Website : https://www.aandrduty.com/

Address : Lagos, Nigeria

Phone : 09069349297

A&R DUTY is an independent A&R company with a passion for music. We are creating a community for A&Rs to come together under one umbrella, training and educating them on how to trade in their business space without being ripped off, and also creating an avenue for a record label and independent artist to hire professional A&Rs when the need arises, so as to increase the population of the artist making hit records in Africa.

Business mail : [email protected]

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Facebook : https://www.facebook.com/AR-DUTY-104896932054423/

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Twitter : https://twitter.com/Aandrduty

ASCII and ANSI

ASCII was defined by the American National Standards Institute (ANSI) in 1968 as "ANSI Standard x3.4"

web.archive.orgAvailable from: https://web.archive.org/web/20091014084338/http://czyborra.com/charsets/iso646.html (2009a). ISO 646 (Good old ASCII) [online]. [Accessed 15 November 2023].

ANSI is the Institute that defines American National standards.  ASCII code is one of these standards.

ANSI Standard x3.16, which is an 8-bit code.  This expansion was defined in 1979 in an effort to standardise graphic character representations and cursor control.

It is based upon a 256 character set.  It includes the 128 characters/controls of ASCII and an extra 128 characters/controls.  It is sometimes called "extended ASCII" or "high ASCII".

It was widely used at one time on bulletin board systems. It is similar to ASCII art, but constructed from a larger set of 256 letters, numbers, and symbols and colour.

WikipediaAvailable from: https://en.wikipedia.org/wiki/ANSI_art (2021). ANSI art.

Its use of standard computer symbols and colours by particularly talented individuals made it somewhat of a 'cult' art form and provided a springboard for talented computer artists in later years.

This form gave rise to a 'scene', or subculture community of artists who created competitive groups, similar to hackers (and sometimes overlapping these groups). These groups would assemble their best, most current art into downloadable 'packs' for distribution on BBS systems. These could be simply zipped packs of loose art with some text files explaining them, or encoded programs that displayed the art, sometimes with accompanying music in MOD format.

CDM Create Digital MusicAvailable from: https://cdm.link/2008/01/ansi-art-raised-to-gallery-status-in-sf/ (2008). ANSI Art, Raised to Gallery Status in SF [online]. [Accessed 15 November 2023].

Our Black Gay Diaspora Podcast: Visibility For The Invisible Community

Finding podcasts that are ear worthy comes from a multitude of sources - friends, family, co-workers, articles, social media, and even the Ear Worthy Substack site where podcasts are reviewed and recommended daily.

 In the case of Our Black Gay Diaspora podcast, I discovered it on the excellent Substack newsletter, BlkPodNews™, which was launched two years ago.

The newsletter's stated mission is "to help readers / listeners learn about and listen to new Black podcasts, new podcast seasons, and best episodes from Black Podcasting Awards’ winners in this weekly spotlight. It is 'The Podcast Industry Trade Paper For Black Podcast Creatives & Professionals.'"

You can sign up to be on their email newsletter list here. 

On the newsletter, I came across an article about Our Black Gay Diaspora podcast. 

 It is a fascinating independent podcast. Our Black Gay Diaspora Podcast is a podcast (video and audio) where Black LGBTQ professionals share stories about their lives, countries and professions. Creator / Host Erick Taylor Woodby interviews individuals who inspire and educate others about who they are, highlighting a population often overlooked by mainstream LGBTQ+ and Black media outlets. 

Woody is attempting to offer greater visibility in a world that often tries to make underrepresented communities invisible is such a large task. 

Here is an Apple review that sums up the view on this podcast.

"Erick has presented an amazing and diverse group of world citizens with wide-ranging experiences, it is fascinating to hear these stories of how these People Of Color (POC) move in the circles of their lives, embracing their Blackness as well as their place within the LGBTQ+ community. It is so important to share this visibility, so everyone can come to understand the full length and breadth of POC/LGBTQ+, the work they are doing, and how they are shaping the world. This podcast is not just for POC, it's accessible to everyone and benefits people of all ethnicities with the stories being shared. I applaud Erick for realizing this gap existed, and I think he is doing an amazing job of filling in the blank spaces. Kudos to you! :)"

Erik Taylor Woodby is the creator, host, and producer of the global biweekly Our Black Gay Diaspora Podcast. As a contributing writer for the Swedish Krull Magazine, he shares stories and diverse histories chronicling the lives of individuals making a difference in their countries and professions.

Woodby is a writer, podcast producer, and graphic designer with over 20 years of experience working in media from logo and print design to multimedia, collaborating with clients that include a BAFTA-winning documentary protagonist, an award-winning yoga instructor, and an international investment banking firm.

In his bio, Woodby says: "My love of creative communication extends to learning languages and travelling the world as a digital nomad. I’m proficient in conversational Spanish and basic Swedish. And have visited Canada, Denmark, England, Germany, Mexico, Latvia, Norway, South Africa, Spain, and Sweden. Stockholm, Sweden, and Brighton, UK are two of my favorite cities."

Since starting the podcast in late March 2021, Woodby has produced 76 episodes, which is a remarkable feat for an indie podcast. Clearly, because of Woodby's design and media experience, the podcast has slick graphics, excellent sound quality, and the music and is created, produced, and distributed at a high level of quality. Kudos to Woodby for using his multiplicity of skills in podcasting. It's clearly paid off.

On the show, Woodby interviews guests including Executive Director at PEOPLE Magazine Jeremy Helligar, Palmira Koukkari Mbenga, Swedish journalist, actor, and script editor for Netflix’s Young Royals, and Gamal ‘G’ Turawa, the protagonist in the 2022 BAFTA-winning British docudrama The Black Cop. 

One of my favorite episodes was #6 when Woodby interviewed L.A.-based lawyer Thomas DeBoe. Imagine making an episode speaking to a lawyer about business contracts, family law, and joint ventures? zzzzzzzzz. But Woodby's calm, curious style transformed the episode into a fascinating look in DeBoe's life and career.

If you check out the episode roster of Woodby's show, you'll notice that the show length averages about 40 minutes. I personally love that sense of editing and respect for the listeners. Too many interview podcasts believe they can duplicate Joe Rogan and conduct interviews that run for an hour or two. They can't. Woodby has an innate sense of conversational flow.  

Woodby is clearly an advocate of the Greek philosopher Aristotle, who once said, "Tell them what you are going to tell them, tell them, then tell them what you told them." 

As a host, Erik Taylor Woodby is understated like low-impact aerobics. You still get the benefits but without the histrionics. His interviewing style is gentle but probing, and his cosmopolitan lifestyle has enabled him to glide without friction through numerous countries, ethnic backgrounds, and belief systems.

Two of my favorite episodes are the January 31, 2024 show with Pax Ahimsa Gethen, who is an American transgender vegan atheist, pacifist, blogger, photographer, and Wikipedia volunteer editor. In August 2023, Pax was awarded Wikipedia’s 2023 Media Contributor of the Year. Through their blog site, funcrunch.org, Pax is a dedicated advocate for marginalized communities, highlighting transgender and Black social justice causes and cultural milestones.

