<?xml version="1.0" encoding="UTF-8"?>
 <rdf:RDF xmlns="http://purl.org/rss/1.0/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:taxo="http://purl.org/rss/1.0/modules/taxonomy/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:cc="http://web.resource.org/cc/" xmlns:syn="http://purl.org/rss/1.0/modules/syndication/" xmlns:admin="http://webns.net/mvcb/">
  <channel rdf:about="http://pinboard.in">
    <title>Pinboard (matthewmcvickar)</title>
    <link>https://pinboard.in/u:matthewmcvickar/public/</link>
    <description>recent bookmarks from matthewmcvickar</description>
    <items>
      <rdf:Seq>	<rdf:li rdf:resource="https://www.theguardian.com/commentisfree/2022/oct/14/kanye-west-keeps-moving-further-and-further-to-the-right-why"/>
	<rdf:li rdf:resource="https://www.stereogum.com/2122362/spencer-krug-solo-album-fading-graffiti/interviews/qa/"/>
	<rdf:li rdf:resource="https://last-donut-of-the-night.letterdrop.com/c/37-thoughts-on-yeah-yeah-yeahs-music-writing-animal-collective-indie-grizzly-bear-the-xx-and-how-things-change?fromEmail=true"/>
	<rdf:li rdf:resource="https://omnichord.jake.fun/"/>
	<rdf:li rdf:resource="https://formatchangearchive.com/"/>
	<rdf:li rdf:resource="http://www.jeremydlarson.com/blog/2022/1/11/favorite-albums-of-2021"/>
	<rdf:li rdf:resource="https://variety.com/2021/artisans/news/trailers-using-new-versions-classic-songs-1235048795/"/>
	<rdf:li rdf:resource="https://www.weirdspot.fyi/"/>
	<rdf:li rdf:resource="https://typatone.com/"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/something-must-change-after-astroworld/"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html"/>
	<rdf:li rdf:resource="https://laughingsquid.com/steve-miller-band-the-joker-wolf-whistle/"/>
	<rdf:li rdf:resource="https://pitchfork.com/features/lists-and-guides/best-earbuds/"/>
	<rdf:li rdf:resource="https://pitchfork.com/features/lists-and-guides/best-wired-headphones/"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2021/04/13/arts/music/aphex-twin-avril-14th.html"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/buy-music-club-gives-playlist-lovers-a-community-driven-alternative/"/>
	<rdf:li rdf:resource="https://www.factmag.com/2012/11/27/trance-producer-adam-k-calls-out-fraud-araabmuzik-for-plagiarism/"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/decolonizing-electronic-music-starts-with-its-software/"/>
	<rdf:li rdf:resource="https://www.stereogum.com/2113527/donnie-darko-soundtrack-music-anniversary/columns/sounding-board/"/>
	<rdf:li rdf:resource="https://pitchfork.com/features/article/sample-snitching-how-online-fan-chatter-can-create-legal-trouble-for-rap-producers/"/>
	<rdf:li rdf:resource="https://decoupled.app/itunes-artwork-finder/?term=yaeji+remix&amp;country=us&amp;entity=album"/>
	<rdf:li rdf:resource="https://www.stereogum.com/2103260/linkin-park-hybrid-theory-turns-20/franchises/reviews/the-anniversary/"/>
	<rdf:li rdf:resource="https://www.reddit.com/r/menomena/comments/9bof3m/i_found_a_bunch_of_obscure_menomena_tracksearly/"/>
	<rdf:li rdf:resource="https://webamp.org/"/>
	<rdf:li rdf:resource="https://docs.google.com/spreadsheets/d/11ouNaaVrNp60Ib34Kp0TO1n1XSc7-9DvfiZ9ZiTiD2c/edit#gid=469091836"/>
