say that I have a much time available for just listening to music, but I do love it and I am in constant awe of musicians and the language they speak, the mysterious symbols that they read, and the way they can work together to make individual strands contribute to a far greater whole. Orchestras are not the only example of this; great rock bands illustrate how a small group of people can collaborate effectively and contribute to a finished product that could not have been created without each individual’s input and cooperation.

1. Musicians cooperate.
As with all great teams, great musicians have to work together seamlessly and in cooperation. Choosing the proper key, playing at the same tempo, and selecting the proper instrumentation, pitch, and levels are all a given to any group of musicians. Entrepreneurs can learn a great deal about teamwork from this example and businesses must be able to work in much the same way; teams of people functioning in unison to achieve a goal or create a meaningful product or service.

2. Musicians keep a beat.
Teams need drive and incentive to work effectively and entrepreneurs can use the example set by musicians to help their team be more effective. One way to apply the musical metaphor is to imagine the rhythm that drives a song and think of a project or effort as having a similar underlying rhythm  which moves it forward. Establish a beat to the team’s work, maintain that beat, and use it to accomplish the goal you;’ve set.

3. The orchestra follows the conductor.
In a large ensemble or even a small group there is one person who establishes and maintains the rhythm, drives the emphasis, and controls the tone of the piece being played. In a rock band this is often the drummer or other percussionist and in an orchestra it is the conductor. In business there also is a need for an effective leader who provides much the same function – driving the team, establishing the priorities, and clearly articulating goals, strategy, and tactics. A baton is optional.

4. Musicians play with joy (or something else).
Musicians are motivated by their innate love for the music itself and the joy of making it. Great entrepreneurs are much the same – driven by their dedication, motivated by the sheer fun of the work, and hooked on the sheer exhilaration of creating something unique.

5. Musicians listen to one another.
Musicians have to be able to hear what their bandmates are doing in order to adjust their own performance based on what they are hearing. Entrepreneurs can learn to pay greater attention to their team – listening, responding, and adjusting are all key elements of the collaborative process and strong teams constantly respond and adjust based on what other members are doing at any given time.

(more…)

The (ongoing) evolution of an industry

Wednesday, March 24th, 2010

Everyone knows that the music industry is struggling, right? Pirating, reduced concert ticket sales, and fair use issues have combined to send record company execs scurrying for solutions and scrambling to figure out new revenue streams.

NPR’s On The Media (with our friend Bob Garfield) recently devoted an entire episode to a great discussion of the issues and challenges swirling around our beloved music biz. Take a listen to their exploration and let me know your thoughts.

Pepsi and Will.i.am think crowdsourcing is cool–do you?

Monday, October 5th, 2009

So I’m laying on my couch, watching my stories (one of my many reality tv shows that Kevin likes to call “stories”) when a commercial comes on.  Usually I flip over to E! during this time to catch up on my news, but for some reason, this commercial caught my attention. Will.i.am, from the Black Eyed Peas, was sitting in a studio, trying to mix some music (forgive me, I clearly lack the lingo for this) and wasn’t “feelin it.” He started walking the streets of what looked like New York and WHAM – every street he turned on had some sort of magical inspiration for him.  From a boy banging on buckets, to basketballs being dribbled, to a woman humming – he came up with an idea to record all these sounds and mix them together, which would in turn create his next huge hit.

I looked into this commercial further and learned Will.i.am has partnered with Pepsi to create a unique music collaboration for the “Ultimate Refresh” of the new single “La La La” by electro hip-hop duo LMFAO. Will.i.am  is joining Pepsi and LMFAO to produce a user-generated video and music track that will be available to consumers in December 2009.  This very smart company, Reality Digital, developed an application specifically for this Pepsi Challenge.  The QuadMasher(TM), takes all these noises, sounds and music and basically “mashes” them all together.  Basically the contest is asking music lovers to produce their own version of LMFAO’s “La La La,” showcasing one of four talents: vocals, melody, chords or percussion.  The winners will then be on the actual new single. For more information on this project, click here.

