First world problem.
My favorite source of background music is "radiocoast.com". Not because it's that great, but because someone figured out a way to beat the music industry. He got a collection of background music records made for the Seeburg 1000 and 2000. Seeburg was a jukebox maker in Chicago. As a sideline they sold background music devices which played a big stack of special records over and over - 1000 or 2000 songs. They bought the rights to the music, and their own orchestra recorded them. So they had full content ownership. The records had a nonstandard groove width, a nonstandard diameter, and a nonstandard hole size; DRM, the early years. They were not copyrighted and predate the "no formalities" copyright law. So anyone with the records can legally distribute the music. Which "radiocoast.com" does.
Why is that wrong for first-world people to tackle first-world problems? Just because you don't believe in a particular piece of psychology doesn't necessarily have to make it untrue.
Seriously, it's quite annoying to see problems dismissed just because they're "first world problems". Comfort is important and we're proven to process things subconsciously.
I totally agree with Ryuichi here, too - poorly chosen soundtracks to public life can be grating and draining. My least favorite is the same classic rock or pop songs that we’ve all heard hundreds of times.
As an international music star for decades, he appears to live a rather first world life and is simply tending to the environment around him.
All you need is a browser.
The thing that drove me bonkers when I used to work in restaurants was the monotony of listening to the same 2-3 hour playlist on repeat all day, every day. Certain songs still trigger me if I hear them today. They're fundamentally linked to the restaurant and I always feel a flood of memories when I hear them.
For example, 'Strobe' is linked to waking up early and working in a coffee shop/lounge area with black tea and a banana.
I remember reading something about music being one of the last things to go for patients with dementia, I wonder if there's something related going on there.
Different people from different backgrounds and social status want to hear different music. How do you attract your target audience? That's the problem to tackle.
They both go surprisingly well with ketamine (so I've heard). Nothing like a group of mates getting super weird to Bonobo at 6 AM on a Sunday morning.
This is the problem with so many playlists, automated DJs, and the like. You get the monotonous "best hits" compendiums or ham-handed, jarring mixes with no sense of flow.
This is one of the reasons why I ditched Amazon Music. Many of them seem to be programmed by algorithm ... or by people who have no idea what they are doing.
- A State of Trance with Armin Van Buuren (though recently he's started adding much more talking so I'm close to dropping it)
- Club Life with Tiësto
- Hardwell on Air
- Corsten's Countdown
- Afrojack: Jacked Radio (this one is really hit-or-miss for me. I skip maybe half the episodes)
As an aside:
- the "Song Exploder" podcast is a fascinating view into what goes into making music though that one falls into the "Talk" category
- I love the old "Timeless Mixes" by the (now defunct) DJ River. Which are helpfully all available as a podcast, so once in a while I'll mark a few of them as unplayed so my player will download them and add them to the playlist.
That subscription also gives you the same higher streaming quality for DI.fm's sister services for Jazz Radio, Rock Radio, and RadioTunes (which has a great assortment of channels ranging from jazz to decades music to world and ambient).
The app and site let you mark songs as favorites and review a list of songs you've favorited, but there's no obvious way to purchase those. If they added direct purchases, I'd happily go pick up a bunch of my favorite tracks through them.
Is there a way I could have discovered that from the DI.FM website? Or did they tell me in an email I didn't read when I went premium?
It's all original. I create songs with lots of variations for myself in Ableton to help me focus, then hit record and let it run for ~20 minutes. People seem to like the results.
Sakomoto, Haruimi Hosono and Yukihiro Takahashi created not only several seminal YMO albums, but also dozens of solo albums and projects with a sound that often preceded American and European music by a few years. They are credited with laying the groundwork for techno, electro pop, and dance music. Also, Sakomoto’s influence can be heard in 8 and 16 but Japanese video game music from the 80s and 90s. I’m fact, Yuji Naka is Sega even said he started programming after being inspired by YMO’s electronic music. Ryuichi Sakomoto offering to make a playlist for your restaurant is about like having George Harrison or David Bowie offer to do it.
For example, a few years ago I noticed that Walgreens would generally have pretty good pop music playing. But what was most striking was the songs were not hits, or perhaps older hits, even though most were from major label productions.
I have surmised that companies providing these playlists might be able to negotiate better deals with the publishers, directly, giving the publishers (and writers) an opportunity to monetize their back catalog.
In reality, most small restaurants and cafes just use Spotify. Bars and larger restaurants tend to be a bit more fastidious in getting the correct rights.
I've even been to cafes where every few songs were interrupted by an ad about the benefits of upgrading to Spotify Premium....
Normally (rant mode on) it is my opinion that most drive-by down-votes are by lazy cowards who think someone's opinion is wrong, but is unwilling to debate (probably because their counter-argument is rather weak, honestly). Too much of this and you get the atypical "mob mentality" typical on most social media networks -- most of which have become intellectual wastelands, replaced by feel-good quick-dopamine-hit memes all focusing on whatever "side" the social media collective has embraced. (Counter-narratives and counter-opinions, beware.)
But this doesn't quite fit the usual pattern. In this case, I must have misinterpreted something, perhaps. But someone is not willing to say what is incorrect.
Interesting! Because, the alternate view is that I'm absolutely right, and the downvoter just had a weird beef with Spotify or restaurant.org. Hard to tell. It's a social media downvote after all.
Performance rights are about whether it’s public or private and the venue is paid or free. For private use where those present are by invitation only and haven’t paid to be there, I don’t think any further license is necessary, beyond simply owning a copy of the work to be performed.
(IANAL; correct me if I’m wrong.)
Seriously, if I knew about such a stipulation, I'd be incentivized not to buy copyrighted books to read for a book club in the first place.
I'm really glad there is a corpus of public domain works; so much good is possible (or positively incentivized) because of it. Too bad it isn't growing much (e.g. Steamboat Willie is still, still under copyright restrictions nearly 100 years later).
> A PRS for Music licence also allows you to play live music on your premises (such as in a pub, restaurant or nightclub).
> PRS for Music collects and distributes money for the use of the musical composition and lyrics on behalf of authors, songwriters, composers and publishers.
in school, i took a wonderful class about computer music, taught by the eccentric composer and charismatic professor Dr. Rodney Waschka III. he dedicated one class to the topic of royalties and the three major artist guilds. we learned that any business that wants to play the radio will usually just pay subscriptions to all three guilds rather than keeping track of royalties owed to individual artists.
when Waschka organized campus concerts in this niche and highly academic field of art, these concerts would naturally be performances of pieces written by himself and his colleagues from other universities... so the university paid royalties to Waschka and his colleagues, who would then use the money to commission each other to compose new pieces.
Starbucks employs music curators: https://www.fastcompany.com/3067250/meet-the-music-nerds-beh...
I saw an article recently which told a tale of trendy coffee shops featuring where obscure but desirable music selected by expert hipster curators. Supposedly, some ask employees to track the number of people they see using Shazam, that being considered a sign of success. I have spent a lot of time in coffee shops while traveling, and I do recall hearing a few songs which stuck with me that I couldn’t find any trace of on the Internet, even after asking in the specific subreddits for the bands related (a unique cover of the Cure, for instance). That certainly doesn’t happen at Dunkin Donuts. Unfortunately I’ve been unable to locate this article.
Nice to see this guy tackled the issue (even if for another setting).
This article & discussion was enough for me to stop working briefly and go research whatever happened, and apparently Peter Asbill is still at Google and I should try again.
Update: holy shit, yeah.