	<rdf:li rdf:resource="https://dwellerforever.blog/library/"/>
	<rdf:li rdf:resource="https://www.roberthenke.com/technology/lfo.html"/>
	<rdf:li rdf:resource="https://brokenorchestra.foundsoundnation.org/#download"/>
	<rdf:li rdf:resource="https://music.avclub.com/terry-riley-turns-an-r-b-ditty-into-20-minutes-of-madne-1798283052"/>
	<rdf:li rdf:resource="https://zora.medium.com/black-women-helped-build-house-music-their-credit-is-often-left-off-records-8fc505300bd1"/>
	<rdf:li rdf:resource="https://rateyourmusic.com/list/iyiiki/panda_bears_person_pitch_list/"/>
	<rdf:li rdf:resource="https://www.buzzfeed.com/annehelenpetersen/the-keys-to-enyas-kingdom"/>
	<rdf:li rdf:resource="https://1059thebrew.iheart.com/featured/tyson/content/2020-07-01-somebody-remixed-the-joker-and-added-the-slide-guitar-after-every-line/"/>
	<rdf:li rdf:resource="https://www.loudersound.com/news/listen-to-steve-miller-bands-the-joker-but-with-the-wolf-whistle-sound-after-every-line?fbclid=IwAR1_kV_B9SXeeGOoHlvl_Fdyw61Dq9MW16TYfIeqt2A4oOK7Od1kU1TDc9k"/>
	<rdf:li rdf:resource="https://www.guitarworld.com/news/this-remix-of-steve-miller-bands-the-joker-adds-the-slide-guitar-wolf-whistle-after-every-line-and-the-results-are-hilarious?fbclid=IwAR36gACgTOfA1-D6B5tOsdMFD8llE3JIMYg3cBWnl7djL796OEvsgMWudqM"/>
	<rdf:li rdf:resource="https://www.reddit.com/r/videos/comments/hi90s2/steve_miller_bands_the_joker_but_the_wahwah_sound/"/>
	<rdf:li rdf:resource="https://www.jsonline.com/story/entertainment/music/2020/07/01/someone-added-wah-wah-wolf-whistle-steve-millers-the-joker-49-times/5360616002/?fbclid=IwAR1GLcAxen-0V0KtfiMoql07rtVpq75A-6Ax8CFrSxSnLCUmldlvJYRuCfs"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/lose-yo-job-protest-anthem-interview/"/>
	<rdf:li rdf:resource="https://www.lyrics.rip/s/Spencer%20Krug"/>
	<rdf:li rdf:resource="https://sfj.substack.com/p/ghost-towns"/>
	<rdf:li rdf:resource="https://www.mentalfloss.com/article/82584/long-history-behind-song-cotton-eye-joe"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/anohni-reflects-on-her-climate-crisis-anthem-4-degrees-and-the-fight-for-the-planet/"/>
	<rdf:li rdf:resource="https://www.npr.org/2020/04/18/837268674/dj-dahi-jeff-weiss-sampling-pusha-t-kendrick-lamar-money-trees"/>
	<rdf:li rdf:resource="https://medium.com/@matdryhurst/interdependent-music-vs-independent-music-ba265e2ea996"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/tiktok-report-benees-supalonely-and-the-inexplicable-power-of-vibeyness/"/>
	<rdf:li rdf:resource="https://pitchfork.com/features/article/how-loops-are-changing-the-sound-and-business-of-rap-production/"/>
	<rdf:li rdf:resource="https://www.loudandquiet.com/interview/the-legend-of-serbian-factory-worker-abul-mogard-and-other-cult-origin-stories/"/>
	<rdf:li rdf:resource="https://www.vulture.com/2020/04/fiona-apple-fetch-the-bolt-cutters.html"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/the-morbid-comforts-of-pandemic-playlists/"/>
	<rdf:li rdf:resource="https://www.youtube.com/channel/UC08ioUUIxt0As-GwzsGWtkA/"/>
	<rdf:li rdf:resource="https://www.vulture.com/2020/04/fiona-apple-fetch-the-bolt-cutters-songs.html"/>