 In episode 65 in September 2023, Woodby interviewed Rob Berkeley, who is the founder and managing editor at BlkOutUK.com, “a not-for-profit social enterprise run and owned by a volunteer collective of black gay men.” He's also a writer who contributed to the 2014 anthology Black and Gay in the UK. His story is titled The Brotherhood Dilemma. Described as an educationalist with interests in media, creativity, and the arts, Rob has a desire to disrupt power dynamics for the betterment of those on the margins of society.

At the beginning of the show, Woody says of Berkeley, "He is willing to upset the power dynamics for the benefit of those in marginalized communities." That's courage and passion.

Check out Our Black Gay Diaspora Podcast. You don't have to be gay, black or different in any respect to enjoy the show and learn something from the show.

************************************

 

This review is part of an ongoing series of reviews, recommendations, and essays about Indie podcasters -- their craft, their challenges, and the critical role they play in podcasting. These entrepreneurs display skills as disparate as hosting, sound production, graphic design, scriptwriting, interviewing, marketing genius, and financial watchdog. They are the heart and soul of podcasting.

MADverse: Revolutionizing the Music Industry as a One-Stop Digital Platform

Understanding Music Distribution: A Guide for Artists

You've poured your heart and soul into creating incredible music that deserves to be heard by the world. But how do you ensure that your music reaches the ears of eager listeners everywhere? That's where music distribution comes into play. In this blog, we will explore the ins and outs of music distribution, its significance for artists like yourself, and the various methods and platforms available to share your melodies with the world. Whether you're an experienced musician or just starting out, understanding music distribution is vital for your success story.

What is Music Distribution?

Music distribution is the process of making your music available to a wide audience through different channels and platforms. It's like setting up a buffet of auditory delights for music lovers to enjoy.

Music distribution has been an integral part of the music industry since its inception. However, this industry has undergone significant transformations throughout the years, leading to drastic changes in its workflow and business models. The evolution of music distribution, from the days of King's Darbar to the current era of online streaming, has been remarkable.

In the early 2000s, the dominance of CDs and physical records started to wane, gradually giving way to new digital formats. The advent of online streaming platforms revolutionized the way music is consumed and distributed. Today, the era of CDs and physical records is nearly obsolete, as they account for only a fraction of global recording revenue, around 10%. Streaming has undeniably become the dominant force in today's music industry, and a closer look at the data reveals its overwhelming influence. The International Federation of the Phonographic Industry (IFPI) provides compelling insights into the rise of streaming. In 2020, streaming revenue accounted for a remarkable 62% of the global recorded music industry's revenue, surpassing both physical sales and digital downloads.

Prepare to be astonished by the staggering number of users on the streaming platform. - Spotify: With a staggering 356 million monthly active users globally, Spotify stands as a dominant force in the streaming industry. - Apple Music: Boasting 108 million monthly active users worldwide, Apple Music benefits from its integration with Apple's ecosystem of devices. - Amazon Music: With 82.2 million monthly active users globally, Amazon Music draws upon the extensive customer base of Amazon. Additionally, it has 30 million monthly paid active users worldwide.

The growth in the number of paid music streaming subscribers has been nothing short of impressive. As per the IFPI's records from 2021, there are now over 450 million paid music streaming subscribers worldwide. This figure represents a substantial increase over the years and serves as a testament to the immense popularity and demand for streaming services. Overall, the landscape of music distribution has transformed immensely over time, with digital platforms becoming the primary channel for reaching audiences. As the industry continues to evolve, it is essential for musicians and industry professionals to adapt their distribution methods accordingly, taking into account the preferences and trends specific to different regions.

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Mark Tencaten | Learn all about NFTs and its future

According to Collins Dictionary, the term of the year in 2021 was non-fungible tokens (NFTs). As per Mark Tencaten number of NFTs were auctioned for millions of dollars, with Pak's "The Merge" fetching a price of over $90 million. Nevertheless, their time in the limelight was only briefly felt. Last year, demand for quite everything crypto-related, including NFTs, decreased.

What are NFTs?

A non-fungible token is easier to comprehend if you see it as a digital certificate of ownership. These certificates are kept on the blockchain, theoretically forming a safe, irrevocable record that cannot be altered. Anything may be turned into an NFT, including a coffee cup and works of art, movies, and music.

Mark Tencaten explains Non-fungible, without being too complicated, is a term used to explain something that is distinct and not interchangeable. A dollar bill is, therefore, fungible because it isn't unique; it could be substituted with any other $1 bill, and people could still use it to make purchases.

Minting an NFT

Publishing an NFT to the blockchain is the method of minting an NFT. Depending on the budget and the demographic users want to target, there are many different ways users can do this. They'll need these two items in addition to the work users to wish to transform into an NFT:

·       A wallet for NFT

·       A profile on an NFT marketplace

NFT markets come in a variety of forms. Consider the platform's reputation, the size of its community, the fees it levies, and how consumer friendly it is to choose which one is best for you. Some platforms have a procedure in place to authenticate content producers, effectively establishing oneself as a trustworthy vendor.

Mark Tencaten says that It's crucial to think carefully about the blockchain you wish to mint on. Every time a transaction is made on the blockchain, you must pay a gas fee. Although Ethereum (ETH) is the most widely used blockchain for NFT sales, gas prices there are higher than on other chains. You can mint on other chains, including Avalanche, Polygon (MATIC), and Solana (SOL), on several NFT platforms (AVAX).

A few sites let you avoid entirely gas costs by only adding the NFT to the chain whenever anyone wants to buy it. It's often referred to as lazy minting or gas-free minting. In this case, the minting costs would be covered by the customer. But this can make it more difficult for you to market your masterpiece.

Advantages and Distantages of NFTs

The ability to store a digital certificate of ownership has value. Mark Tencaten says that crypto supporters one day will utilize NFTs to store documents related to real estate, among other things. NFTs have the ability to alter both how we own and sell goods.

The empowerment of creators is one of the frequently mentioned advantages of NFTs. For instance, artists can claim ownership of the work they produce and, in some situations, get paid royalties when it is sold. Additionally, because artists and musicians can interact directly with their audience, they do not have to depend on exhibitions or music companies to promote and sell their work.

Once an NFT has been minted, tracking each piece's authenticity is simple, including who manufactured it and who possessed it. That is all excellent. Without the artist's consent, people have sadly been minting NFTs of works they did not make and distributing them on NFT platforms. NFT scammers and fraudsters have stolen huge amounts of money using various methods.

Conclusion

The NFT market in 2021 has many similarities to the early 2000s dot-com bubble. The mere fact that they were NFTs increased the value of relatively commonplace works of art. In the hopes of becoming wealthy, people who had never purchased art before traded on these digital assets. This does not imply that NFTs are worthless by nature. It certainly has the potential to change how we own things and be a part of the upcoming wave of the internet.

If you're going to get into the realm of NFTs, Mark Tencaten advises against buying or minting them just for the sake of it. Utilize this technology as an instrument and be aware of the item's worth. Making NFTs has a financial and physical cost, and there is no assurance that you will recover your minting expenses. Since NFTs are vehicles, they may not necessarily have value or no value. Everything is based on what's inside.

