BECAUSE SPOTIFY SERVES ME the 90s or K-pop instead of the music rut I want to occupy, I've finally decided to pay for a family membership so I can control my listening pattern. I prefer podcasts on Spotify instead of my 13yo's tracks.
I WISH JIM CARROLL would treat his readers to a SXSW Playlist every time he cycles around Austin in search of great artists. Carroll's reports from SXSW always point me in the right direction and I depleted my Google Wallet buying tracks he fingered in his coverage in The Irish Times.
Dozens of people have crafted their own playlists of best SXSW acts already, offering a diverse swath of musical tastes for listeners. I grabbed seven tracks after reading reviews of artists Jim Carroll cited as among the best he heard, several he listened to twice during the week-long music festival. I put them in to an audio clip, crediting Jim Carroll for his accurate portrayal of the groups. Below the break, I pulled a portion of his review from a Kindle clipping. It's worth sharing.
I AM CREATING a 31-track musical journal containing selections from the Sound Track of My Life during the Octaver Music Fest on Audioboo. My audio blog today (Octaver 03 below) involves memory from my first music concert.
The music comes from a time when the kitchen radio was still locked onto AM stations that played a lot of Motown sound. Many of those bands were on tour and they often stopped on the Franklin and Marshal campus where Goldbach's Decorating Service had a lighting contract. When I reached teenaged years, I could see over the top of the follow spots the business used and my arms were long enough to reach all the gels and sliders at the front of the five foot long follow spot.
Things didn't go smoothly at my first time running spotlight number two. I can still hear the back stage manager yelling over the headsets to me about my incorrect fades, wrong colour selections, and totally inaccurate solo musician coverage.
MONTHS AGO, I made a video with Animoto, a web service. Although I used my images and a backing track served by Animoto, YouTube detects my work as a potential copyright infringement.
I wonder if it's possible for anybody besides myself to play "On My Xperia" or if the video is blocked by the copyright police because of the use of the track "1, 2, 3, 4" by Fake. Looking back on the work, I think it would have been much better pulling in the images at high resolution and using my own voice for the narration. But at the time, I was trying to demonstrate the quick effect that Animoto would bring to the making of a video clip. Cloud services like Animoto will inadvertently expose users to copyright claims because of the ease of integrating sound tracks from the Animoto library into the work that you can do with the Animoto cloud service. And because it's so easy to record a clip in the car and upload it while underway in Ireland, I get flagged for copyright when the radio is playing in the background. That's only fair.
WHILE REVIEWING SOME revision tips for our Social Media module, I let my computer pull some music from the internet. The students who successfully complete our third level social media module will be able to do much of the same after creating libraries at Last.fm, Blip.fm and Hype Machine. These streaming services have replaced mix tapes that I used as a college student decades ago. While the music I tag may not be everyone's cup of tea, I think the tracks I've embedded here [33 MB 44kbps MP3 file] are representative of the late night backing tracks that I use while connecting the dots in study material. In another day or two, these backing tracks will feature in Educast 117, "Essential Revision for Social Media."