	<rdf:li rdf:resource="https://www.nytimes.com/interactive/2020/03/11/magazine/best-songs.html#cover"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2020/04/09/magazine/weird-al-yankovic.html"/>
	<rdf:li rdf:resource="https://pitchfork.com/reviews/albums/fiona-apple-fetch-the-bolt-cutters/"/>
	<rdf:li rdf:resource="https://pitchfork.com/features/afterword/remembering-john-prine-the-ultimate-songwriters-songwriter/"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/"/>
	<rdf:li rdf:resource="https://www.residentadvisor.net/features/3627"/>
	<rdf:li rdf:resource="https://pitchfork.com/features/article/listen-to-music/"/>
	<rdf:li rdf:resource="https://pitchfork.com/reviews/albums/herbie-hancock-head-hunters/"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/in-iran-coronavirus-is-suffocating-an-already-strained-experimental-music-scene/"/>
	<rdf:li rdf:resource="https://a.currents.fm/about"/>
	<rdf:li rdf:resource="https://www.jqbx.fm/"/>
	<rdf:li rdf:resource="http://www.self-titledmag.com/axel-willner-andreas-tilliander-interview/"/>
	<rdf:li rdf:resource="https://www.papermag.com/billie-eilish-black-internet-culture-2645514003.html?rebelltitem=9"/>
	<rdf:li rdf:resource="https://www.newyorker.com/magazine/2020/03/23/fiona-apples-art-of-radical-sensitivity"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/how-coronavirus-is-bringing-the-global-club-scene-to-a-standstill/"/>
	<rdf:li rdf:resource="https://www.abletonthemes.com/browse/featured"/>
	<rdf:li rdf:resource="https://daily.bandcamp.com/label-profile/kranky-25th-anniversary-label-profile"/>
	<rdf:li rdf:resource="https://invisiblemusic.tumblr.com/post/136338520545/invisible-music-rip"/>
	<rdf:li rdf:resource="https://pitchfork.com/thepitch/a-flashy-new-ai-tool-could-be-a-producers-dream-and-a-copyright-nightmare/"/>
      </rdf:Seq>
    </items>
  </channel><item rdf:about="https://www.theguardian.com/commentisfree/2022/oct/14/kanye-west-keeps-moving-further-and-further-to-the-right-why">
    <title>Derecka Purnell: Kanye West keeps moving further and further to the right. Why? (The Guardian)</title>
    <dc:date>2022-10-16T04:52:13+00:00</dc:date>
    <link>https://www.theguardian.com/commentisfree/2022/oct/14/kanye-west-keeps-moving-further-and-further-to-the-right-why</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The problem is, Kanye behaves as if the only real and brave truth tellers today are conservatives with money. He acts as if the rich right wing holds a monopoly on criticisms of the Democratic party or liberal activists. This ignores a host of progressives and radicals – people like Cornel West, Nick Estes, Keeanga-Yamahtta Taylor, Mariame Kaba, Aja Monet, the Rev Jeremiah Wright, and too many artists and grassroots organizers to name who criticise the liberal establishment more fiercely than the right and with commitments to end oppression. In fact, entire progressive and radical traditions exist where people of all races offer vigorous critiques of the status quo with surgical precision. We need fewer “free thinkers” and more critical thinkers who ask about these traditions and find their places within them.