The 5th Annual Derrick Sanskrit "Everyone's a Critic" Awards (part one: music and movies)

(note: I have posted this thread on Twitter at the end of December for the past five years, but with that platform's future more dubious than ever, it makes sense to back up 2022's edition here)

It's the most wonderful time of the year! Time for the fifth annual Derrick Sanskrit "Everyone's a Critic" Awards for all the pop culture I thought was simply the best over the past twelve months.

There's so much, we're gonna slow-drip this year, so let's start with music...

Bloc Party guitarist Russell Lissack’s solo EP is seventeen minutes of just fantastic collaborations, including a reunion with Pin Me Down bandmate Milena Mepris. Had this been a full LP, it would be way higher in the rankings.

A top-to-bottom reworking of 2020’s New Symbols, this LP benefits from both two more years of Tom Vek’s reflection on his art as well as wider distribution on digital music platforms so people could actually hear it.

Nine years after his debut LP, the French DJ proves his mastery of timeless synth anthems with this album that feels like the soundtrack to a long lost John Hughes movie about sexy computer hackers.

It feels like cheating to include the soundtrack to a 2021 concert film in this list, but the album dropped in 2022 and it freaking rules so whatever. This is the sound of the Dan Greene Cinematic Universe.

A mostly-instrumental album of lush chiptune soundscapes, this high-def volume of Australian electronic anthems begs the question “why aren’t we having another chip resurgence right freakin’ now?” Danceable, worldly, melancholic, and beyond.

A timely reminder that indie rock can be snarky and clever without losing the charm of four-part harmonies and driving hooks. Like cherry red Doc Martens stomping through a field of sunflowers, The Beths show us how to suffer with a smirk.

No album this year felt as immediately BIG as the sophomore effort from this English post-rock phalanx. It commands attention before curling up in a ball to hide at your feet and whisper deep dark secrets in your ear.

Continuing her transformation from cloud rap to pop, Kilo Kish challenges conventions with this collection of toe-tapping bangers about societal woes, public image, self-worth, and the ills of consumerism, all framed within a retro arcade game.

A punk album so specifically of its time without immediately dating itself by naming names. A concept album about running a punk band like a business that comes to its logical conclusion: in-fighting, ego clashes, bankruptcy, and thanking the sponsors.

Simply the best breakup album in ages (sorry Swifties). Cutthroat and callous, honest and earnest, this math rock sophomore LP challenges pop song structure as much as relationships challenge the edges of individual identity.

Wasn't that so much fun? So many fantastic albums in 2022, such wonderful songs to sing and dance to. Good times.

And now, our second category... it's time to talk about MOVIES...

The vainglorious adventures of an aspiring podcaster focusing largely on the culture clash between New York and Texas. Quite possibly the best performance ever from Ashton Kutcher.

While this mock-rock-doc never reaches the parodic highs of Weird Al’s previous “UHF,” the extended Funny Or Die sketch carries heaps of charm with an all-star cast of comedy cameos.

Easily the most unexpected film of the year, this holiday horror fusion brings all the delirious twists and turns you’d expect from the creator of “Too Many Cooks.”

Simply the biggest, boldest, wildest action movie to date, RRR offers more spectacle per minute than Zack Snyder does in an hour, while still finding plenty of time to sing and dance.

Jordan Peele’s third horror film forgoes shocks and scares in favor of slow burn dread with thoroughly enjoyable examinations of race, media, exploitation, and religion.

This celebration of the power of art to question authority and buck societal norms poses the question “what if Freddy Mercury and Jimi Hendrix were best friends in feudal Japan?”

Simply the most fun I had in a movie theater all year. A fast, stylish, star-studded action farce, like Guy Ritchie directing a script by the Coen Brothers, this film taught me more about Thomas the Tank Engine than my nephews ever will.

Proving Knives Out wasn’t a one-off fluke, Rian Johnson delivers a whodunnit with bigger stakes, bigger stars, bigger spectacle, and bigger laughs. A covid-era mystery for Agatha Christie fans of any age.

In their second feature, the Daniels have produced what feels like a once-in-a-generation iconic piece of cinema. Sweeping & grandiose, intimate & delicate, EEAAO is the sci-fi family immigrant tale we never knew we so desperately needed.

The most I’ve cried in the theater since Toy Story 3. Marcel’s journey will melt the most frozen of hearts and make you believe that anything is possible with a positive outlook.

Gaither Vocal Band Earns 2023 GRAMMY Award Nomination For Best Roots Gospel Album

Gaither Vocal Band has earned a GRAMMY nomination for Best Roots Gospel Album for Let’s Just Praise the Lord (Gaither Music Group), produced by Bill Gaither and Gordon Mote. Bill and Gloria Gaither and GVB have collectively received eight GRAMMY Awards and more than two dozen nominations, including this second consecutive Best Roots Gospel Album nomination, following last year’s That’s Gospel, Brother project nod. Stream/download/purchase Let’s Just Praise The Lord HERE. “I am so proud of the young men in the Vocal Band,” stated three-time Gospel Music Association (GMA) Hall of Fame member and group founder Bill Gaither.  “It’s always an honor to be nominated, especially with the caliber of folks in our category this year. I have the utmost respect for all of the nominees and wish them all the best!” The Recording Academy will present the The 65th GRAMMY Awards live on CBS Sunday, Feb. 5, from the Crypto.com Arena in Los Angeles, and stream live and on demand on Paramount+. The GRAMMY news follows an October GMA Dove Award win for Gaither Vocal Band, who took home the Southern Gospel Recorded Song of the Year award at the Nashville ceremony for “My Feet Are on the Rock” from the GRAMMY-nominated album That’s Gospel, Brother. The song, produced by Bill Gaither and ACM Award winner Gordon Mote, was a Top 5 radio hit. The Gospel Music Hall of Famers have garnered more than two dozen Dove Awards. The legendary group has just recorded a new single “Shine (The Darker the Night the Brighter the Light)” scheduled for digital release on November 25. “This is a very important song with a powerful idea that I believe with all my heart,” says Bill Gaither. “The world has never been stable, and according to God’s Word it is not going to be stable. We are called to be God’s light — to shine — in an unstable culture. Do we really believe and live out the power of love and grace? Every now and then we say about a song ,‘this is a special idea that can make a difference in the way we live.’ I think this is one of those songs.” The quintet has released four new Christmas singles on digital streaming platforms including “Jesus, What a Lovely Name,” “My Heart Would Be Your Bethlehem,” “Tennessee Christmas” and “Mary Was the First One to Carry the Gospel” with three more on the way between now and Christmas. Videos of each of the songs can be found on the Gaither Music TV YouTube channel (over 2.7M followers) and on the Gaither FB page (over 1.7M followers). The group is seen weekly on numerous TV networks including PBS, DIRECTV, Dish TV, RFD-TV, Trinity Broadcasting Network and many others throughout the United States and Canada. Gaither Vocal Band is completing its fall tour at present and will kick off its seven-stop Christmas tour on December 1 in Hershey, PA. They will be performing songs from their 2021 Christmas album All Heaven And Nature Sing, in addition to other Christmas classics. All recordings by Gaither Vocal Band are distributed by Capitol Christian Music Group and Universal Music. Read the full article

System in Package (SiP) Technology Market Growing Popularity and Growing Traffic Research Report by DBMR

Industry Analysis

The system in package (SiP) technology market size is valued at USD 24,302.85 million by 2028 is expected to grow at a compound annual growth rate of 10.40% in the forecast period of 2021 to 2028. Data Bridge Market Research report on system in package (SiP) technology provides analysis and insights regarding the various factors expected to be prevalent throughout the forecasted period while providing their impacts on the market’s growth.