Pretty cool right?  Or is it?  What do you think?  Do you think this is a cutting-edge idea for the music industry, which will ultimately generate more crowdsourced songs like this or do you think Will.i.am is selling out?  What other industries do you think will move towards having a crowdsourced option?

The king of pop is dead. Long live the king of pop.

Friday, June 26th, 2009

All of us here at crowdSPRING saddened with the passing of Michael Jackson yesterday. But mourning was quickly replaced with warm-hearted memories and reflection – how his music had taken part in all our lives. He was a legend, an artist, and a creative force that effected both the music industry and popular culture in immeasurable ways. He was also a troubled individual who never had a chance to lead a normal life. Like many artists before and after him, his fame cost him his privacy and possibly his sanity. But man if he didn’t make some beautiful music along the way.

To this one of a kind incredible and troubled human being we feel a little tribute is in order. Rest in peace sweet prince. May angels carry you to a happier place.

crowdSPRING’s Chris & Kevin – Tribute to Michael Jackson from Ross Kimbarovsky on Vimeo.

I Love Vimeo

Monday, March 23rd, 2009

I use Vimeo to document the artists on K that come to Chicago.  When I ran into an issue of not being able to upload as much HD content as I would like early last year, Vimeo’s dalas verdugo was there to help by increasing my weekly capacity on the spot.  I mentioned to dalas that I would pay for a further increase, should they provide the service.

I am now a very happy Vimeo Plus member and continue to be impressed by Vimeo’s strong Customer Service, not to mention the agile and transparent Development team making it all happen.  I use YouTube for free, but I would never pay for the service despite the fact I get 4X the amount of views there by default.

Great products and services are simply worth paying for. Thanks Vimeo.

1 Percent Inspiration, 99 Percent Perspiration

Monday, August 11th, 2008

“Genius is one percent inspiration and 99 percent perspiration” - Thomas Edison.

It’s one thing for artists to be inspired by the work of others. It’s quite another to simply borrow without permission or compensation, what someone else has worked hard to create.

Last week, Mike posted an article about Girl Talk – the stage name of Greg Gillis who performs musical mashups incorporating work from other artists. Mike’s post asked three questions:

1. Does Girl Talk’s work constitute theft of intellectual property?

2. Is it unethical for him to incorporate other artists’ work into his own?

3. Should he be sued for copyright infringement?

Mike’s opinion – NO to all three questions. I am not so sure, particularly since I think the first two questions are incomplete. Here is what I’d ask:

1. Does Girl Talk’s work constitute theft of intellectual property if permission of original artists was never obtained and the original artists are not compensated?

2. Is it unethical for Girl Talk to incorporate other artist’s work into his own without permission or compensation to those original artists?

3. Should Girl Talk be sued for copyright infringement?

In my opinion, the answer to the first two questions is YES. As for the third question – that’s for the original artists or their labels to decide. There is much unsettled law in this area and it’s not as clear-cut as it appears initially. But I would urge the owners of the original works (or their agents) to act if they find Girl Talk’s practice objectionable.

Girl Talk certainly has a very distinctive style and is willing to experiment, both musically and financially. After all, as we wrote in another post, Girl Talk followed Radiohead in offering a version of the pay-what-you want pricing model. But I question whether it’s proper for an artist to simply take from other artists’ work without permission and compensation.

In music, “sampling” involves the taking of a portion of a sound recording and reusing it in a new recording. One example: the guitar riffs from Foreigner’s “Hot Blooded” in Tone-Loc’s “Funky Cold Medina”

Let’s briefly look at two concepts in copyright law: derivative works and fair use. When a work is based on one or more preexisting works, it’s commonly known as a “derivative work”. U.S. Copyright law (and the laws of many countries) typically give the creators of original works a limited monopoly to create works based on or derived from the original works. This is done to encourage artists and authors to produce original works.

The second concept is called “fair use”. Fair use was intended to permit the use of parts of a creative work for criticism, commentary and reporting (these are the goals of U.S. copyright law – these goals might differ in other countries). Courts consider a number of factors in determining whether a use is “fair use”, but that’s a separate discussion. Fair use is not a universal doctrine.