The question for me is whether billionaire Kanye can ever really know about these robust traditions. Not because he doesn’t already know or will never learn about them, but because to know them is to also learn their critiques of gross wealth accumulation, Black capitalism, desire for imperial leadership, and so much more of what Kanye currently represents. Supporting free thinkers with weak conservative analysis does not threaten his status, land, antisemitic views or bank account.</blockquote>]]></description>
<dc:subject>racism america wealth capitalism music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:2b238a766eae/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:racism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:wealth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.stereogum.com/2122362/spencer-krug-solo-album-fading-graffiti/interviews/qa/">
    <title>Larry Fitzmaurice: Spencer Krug Interview: The Story of His New Album 'Fading Graffiti' (Stereogum)</title>
    <dc:date>2022-08-07T15:39:16+00:00</dc:date>
    <link>https://www.stereogum.com/2122362/spencer-krug-solo-album-fading-graffiti/interviews/qa/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The Wolf Parade member talks about his new solo album, parenting during COVID, and adjusting to livestreams.</blockquote>]]></description>
<dc:subject>musicindustry music interview</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:2f8b82252f0f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicindustry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:interview"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://last-donut-of-the-night.letterdrop.com/c/37-thoughts-on-yeah-yeah-yeahs-music-writing-animal-collective-indie-grizzly-bear-the-xx-and-how-things-change?fromEmail=true">
    <title>Larry Fitzmaurice: 37 Thoughts on Yeah Yeah Yeahs, Music Writing, Animal Collective, Indie, Grizzly Bear, the XX, and How Things Change</title>
    <dc:date>2022-05-09T18:35:15+00:00</dc:date>
    <link>https://last-donut-of-the-night.letterdrop.com/c/37-thoughts-on-yeah-yeah-yeahs-music-writing-animal-collective-indie-grizzly-bear-the-xx-and-how-things-change?fromEmail=true</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[A great summary of the shift in music writing and coverage around 2013 as music publications shifted to covering more pop music (and did it in a more take-based fashion) and pop music itself made a comeback critically.]]></description>
<dc:subject>music musicwriting musicbusiness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:e6d7076c6276/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicwriting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://omnichord.jake.fun/">
    <title>Omnichord in the Browser</title>
    <dc:date>2022-02-28T05:08:44+00:00</dc:date>
    <link>https://omnichord.jake.fun/</link>
    <dc:creator>matthewmcvickar</dc:creator><dc:subject>music sound</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:32e20dc246bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sound"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://formatchangearchive.com/">
    <title>Format Change Archive</title>
    <dc:date>2022-02-05T01:42:49+00:00</dc:date>
    <link>https://formatchangearchive.com/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>A site dedicated to format changes? Why not; what’s more historic than when something begins or ends? The Format Change Archive is your home for airchecks of the beginnings and endings of some of the most historic radio stations (and some you may never have heard).</blockquote>]]></description>
<dc:subject>radio sound music advertising</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:8002cc587d20/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:radio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:advertising"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.jeremydlarson.com/blog/2022/1/11/favorite-albums-of-2021">
    <title>Jeremy D. Larson: Favorite Albums of 2021</title>
    <dc:date>2022-02-05T01:41:53+00:00</dc:date>
    <link>http://www.jeremydlarson.com/blog/2022/1/11/favorite-albums-of-2021</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>As life in the Anthropocene tips into a gradual decline brought on by the irreversible effects of climate crisis, the past becomes a highly valuable commodity in criticism because the future gets more volatile by the second. Those of us with a lot of time in the bank account sit comfortably on hundreds of thousands of pre-pandemic hours, while younger, more time-poor people wonder every day what kind of past they will actually inherit—what will their past be worth?</blockquote>]]></description>
<dc:subject>music writing covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:af23ffbd3574/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://variety.com/2021/artisans/news/trailers-using-new-versions-classic-songs-1235048795/">
    <title>Lily Moayeri: Trailers Use Slower and Moodier New Versions of Classic Songs to Lure Viewers (Variety)</title>
    <dc:date>2022-01-03T16:39:10+00:00</dc:date>
    <link>https://variety.com/2021/artisans/news/trailers-using-new-versions-classic-songs-1235048795/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>“It’s what I call the old-comfortable-shoe phenomenon,” says Jonathan McHugh, a music supervisor, director and founding member of the Guild of Music Supervisors. “You give people something familiar, like Destiny Child’s ‘Say My Name’ in the new ‘Candyman,’ and all of a sudden they’re more engaged in the content and predisposed to enjoy what they’re watching because they love the song.”

Says Brian Monaco, president and global chief marketing officer at Sony Music Publishing: “It’s called ‘trailerizing’ a song. That means changing every aspect of the song but leaving the lyrics. People know the lyrics. The goal is to catch people’s attention. Maybe they’re not paying as much attention to the trailer, and they start to hear the chorus of the song, and they go, ‘Wait, I know this song.’ They start paying attention, and now they’re watching the trailer.” At Sony and in his four-times-a-year writing camps, Monaco has teams of writers working on reimagined versions of legendary artists’ catalogs. He has entirely reworked ELO’s discography, has redone a large portion of the Beatles’ songs and now is tackling Paul Simon’s newly acquired hefty songbook.</blockquote>]]></description>
<dc:subject>music movies marketing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:18dcb4e4d0b2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:movies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:marketing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.weirdspot.fyi/">
    <title>WeirdSpot.fyi from humit</title>
    <dc:date>2021-12-14T19:44:49+00:00</dc:date>
    <link>https://www.weirdspot.fyi/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>enter a sentence and get a playlist ⚡</blockquote>

Makes a Spotify playlist that spells out a sentence you provide.]]></description>
<dc:subject>spotify music funny</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:036bdeddf893/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:spotify"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:funny"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://typatone.com/">
    <title>Typatone</title>
    <dc:date>2021-12-14T19:42:10+00:00</dc:date>
    <link>https://typatone.com/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The act of writing has always been an art. Now, it can also be an act of music. Each letter you type corresponds to a specific musical note putting a new spin to your composition. Make music while you write.