The wide-ranging Data Bridge market report covers an array of aspects of the market analysis which today’s businesses call for. This market document also defines a chapter on the global market and allied companies with their profiles, which provides important data pertaining to their insights in terms of finances, product portfolios, investment plans, and marketing and business strategies. This market research report is generated with a nice blend of industry insight, talent solutions, practical solutions and use of technology to advance user experience. An outstanding Data Bridge market report puts light on many aspects related to ICT industry and market.

Market Insights and Scope            

System in package (SiP) technology generally refers to a module where numbers of integrated circuits are enclosed and create various enhanced packaging applications to build up solutions that can be customized as per the user requirement. SiP is largely used in digital music player, mobile phones and in many electronic functions. Systems on Chip (SoC) have several advantages such as flexibility, low product cost, low research and development cost, low NRE (non-recurring engineering) cost among others.

Additionally, the credible System in Package (SiP) Technology Market report helps the manufacturer in finding out the effectiveness of the existing channels of distribution, advertising programs, or media, selling methods and the best way of distributing the goods to the eventual consumers. Taking up such market research report is all the time beneficial for any company whether it is a small scale or large scale, for marketing of products or services. It makes effortless for ICT industry to visualize what is already available in the market, what market anticipates, the competitive environment, and what should be done to surpass the competitor.

Industry Segmentation

The system in package (SiP) technology market is segmented on the basis of packaging technology, packaging type, interconnection technology and application. The growth among segments helps you analyze niche pockets of growth and strategies to approach the market and determine your core application areas and the difference in your target markets.

Based on packaging technology, the system in package (SiP) technology market is segmented into 2-D IC packaging, 2.5-D IC packaging and 3-D IC packaging.

On the basis of packaging type, the system in package (SiP) technology market is segmented into flat packages, pin grid arrays, surface mount, small outline packages and others.

On the basis of interconnection technology, the system in package (SiP) technology market is segmented into flip-chip Sip, wire-bond SiP, fan-out SiP and embedded SiP.

The application segment of the system in package (SiP) technology market is segmented into consumer electronics, automotive, telecommunication, industrial system, aerospace and defense and others. Others have further been segmented into traction and medical.

Get a Free Sample of The Report: https://www.databridgemarketresearch.com/request-a-sample/?dbmr=global-system-in-package-sip-technology-market

Market Country Level Analysis

The countries covered in the system in package (SiP) technology market report are

U.S., Canada and Mexico in North America, Brazil, Argentina and Rest of South America as part of South America, Germany, Italy, U.K., France, Spain, Netherlands, Belgium, Switzerland, Turkey, Russia, Rest of Europe in Europe, Japan, China, India, South Korea, Australia, Singapore, Malaysia, Thailand, Indonesia, Philippines, Rest of Asia-Pacific (APAC)  in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA).

Get full access to the report: https://www.databridgemarketresearch.com/reports/global-system-in-package-sip-technology-market

Industry Share Analysis

The major players covered in the system in package (SiP) technology market report are

Amkor Technology, ASE Group, ChipMOS TECHNOLOGIES INC., Intel Corporation, Powertech Technology Inc., SAMSUNG, Siliconware Precision Industries Co., Ltd., Texas Instruments Incorporated, Unisem (M) Berhad, NXP Semiconductors, FUJITSU SEMICONDUCTOR LIMITED, Si2 Microsystems Pvt. Ltd, ShunSin Technology Holdings Limited, Renesas Electronics Corporation, Qualcomm, Toshiba Corporation, Taiwan Semiconductor Manufacturing Company Limited, JCET Group Co., Ltd., GS Nanotech and Chipbond Technology Corporation, among other domestic and global players. Market share data is available for global, North America, Europe, Asia-Pacific (APAC), Middle East and Africa (MEA) and South America separately. 

An influential System in Package (SiP) Technology Market research report displays an absolute outline of the market that considers various aspects such as product definition, customary vendor landscape, and market segmentation. Currently, businesses are relying on the diverse segments covered in the market research report to a great extent which gives them better insights to drive the business on the right track. The competitive analysis brings into light a clear insight about the market share analysis and actions of the key industry players. With this info, businesses can successfully make decisions about business strategies to accomplish maximum return on investment (ROI).

Get TOC Details: https://www.databridgemarketresearch.com/toc/?dbmr=global-system-in-package-sip-technology-market

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ET Boys Return With First Album Release

synthpop

Wake Up! Music record label owner, Pepper Gomez, announced that The ET Boys have returned with an album release titled "Forever Night". The synthpop duo comprised of the Latino brothers, Tacboy and Sharkeyes have been sequestered in the recording studio adding some finishing touches to this debut LP, and are now officially prepared the let the needle drop. Overall, The ET Boys' sound can be best described as Nu Pop Electronic Melodic Rap. Born into the music business they were infused with sounds in utero via their mother, Chicago House Vocalist, and Wake Up! Music record label owner, Pepper Gomez, who was playing sitar, singing, dancing Flamenco, and spinning all genres including her beloved Doors during their gestation and youth, and have now established themselves as an up-and-coming independent artist in the entertainment industry.

For years now, Sharkeyes shared songs he's been writing with Tacboy who then composed the vocal melodies and lyrics to the tracks. A partnership was born and in less than two years, they had amassed over 30-plus songs. An impressed Pepper Gomez set loose their tracks through the boards in the studio. It resulted in their first singles which were released on the Wake Up! Music label beginning in 2021. Coupled with eye-catching videos the ET Boys have now successfully impacted the music world.

Tacboy, a model signed to IMG, the top modeling agency, sings with a sense of freedom and a look that evokes visions of Jim Morrison. He's mysterious as the poetry flows out of him effortlessly while he connects with the music. As the frontman, he mesmerizes both with his voice and looks, not to mention his lyrics. Recently, he was shooting the feature film "Buried Onions" in California and which is slated for world release in 2023. Sharkeyes (a name dubbed by his younger brother because of the sibling's unique black onyx eye color), provides the entire instrumental accompaniment on their releases. His tunes are distinguished by a variety of influences, drum beats, and interplaying melodies.

The "Forever Night" album has been distributed globally by their label to all major digital retailers, and streaming platforms. North American radio and press campaigns have also launched to promote The ET Boy's work. Mainstream Top 40, R&B/Hip-Hop, and Rhythmic format single-driven radio stations were serviced with the song "Anthem". Album-driven Electronic, Hip-Hop, R&B, and Top 30 format broadcasters received the entire album for airplay. Updates will be announced in the weeks to follow. To learn more about them, then go to: https://etboysofficial.com/. The artists are available for interviews and/or appearances. An EPK will be provided upon request to all members of the media by contacting the representative listed below.