When musicians sample a recording, they typically need to obtain the permission from the owner of the recording. Many musicians obtain prior permission (and pay up-front fees or royalties based on sales). There are a number of companies that act as sample clearance services and will help musicians obtain all rights involved with a sample.

Many musicians comply with copyright rules. Even younger bands – such as The Dufrenes, who will release their first album in the fall – make sure that when they sample other people’s work, they obtain a license (and pay the required royalties).

I respectfully disagree with Mike that it would be proper for a graphic designer to incorporate an image someone else created into a larger piece, presumably without permission or compensation. Perhaps Rodin’s the thinker is a poor example given its rather dated history, but take any contemporary image and I think most creatives would find such incorporation to be inappropriate. I could certainly invoke a feeling or make a statement if I create a new company selling computers with a combination of logo elements from some of the top computer companies (such as Apple, DELL, etc.). But I hardly think that would be proper and I bet Apple, DELL and their legal counsel will have something to say if I did that.

What do you think? How do you answer the three questions?

Industry Revolution: Music

Monday, June 30th, 2008

The Industrial Revolution, during the late 18th and early 19th centuries, brought with it significant changes in agriculture, manufacturing, and transportation. In the latter part of the 18th century, the labor-intensive economy of Great Britain was gradually being supplemented by machinery. For example, the introduction of steam power and powered machinery significantly increased production capacity.

The Industrial Revolution provided ordinary people in Europe and ultimately around the world, increased opportunities for employment in the new factories and mills. (To learn more about the Industrial Revolution, see the following Wikipedia entry).

With major change, it is common to find resistance from the “incumbents”. For example, a group of English workers known as Luddites organized and protested against industrialization. The Luddites were originally mostly workers in the textile industry.  Many found themselves suddenly unemployed – they could not compete with machines. More groups joined, including agricultural laborers in the 1830′s. The Luddites often did more than protest – they also sabotaged factories.

Fast forward to today. There have been many smaller revolutions in different industries. In fact, almost every single industry is changing. And not surprisingly, change in those industries have brought resistance from incumbents. The music industry provides a great example.

The music industry is at a crossroads. Album sales are decreasing – sales were down 21% during the last holiday season, as compared to the prior year. The trend towards self-publishing is very strong and threatens the very foundation of the music industry. Many professionals are angry about a new marketing program – the “pay what you want” program. The insiders in the music industry complain that the “pay what you want program” devalues music and is a disservice to the entire industry.

Let’s look at the facts. Radiohead, an innovative rock band from England, released their latest album (Rainbows) in October 2007, but instead of releasing the album in stores, Radiohead made it available as a digital download online. In a huge departure from traditional record sales, Radiohead made a novel proposal to its fans – pay what you want. In fact, fans could even “buy” the album for free.

Other musicians and record labels complained that Radiohead’s strategy was a failure out of the gate and a disgrace to the entire industry. For example, Gene Simmons, bassist for the rock band KISS, complained that Radiohead’s strategy was contributing to the demise of the music industry.

Radiohead’s album and strategy were a resounding success, both personally and commercially. The album was number one in the UK and the US when the album was physically released. Other artists who were not afraid to innovate followed. Trent Reznor, lead singer of the Nine Inch Nails, followed with a “pay what you want” release. In fact, Trent Reznor recorded and distributed the album Ghost I-IV without the involvement of any record company. Many others followed suit. Girl Talk recently released their latest album using the “pay what you want” model.

The success of the “pay what you want” program holds huge promise for lesser known artists. There are millions of people around the world who have no way to get noticed in the music industry because major record labels won’t sign them. Musicians now have access to inexpensive recording equipment and distribution over the Internet. Those artists are already on YouTube, iTunes, and many other online sites. And they’re adopting the “pay what you want model” in order to compete.

And you know what? Many of them are very good artists. Extremely good.The “incumbents” in the music industry who are holding on to the old ways SHOULD feel threatened.

The revolution in the music industry isn’t coming. It’s already here.