</blockquote>]]></description>
<dc:subject>writing music sound art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1ea15e6b97e4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/something-must-change-after-astroworld/">
    <title>Quinn Moreland: Something Must Change After Astroworld (Pitchfork)</title>
    <dc:date>2021-11-13T00:39:33+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/something-must-change-after-astroworld/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Scott has long asserted that his shows are a place where fans can let loose and rage through mosh pits, crowd-surfing, stage-diving, and general mayhem. He is far from the only rapper to borrow specific elements from the punk or hardcore underground, but the Astroworld tragedy underscores how important it is that chaos coexist with an ethos of community and accountability. A mosh pit is a collective, physical release of energy and there is the understanding—unspoken or otherwise—that if someone falls, you pick them back up. This is not to suggest that concertgoers at Astroworld did not try to help those who were fighting to stay upright: people crowd-surfed unconscious bodies to safety even while the crush made it extremely difficult for anyone to lift their arms, and at least one attendee testimonial describes pleading with event staff to stop the show. But footage from the festival also suggests a pervasive “every-man-for-himself” mentality, from the fans who pushed others to the ground to get inside, to those who danced atop an ambulance as it inched through the crowd to help people who were literally dying. It can never be said enough: one person’s good time should never come at the expense of another’s safety.

These kinds of tragedies should lead to a re-evaluation of safety procedures—and in prominent examples, this has been the case. After the Who concert, Cincinnati banned general-admission concert seating for nearly 25 years. Following Roskilde, Pearl Jam took a six-year break from festivals and returned with strict, hands-on safety policies that included the right to “evaluate all operational and security policies in advance, such as design and configuration of barriers and security response procedures in relation to ensuring our fans’ safety,” as well as the ability to stop a show if needed. Roskilde itself implemented preventative crowd safety measures, including a barrier system that divides the audience into separate pens and more intensive training for security workers. This is the level of oversight we need *before* something horrific happens.</blockquote>]]></description>
<dc:subject>music livemusic safety health concert</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:62f44c869d91/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:livemusic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:safety"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:health"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:concert"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html">
    <title>Jazmine Hughes: The Subversive Joy of Lil Nas X’s Gay Pop Stardom (NYT)</title>
    <dc:date>2021-07-12T15:46:35+00:00</dc:date>
    <link>https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>A peek into a hot boy summer filled with new highs, disappointment and growth.</blockquote>]]></description>
<dc:subject>music lgbtq</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:eabe3b6ec206/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:lgbtq"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://laughingsquid.com/steve-miller-band-the-joker-wolf-whistle/">
    <title>Lori Dorn: The Steve Miller Band Song 'The Joker' Remixed to Put the Iconic 'Wolf Whistle' in the Song After Every Line (Laughing Squid)</title>
    <dc:date>2021-06-17T17:51:22+00:00</dc:date>
    <link>https://laughingsquid.com/steve-miller-band-the-joker-wolf-whistle/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Web developer Matthew McVickar has quite amusingly remixed the classic Steve Miller Band song “The Joker” so that the iconic “wolf whistle” that takes place after the line “Some people call me Maurice” occurs after every line in the song itself. This little edit appears to make the song a bit more provocative than it already is.</blockquote>]]></description>
<dc:subject>self music comedy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f7670496fe82/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/features/lists-and-guides/best-earbuds/">
    <title>Philip Sherburne: The 19 Best Earbuds for Every Budget (Pitchfork)</title>
    <dc:date>2021-06-14T05:24:40+00:00</dc:date>
    <link>https://pitchfork.com/features/lists-and-guides/best-earbuds/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Philip Sherburne asked for my opinion on earbuds for this article, and here it is! 