Media Contact: Stevie B Mia Mind Music Phone: 800-843-8575 Email: [email protected]

Merline finetunes

It also also includes shareholders such as FONO (the Norwegian independent record labels’ association) and NOPA (the Norwegian association for music composers and lyricists). We look forward to driving growth opportunities for the expanded client base both at home and abroad.”įinetunes and Phonofile combined their ownership in 2016 under the SendR umbrella – a holding company that is predominantly owned by finetunes founders Henning Thieß and Göttlich. “The Orchard’s independent spirit and structure makes this acquisition a true ‘win-win’ for all involved. “The addition of these two respected companies to The Orchard further establishes our strong service offering across the continent and beyond,” said Manlio Celotti, managing director of The Orchard Europe. In joining together, we believe we have an exciting opportunity to provide even greater levels of service and global reach to our local clients.” Both teams are extremely knowledgeable and passionate, and they do an excellent job representing some of the most prestigious and important independent labels in Germany and the Nordics respectively. “Their addition greatly enhances our local representation in two of Europe’s key digital entertainment markets. So light, he didn't have time to finetune his negotiating strategy before he pulled. “We’re honored to welcome finetunes and Phonofile to The Orchard family,” added Brad Navin, CEO of The Orchard. An Anthology Christine Rimmer, Merline Lovelace, Christy Jeffries. We feel confident that our labels will be best positioned for a healthy and prosperous future alongside The Orchard, who is dedicated to serving independents on a global level.” Meanwhile, Finetunes founder and authorised officer Oke Göttlich, welcomed the deal: “Today is a big day for our finetunes family. That value flows only one way, and it is not to the indie labels and their artists who actually create that value.” "Merlin has long been vocal about our concerns that the majors, via their faux-indie imprints, are land-grabbing independents rights in order to bolster their market shares and use the value of those indie artists to extract disproportionate value from the market in their negotiations with digital services. AKA Black Jazz Consortium drop this at Shapes a few weeks back and it. “This is not positive news for the indie labels and artists affected by this deal," he said. Todays track of the day is this dark and moody Techno romper from Anthony Parasole. However, Merlin CEO Charles Caldas, was quick to speak out against the acquisition, claiming that such acquisitions will have a negative impact on the indie market. Labels distributed by Finetunes and Phonofile will receive access to The Orchard’s services in over 25 territories worldwide, offering physical sales and distribution, global digital marketing, playlist promotion, interactive marketing, digital advertising, synch licensing, video services, performance/neighboring rights collections, and artist royalty processing and more. The deal will see both companies become wholly owned subsidiaries of The Orchard, expanding its presence across Europe. Series Title : Communications in Computer and Information ScienceĮBook Packages : Computer Science, Computer Science (R0)Ĭopyright Information : Springer Nature Singapore Pte Ltd.Distribution specialist The Orchard, which is owned by Sony, has acquired two independent distributors in the form of Germany’s Finetunes and Phonofile AS of Norway, which will each become wholly owned subsidiaries of The Orchard. wasn't planning to go anywhere until I picked Tommy up from school. Big Data, Security and Privacy, Smart City and Industry 4.0 Applicationsīook Subtitle : 8th International Conference, FDSE 2021, Virtual Event, November 24–26, 2021, ProceedingsĮditors : Tran Khanh Dang, Josef Küng, Tai M. Book Title : Future Data and Security Engineering.

Editready divergent media preferences

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We evaluated our infrastructure in the context of the real-time constraints of music performance. We then developed a connectivity infrastructure for wireless embedded musical instruments with distributed mapping and synchronization. We first reviewed loop-based Digital Musical Instruments (DMIs). This paper presents the development of MapLooper: a live-looping system for gesture-to-sound mappings. Finally I make the case for collective action to establish better documentation practices, and suggest features that may be helpful for the process as well as the result. I then review what NIME’s historical record contains (and what it does not), and evaluate its fitness for use as a tool of inquiry. I argue that meaningfully addressing current problems demands critical reflection on our work, and explore how NIME’s historical record is currently used as a means of doing so. I assert that, if left unexamined, this complexity can undermine our community values of diversity and inclusion. I begin by contrasting NIME’s output with its discourse, and explore the nature of this discourse through NIME history and examine our inherited epistemological complexity. This paper proposes that NIME’s historical record is the best tool for understanding our own output but this record is incomplete, and makes the case for collective action to improve how we document our work.

Editready divergent media preferences how to#

Though there is motivation to address these problems, there is an open question of how to meaningfully do so. Recent work in NIME has questioned the political and social implications of work in this field, and has called for direct action on problems in the areas of diversity, representation and political engagement. The main goal is to reduce the cognitive load needed to play music by providing a clear and constrained interaction, thus reducing intellectual and technical barriers to active music making.

Editready divergent media preferences professional#

While most similar developments focus on professional performance and complex interactions, LoopBlocks focuses on accessibility and Special Educational Needs settings.

Editready divergent media preferences software#

The software is programmed in Pure Data and running on a Raspberry Pi computer that fits inside the body of the instrument. The instrument was designed as a starting point for a participatory design process in music education settings. The preliminary evaluation is realized by a reflection on the mentioned criteria. Furthermore, the paper presents a short overview of design criteria for ADMIs based on literature and first insights of an ongoing qualitative interview study with German Special Educational Needs (SEN) teachers conducted by the first author. This paper presents the design and preliminary evaluation of an Accessible Digital Musical Instrument (ADMI) in the form of a tangible wooden step sequencer that uses photoresistors and wooden blocks to trigger musical events. Proceedings of the International Conference on New Interfaces for Musical Expression. 20 NIMEs: Twenty Years of New Interfaces for Musical Expression. NIME publications (in backwards chronological order) 2021

Contact: If you find any errors in the database, please feel free to fork and modify at GitHub, or add an issue in the tracker.

Ethics: Please take a look at NIME’s Publication ethics and malpractice statement.

That said, the NIME proceedings are generally ranked highly in, for example, the Google Scholar ranking.

Impact factor: Academic work should always be considered on its own right (cf.

Each year’s ISBN is in the BibTeX files and are also listed here.

ISSN for the proceedings series: ISSN 2220-4806.

Editready divergent media preferences zip#

If you just want to download everything quickly, you can find the Zip files here as well. All PDFs are archived separately in Zenodo, and there are also Zip files for each year in Zenodo. PDFs: Individual papers are linked for each entry below.The list below is generated from a collection of BibTeX files hosted at GitHub using Jekyll Scholar. Public domain: The bibliographic information for NIME, including all BibTeX information and abstracts, is public domain.

Editready divergent media preferences archive#

The NIME archive uses the Creative Commons Attribution 4.0 International License (CC BY 4.0).

Open access: NIME papers are open access (gold), and the copyright remains with the author(s).

Only papers that were presented at the conferences (as presentation, poster or demo) are included.

Peer review: All papers have been peer-reviewed (most often by three international experts).

This page contains a list of all publications that have been published at the NIME conferences.

Where is the music i download from google play

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What is Google Play Store? Google Play Store, also known as Google Play, is a digital distribution service where you can download free and paid digital content, including apps, games, books, etc. Created by Google and offering a pretty smooth experience, it is used to download all the other apps on your device and manage app purchases and refunds.. Download music from Google Play to your computer 1. Open Google Play Music in a web browser and log in if necessary. 2. Click "Music Library.". This help content & information General Help Center experience. Search. Clear search.

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Music Player app is the best free music player app for Android in 2021. Now till 2021, it attracts millions downloads in Google Play. It support any popular music formats like MP3, MP2, AAC, ALAC, M4A, WMA, MAV, AIFF, AC3, APE, MKV, OGG, M4B, RA, RAM, etc..

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Download Google Playstore for PC free. Google Playstore is considered an indispensable application to any smartphone line running on Android. This is a giant application repository providing you thousands of games, apps and books. Once downloaded Google Playstore for PC, you will experience the newest trends and the newest games and apps. The Google Play Store is the most efficient and secure way of getting the apps you need on your Android device. It's also very simple to synchronize all your devices - all you need is a Google account. In addition, the company is very reputable for security and keeping data safe. You can rest easy knowing that your personal details are secure. Steps 3 and 4 - Reboot your tablet and login to your Google account. Once you've downloaded and installed all four apps listed above, hold the power button until you see the restart option and.

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Google PLAY for Android is an app which allows you to connect to the Google PLAY online store and access new apps, movies, and music for Android. Google PLAY comes preinstalled in most Android operating systems, allowing you the access the Play store from your Android phone or tablet right out of the box. This is the app used to manage all of. Well, after you’ve bought the music from Google Play, the files should be inside the following location: internal sdcard/android/data/ Inside the above folder, you should see music files in this format- 1234.mp3. Google Play Store For Ipad free download - Google Play Music, Google Play Services, Google Play Games, and many more programs.

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How to download Google Play Store to Microsoft Windows 10 This thread is locked. You can follow the question or vote as helpful, but you cannot reply to this thread. Easy Steps to Download Music from Google Play Music to Computer by iMusic Step 1: Download and install the Google Play Music downloader Download the program file by clicking the “Free Download” button. Once you begin installing it, an installation wizard will guide you through the process. Open a web browser and go to to download the Music Manager. 2 Click Download Music Manager. It's the orange button at the bottom of the page. This starts the Music Manager download. 3 Double-click the installation file to install Music Manager.

How to Install Google Play on Kindle Fire - Lifewire.

On a desktop or laptop using the Google Play Music web player, select Menu, then Music Library, and then select either Albums or Songs. Click More and then Download. On mobile devices, go to an. The Google Play Store is the official Google Store where you can download apps movies music audio books and other digital content. Jika Anda ingin kembali ke versi. 35110 4 Mar 2021. Musically Versi Lama Download Untuk Android dan iPhone. Google Play Musik bietet kostenlose werbegestützte Radiosender passend zu deinen Aktivitäten deiner. Apr 25, 2018 · Google Play Music provides free, ad-supported radio for what you're doing, how you're feeling, or what you want to hear. Instantly start radio stations based on songs, artists, or albums, or.

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Software description. From downloading apps to buying or renting movies, TV shows, books and music, the Google Play store lets you watch, listen or read digital content on your Android device, Chrome browser, Windows PC, Mac or Chromecast-connected TV. Serving as a digital storefront and entertainment hub, the Google Play Store download is an. Below are the steps on how to do it: 1.Launch the Chrome web browser and type out “ Google Play Store Chrome Web Extension.”. Press Enter afterward. 2.Press the official link to this Google Play Store. The page of Google Play will be displayed. 3.Find the button labeled “Add To Chrome” and click it. 1. In a browser, navigate back to the Google Play site. 2. In the pane on the top-left, click the Google Play site you want to visit: Movies & TV, Music, or Books. Any purchases you make on your.

How to Download Streaming Music and Listen Offline | PCMag.

That's how you can download music from Google Play Music to your Android phone. But obviously, Google Play Music is not the only music downloading app for Android. In fact, there are many other free apps to download Mp3 music on Android. Let's check out these best free mp3 music downloader apps for Android users to download free mp3 music. I have a Samsung galaxy S6 with AT&T. I bought two albums today and was expecting to be able to play them via the phones music player, not just Google play music. I did a Google search and saw that I needed to select download and let the albums download to my phone. I did that and it says all songs downloaded, but they are NO WHERE on my phone. Download. 46.44 MB. free. Google Play Music is a service from Google that lets you play and download music online. With the web version, you need an Internet browser in order to use its features. This unofficial client, on the.

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Luckily, it's free in the Play Store here. Install the Google Play Store - Open the APKMirror Installer and select the Browse Files option. Find the APK you downloaded and tap it. Tap the. No matter what you're looking for, Google Play has it all. Get your music, movies, TV, news, books, magazines, apps and games all in one place, instantly on your phone, tablet, computer or TV. And all the things you love about Google are built-in, so the more you play, the better it gets.

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1. Download Google Music Manager. On your computer, download the Music Manager. Once it's done, open the program and run the installation process. 2. Sign in with your Google Account. Once the. Simply plug in your phone and change the setting (on the phone) to "File Transfer" (without the quotes). This will allow you to access both your files on the phone storage as well as the SD card storage. Open "This PC", choose "Card" then go to the following (for Windows 10): This PC\PhoneName\Card\Android\data\;files\music.

Can you upload your own music to Google Play? | AnswersDrive.

Nov 21, 2017 · Google Play Music Desktop Player is a beautiful cross platform Desktop Player for Google Play Music. Google Play Music Desktop Player is open source on GitHub this means you, the community, gets a. Sign in with your Google Account. Select the data you want to export—and if all you want is your Google Play Music library, click "Deselect All" at the top of the list, then scroll down and. Open your computer's browser and download the installer app for Google Play: If your tablet runs Fire OS 5.3.0 or older, download Amazon-Fire-5th-Gen-SuperT If your tablet runs Fire OS 5.3.1 or later, download Amazon-Fire-5th-Gen-Install-Play-S Extract the file and double-click 1-Install-Play-S to open it.

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• Find music playlists for any mood and activity • Listen to music and more on your mobile, tablet, desktop, PlayStation, Chromecast, TV, Wear OS watch and speakers Play podcasts and music for free on your mobile and tablet with Spotify. Download albums, playlists, or just that one song and listen to music offline, wherever you are.

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Here is how to buy songs and albums using Google Play Music on your Android: Open the Google Play Music app. Find the song or album you want to download. Tap on it. Next, tap on three dots to open the menu. Now tap Buy. You’ll be directed to Google Play Store. Tap on the icon with the price, and then tap Buy. On the Google Play Music web site (NOT the app), go to My music, My library, and open an album. Click the three dots to the right of the album cover and select Download album. Once your tracks are downloaded mp3 player Ivanov Moreno likes his coffee black, just like his metal. Author has 687 answers and 968.3K answer views 4 y. Softonic-recensie. Access music offline or streaming online. Google Play Music is a combination of a device-based music player and streaming music utility.. Smart recommendations. Functioning both on smartphones and tablets, Google Play Music provides users a way to access large amounts of music through a Wi-Fi or data connection.Google Play Music sorts music files through different options.