<blockquote>The Jabra Elite 65t is the current entry-level model, offering 5 hours of battery life (or up to 15 with the charging case), Bluetooth 5.0, wind noise reduction on calls, and three sizes of molded tips; it’s also rated IP55 waterproof. “I’ve used the Jabra Elite 65t daily for a few years,” says Portland, Oregon, web developer Matthew McVickar. “They’re considerably cheaper than AirPods and sound great, but the essential difference for me is that you can control volume, track skipping, and the hear-through—which amplifies the outside sound for better environmental awareness—with the on-earbud buttons.”</blockquote>]]></description>
<dc:subject>audio self music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:10bbb2ace17e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:audio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/features/lists-and-guides/best-wired-headphones/">
    <title>Philip Sherburne: The 28 Best Wired Headphones for Every Budget (Pitchfork)</title>
    <dc:date>2021-06-08T22:58:14+00:00</dc:date>
    <link>https://pitchfork.com/features/lists-and-guides/best-wired-headphones/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Philip Sherburne asked for my opinion on headphones for this article, and here it is!

<blockquote>Portland, Oregon, web developer Matthew McVickar says, “I have yet to find a pair of over-ear headphones that don't feel uncomfortable with glasses after more than half an hour or so, but I love the Sony MDR 7506.”</blockquote>]]></description>
<dc:subject>self headphones music sound audio</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1166b97d92f1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:headphones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:audio"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2021/04/13/arts/music/aphex-twin-avril-14th.html">
    <title>Eric Ducker: The Long Tail of Aphex Twin’s ‘Avril 14th’</title>
    <dc:date>2021-04-13T18:49:43+00:00</dc:date>
    <link>https://www.nytimes.com/2021/04/13/arts/music/aphex-twin-avril-14th.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>A song released 20 years ago continues to inspire curiosity and covers by classical, experimental and pop artists.</blockquote>]]></description>
<dc:subject>music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:d11eb864aaf5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/buy-music-club-gives-playlist-lovers-a-community-driven-alternative/">
    <title>Noah Yoo: Buy Music Club Gives Playlist Lovers a Community-Driven Alternative (Pitchfork)</title>
    <dc:date>2021-03-01T18:29:06+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/buy-music-club-gives-playlist-lovers-a-community-driven-alternative/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>With more people making lists on BMC since the start of Bandcamp Fridays, the way people are organizing music on the site is expanding, too—from themed lists to collections based around geography or era, all with a natural bent towards the lesser-known. “Over the past year, we’ve seen a lot of growth that we didn’t anticipate,” says Reynaldo. “On Juneteenth, when there was a big focus on finding and supporting music from Black artists, we had a huge influx, hundreds of lists getting made in a single day.”

What’s immediately appealing about BMC is how sparse and self-contained it is. You don’t have to make an account to publish a list. There are no social media-style features to speak of—you can’t follow users or individual lists, you can’t track your engagement, and you certainly can’t pay for promoted exposure. Outside of selected homepage picks by the site’s team of volunteers, the only way you can sort new lists (for now) is by “Most Recent,” which can make using BMC feel like sifting through the world’s most egalitarian record shop.</blockquote>]]></description>
<dc:subject>music bandcamp musicbusiness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:681ea125787c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:bandcamp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.factmag.com/2012/11/27/trance-producer-adam-k-calls-out-fraud-araabmuzik-for-plagiarism/">
    <title>Trance producer Adam K calls out “fraud” AraabMuzik for plagiarism (Fact Magazine)</title>
    <dc:date>2021-02-28T06:05:22+00:00</dc:date>
    <link>https://www.factmag.com/2012/11/27/trance-producer-adam-k-calls-out-fraud-araabmuzik-for-plagiarism/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Nobody that fell for/was repelled by AraabMuzik’s dizzying 2011 LP Electronic Dream was under any illusion that the record did much to hide its source material.