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Simply click on "Download Google Play Music APK" option to get started downloading the apk file with your PC. How to Install Google Play Music for PC: 1. Start off by downloading BlueStacks Android emulator for your PC. 2. Begin with installing BlueStacks Android emulator by simply launching the installer when the download process has finished. ⭐️ Unlimited download and stream free music with Free Music Downloader: * Find any song! Search music, playlists, albums, songs, artists, remixes, singles, covers, FM radio, podcasts, etc * Ad-Free. Download music from Google Play to your computer 1. Open Google Play Music in a web browser and log in if necessary. 2. Click "Music Library." The Google Play Music web page gives you access to.

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Gladiator

Gladiator is a 2000 American-British epic historical drama film directed by Ridley Scott and written by David Franzoni, John Logan, and William Nicholson. The film was co-produced and released by DreamWorks Pictures and Universal Pictures. DreamWorks Pictures distributed the film in North America while Universal Pictures released it internationally through United International Pictures. It stars Russell Crowe, Joaquin Phoenix, Connie Nielsen, Ralf Möller, Oliver Reed (in his final role), Djimon Hounsou, Derek Jacobi, John Shrapnel, Richard Harris, and Tommy Flanagan. Crowe portrays Roman general Maximus Decimus Meridius, who is betrayed when Commodus, the ambitious son of Emperor Marcus Aurelius, murders his father and seizes the throne. Reduced to slavery, Maximus becomes a gladiator and rises through the ranks of the arena to avenge the murders of his family and his emperor.

Inspired by Daniel P. Mannix's 1958 book Those About to Die (formerly titled The Way of the Gladiator), the film's script, initially written by Franzoni, was acquired by DreamWorks and Ridley Scott signed on to direct the film. Principal photography began in January 1999, before the script was completed, and wrapped up in May of that year, with the scenes of Ancient Rome shot over a period of nineteen weeks in Fort Ricasoli, Malta. The film's computer-generated imagery effects were created by British post-production company The Mill, who also created a digital body double for the remaining scenes involving Reed's character Proximo due to Reed dying of a heart attack during production.

Gladiator premiered in Los Angeles on May 1, 2000, and was released theatrically in Australia on May 4, the United States on May 5 and in the United Kingdom on May 11. The film received generally positive reviews from critics, with praise for the acting (particularly Crowe's and Phoenix's performances), Scott's direction, visuals, screenplay, action sequences, musical score and the production values. It was a box office success, grossing $187.7 million in the United States and grossed $457 million worldwide, making it the second highest-grossing film of 2000. The film won multiple awards, including five at the 73rd Academy Awards: Best Picture, Best Actor for Crowe, Best Costume Design, Best Sound and Best Visual Effects. It also received four BAFTA Awards at the 54th British Academy Film Awards for Best Film, Best Cinematography, Best Production Design and Best Editing. Since its release, Gladiator has also been credited with reinventing the sword-and-sandal genre and rekindling interest in entertainment centered around the cultures of ancient Greece and Rome, such as the television series Rome.

In 2021, Scott officially announced that writing had begun on a sequel to the film, which would formally enter development after the completion of his Napoleon biopic Kitbag.

Recommendation engines and "lean-back" media

In William Gibson’s 1992 novel “Idoru,” a media executive describes her company’s core audience:

“Best visualized as a vicious, lazy, profoundly ignorant, perpetually hungry organism craving the warm god-flesh of the anointed. Personally I like to imagine something the size of a baby hippo, the color of a week-old boiled potato, that lives by itself, in the dark, in a double-wide on the outskirts of Topeka. It’s covered with eyes and it sweats constantly. The sweat runs into those eyes and makes them sting. It has no mouth…no genitals, and can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote. Or by voting in presidential elections.”

It’s an astonishingly great passage, not just for the image it evokes, but for how it captures the character of the speaker and her contempt for the people who made her fortune.

It’s also a beautiful distillation of the 1990s anxiety about TV’s role in a societal “dumbing down,” that had brewed for a long time, at least since the Nixon-JFK televised debates, whose outcome was widely attributed not to JFK’s ideas, but to Nixon’s terrible TV manner.

Neil Postman’s 1985 “Amusing Ourselves To Death” was a watershed here, comparing the soundbitey Reagan-Dukakis debates with the long, rhetorically complex Lincoln-Douglas debates of the previous century.

(Incidentally, when I finally experienced those debates for myself, courtesy of the 2009 BBC America audiobook, I was more surprised by Lincoln’s unequivocal, forceful repudiations of slavery abolition than by the rhetoric’s nuance)

https://memex.craphound.com/2009/01/20/lincoln-douglas-debate-audiobook-civics-history-and-rhetoric-lesson-in-16-hours/

“Media literacy” scholarship entered the spotlight, and its left flank — epitomized by Chomsky’s 1988 “Manufacturing Consent” — claimed that an increasingly oligarchic media industry was steering society, rather than reflecting it.

Thus, when the internet was demilitarized and the general public started trickling — and then rushing — to use it, there was a widespread hope that we might break free of the tyranny of concentrated, linear programming (in the sense of “what’s on,” and “what it does to you”).

Much of the excitement over Napster wasn’t about getting music for free — it was about the mix-tapification of all music, where your custom playlists would replace the linear album.

Likewise Tivo, whose ad-skipping was ultimately less important than the ability to watch the shows you liked, rather than the shows that were on.

Blogging, too: the promise was that a community of reader-writers could assemble a daily “newsfeed” that reflected their idiosyncratic interests across a variety of sources, surfacing ideas from other places and even other times.

The heady feeling of the time is hard to recall, honestly, but there was a thrill to getting up and reading the news that you chose, listening to a playlist you created, then watching a show you picked.

And while there were those who fretted about the “Daily Me” (what we later came to call the “filter bubble”) the truth was that this kind of active media creation/consumption ranged far more widely than the monopolistic media did.

The real “bubble” wasn’t choosing your own programming — it was everyone turning on their TV on Thursday nights to Friends, Seinfeld and The Simpsons.

The optimism of the era is best summarized in a taxonomy that grouped media into two categories: “lean back” (turn it on and passively consume it) and “lean forward” (steer your media consumption with a series of conscious decisions that explores a vast landscape).

Lean-forward media was intensely sociable: not just because of the distributed conversation that consisted of blog-reblog-reply, but also thanks to user reviews and fannish message-board analysis and recommendations.

I remember the thrill of being in a hotel room years after I’d left my hometown, using Napster to grab rare live recordings of a band I’d grown up seeing in clubs, and striking up a chat with the node’s proprietor that ranged fondly and widely over the shows we’d both seen.

But that sociability was markedly different from the “social” in social media. From the earliest days of Myspace and Facebook, it was clear that this was a sea-change, though it was hard to say exactly what was changing and how.

Around the time Rupert Murdoch bought Myspace, a close friend a blazing argument with a TV executive who insisted that the internet was just a passing fad: that the day would come when all these online kids grew up, got beaten down by work and just wanted to lean back.

To collapse on the sofa and consume media that someone else had programmed for them, anaesthetizing themselves with passive media that didn’t make them think too hard.

This guy was obviously wrong — the internet didn’t disappear — but he was also right about the resurgence of passive, linear media.

But this passive media wasn’t the “must-see TV” of the 80s and 90s.

Rather, it was the passivity of the recommendation algorithm, which created a per-user linear media feed, coupled with mechanisms like “endless scroll” and “autoplay,” that incinerated any trace of an active role for the “consumer” (a very apt term here).

It took me a long time to figure out exactly what I disliked about algorithmic recommendation/autoplay, but I knew I hated it. The reason my 2008 novel LITTLE BROTHER doesn’t have any social media? Wishful thinking. I was hoping it would all die in a fire.

Today, active media is viewed with suspicion, considered synonymous with Qanon-addled boomers who flee Facebook for Parler so they can stan their favorite insurrectionists in peace, freed from the tyranny of the dread shadowban.

But I’m still on team active media. I would rather people actively choose their media diets, in a truly sociable mode of consumption and production, than leaning back and getting fed whatever is served up by the feed.

Today on Wired, Duke public policy scholar Philip M Napoli writes about lean forward and lean back in the context of Trump’s catastrophic failure to launch an independent blog, “From the Desk of Donald J Trump.”

https://www.wired.com/story/opinion-trumps-failed-blog-proves-he-was-just-howling-into-the-void/

In a nutshell, Trump started a blog which he grandiosely characterized as a replacement for the social media monopolists who’d kicked him off their platforms. Within a month, he shut it down.

While Trump claimed the shut-down was all part of the plan, it’s painfully obvious that the real reason was that no one was visiting his website.

Now, there are many possible, non-exclusive explanations for this.

For starters, it was a very bad social media website. It lacked even rudimentary social tools. The Washington Post called it “a primitive one-way loudspeaker,” noting its lack of per-post comments, a decades old commonplace.

https://www.washingtonpost.com/technology/2021/05/21/trump-online-traffic-plunge/

Trump paid (or more likely, stiffed) a grifter crony to build the site for him, and it shows: the “Like” buttons didn’t do anything, the video-sharing buttons created links to nowhere, etc. From the Desk… was cursed at birth.

But Napoli’s argument is that even if Trump had built a good blog, it would have failed. Trump has a highly motivated cult of tens of millions of people — people who deliberately risked death to follow him, some even ingesting fish-tank cleaner and bleach at his urging.

The fact that these cult-members were willing to risk their lives, but not endure poor web design, says a lot about the nature of the Trump cult, and its relationship to passive media.

The Trump cult is a “push media” cult, simultaneously completely committed to Trump but unwilling to do much to follow him.

That’s the common thread between Fox News (and its successors like OANN) and MAGA Facebook.

And it echoes the despairing testimony of the children of Fox cultists, that their boomer parents consume endless linear TV, turning on Fox from the moment they arise and leaving it on until they fall asleep in front of it (also, reportedly, how Trump spent his presidency).

Napoli says that Trump’s success on monopoly social media platforms and his failure as a blogger reveals the role that algorithmically derived, per-user, endless scroll linear media played in the ascendancy of his views.

It makes me think of that TV exec and his prediction of the internet’s imminent disappearance (which, come to think of it, is not so far off from my own wishful thinking about social media’s disappearance in Little Brother).

He was absolutely right that this century has left so many of us exhausted, wanting nothing more than the numbness of lean-back, linear feeds.

But up against that is another phenomenon: the resurgence of active political movements.

After a 12-month period that saw widescale civil unrest, from last summer’s BLM uprising to the bizarre storming of the capital, you can’t really call this the golden age of passivity.

While Fox and OANN consumption might be the passive daily round of one of Idoru’s “vicious, lazy, profoundly ignorant, perpetually hungry organisms craving the warm god-flesh of the anointed,” that is in no way true of Qanon.

Qanon is an active pastime, a form of collaborative storytelling with all the mechanics of the Alternate Reality Games that the lean-forward media advocates who came out of the blogging era love so fiercely:

https://pluralistic.net/2020/08/06/no-vitiated-air/#other-hon

Meanwhile, the “clicktivism” that progressive cynics decried as useless performance a decade ago has become an active contact sport, welding together global movements from Occupy to BLM that use the digital to organize the highly physical.

That’s the paradox of lean-forward and lean-back: sometimes, the things you learn while leaning back make you lean forward — in fact, they might just get you off the couch altogether.

I think that Napoli is onto something. The fact that Trump’s cultists didn’t follow him to his crummy blog tells us that Trump was an effect, not a cause (something many of us suspected all along, as he’s clearly neither bright nor competent enough to inspire a movement).

But the fact that “cyberspace keeps everting” (to paraphrase “Spook Country,” another William Gibson novel) tells us that passive media consumption isn’t a guarantee of passivity in the rest of your life (and sometimes, it’s a guarantee of the opposite).

And it clarifies the role that social media plays in our discourse — not so much a “radicalizer” as a means to corral likeminded people together without them having to do much. Within those groups are those who are poised for action, or who can be moved to it.

The ease with which these people find one another doesn’t produce a deterministic outcome. Sometimes, the feed satisfies your urge for change (“clicktivism”). Sometimes, it fuels it (“radicalizing”).

Notwithstanding smug media execs, the digital realm equips us to “express our mute extremes of murderous rage and infantile desire” by doing much more than “changing the channels on a universal remote” — for better and for worse.

Image: Ian Burt (modified) https://www.flickr.com/photos/oddsock/267206444

CC BY: https://creativecommo

ns.org/licenses/by/2.0/

A former Spotify boss who is credited with helping to create the Swedish music-streaming platform said Spotify was never built to pay artists." Spotify was created to solve a problem," said Jim Anderson, who also co-founded About.com, at a 2019 music-industry conference in New York, according to a newly released recording of the event. "The problem was this: piracy and music distribution. The problem was to get artists' music out there. The problem was not to pay people money."

Anderson's comments were recorded by the singer-songwriter Ashley Jana, who didn't share the recording until this week in fear of retribution from the music industry, according to Digital Music News.

The comments now made public follow a growing push for music-streaming platforms to raise royalties, or the amount artists are paid per stream. "Artists are really broke," Jana told Anderson at the 2019 event. "We're not making any money off of the streams." Anderson used Taylor Swift, a longtime advocate for new musicians, as an example, saying she "doesn't need" an increase in streaming royalties. Swift has advocated for change in the music-streaming industry since 2014 when she published an essay for The Wall Street Journal arguing that "music should not be free."

The same year, Swift pulled her "1989" album from Spotify. In response to recent pressure, the Spotify founder and CEO Daniel Ek launched the company initiative Loud and Clear to "shed light on the complicated economics of music streaming."

In April, Apple Music said its streaming royalties pay double what Spotify pays, though the rate is calculated on a stream-share basis, not a per-stream basis, making the two rates difficult to accurately compare. Ek wrote that one of Spotify's goals is to help artists make a living by creating opportunities for more musicians to reach more listeners, saying fans ultimately determine the financial fate of musicians. The Union of Musicians and Allied Workers organized international protests against Spotify in March. The company did not meet the union's demands, such as the penny-per-stream royalty rate. "The company consistently deflects blame onto others for systems it has itself built, and from which it has created its nearly $70 billion valuation," UMAW said on Twitter.

In an interview with The Verge, Ek said the future of Spotify depends on multiple streams of revenue, which will allow creators to best decide how to monetize their fan base.