The Dipset affiliate’s breakthrough release bolted hard-edged hip-hop beats over iffy Eurotrance fare – the results were exhilarating, if too brazen for some. ‘Streetz Tonight’ was the record’s calling card, cribbing liberally from Adam K and Soha’s remix of Kaskade’s ‘4AM’. Although Electronic Dream is now well over a year old, Adam K has suddenly launched a cataract of invective in AraabMuzik’s direction, accusing the producer of straight-up theft.</blockquote>]]></description>
<dc:subject>music sampling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:44aaa4679239/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sampling"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/decolonizing-electronic-music-starts-with-its-software/">
    <title>Tom Faber: Decolonizing Electronic Music Starts With Its Software (Pitchfork)</title>
    <dc:date>2021-02-26T16:53:22+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/decolonizing-electronic-music-starts-with-its-software/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Unassuming as they may seem, these technologies are far from neutral. Like social media platforms, dating apps, and all data-driven algorithms, music production tools have the unconscious biases of their creators baked into their architecture. If a musician opens a new composition and they are given a 4/4 beat and Equal Tempered tuning by default, it is implied that other musical systems do not exist, or at least that they are of less value.

[…]

It is vitally important to Allami that Leimma and Apotome are accessible to everyone, which is why the programs are available for free and run through web browsers, rather than as plug-ins for expensive music production software (though they may be released as plug-ins in the future). He is particularly interested in the educational potential of the software. For too long, the world’s tuning systems have been presented as an academic concern—something to be studied rather than heard. Leimma offers an intuitive, tactile introduction for anyone. Even if you know nothing about the musical systems of Indonesia, Japan, or Iran, you can jump in and hear the differences immediately.</blockquote>]]></description>
<dc:subject>music colonialism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:3962739cc4d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:colonialism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.stereogum.com/2113527/donnie-darko-soundtrack-music-anniversary/columns/sounding-board/">
    <title>Tom Breihan: 20 Years Ago, 'Donnie Darko' Turned '80s Pop Into Nostalgic Dread (Stereogum)</title>
    <dc:date>2021-02-08T18:03:51+00:00</dc:date>
    <link>https://www.stereogum.com/2113527/donnie-darko-soundtrack-music-anniversary/columns/sounding-board/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The ’80s that Kelly remembered wasn’t bright or fun. It was teenage kids getting into dumb arguments over the sex habits of the Smurfs. It was authorities falling for the shallow charm of a motivational speaker — ’80s icon Patrick Swayze, still beautiful. In 2000, there wasn’t a lot of cool-kid cachet in Echo & The Bunnymen or Tears For Fears or Duran Duran. They weren’t influences that bands mentioned in interviews, and they hadn’t yet become parts of a lucrative nostalgia circuit. They were just songs that sometimes got played on alt-rock stations’ flashback-brunch shows. Only Duran Duran’s “Notorious” was fresh in the cultural memory, and that was just because of a posthumous Biggie single. Kelly made them fresh. Later, in a director’s-cut DVD, Kelly swapped out “The Killing Moon” for INXS’ “Never Tear Us Apart” and made it even more tingly.

Richard Kelly built beautiful little fantasias around those songs, and those scenes hit like a drug. The songs were key to the cult of Donnie Darko. Eventually, one of those songs even became a strange new kind of hit. The film ended with a montage of its characters pondering the imponderable, and Michael Andrews, composer of the film’s plinky-piano score, set that montage to a new version of “Mad World,” the Tears For Fears song from 1982. Andrews’ friend Gary Jules sang the angelic vocal, and Jules and Andrews replaced the drum-machine boom of the original song with shivery pianos and cellos, turning it into an eerie meditation.

As Donnie Darko slowly became a word-of-mouth cult hit, Jules and Andrews released their version of “Mad World” as a single. Michel Gondry directed a dreamlike video. In the UK, the “Mad World” cover exploded. Nearly three years after Donnie Darko had its Sundance premiere, the “Mad World” cover had become an out-of-nowhere smash, earning the coveted position of Christmas #1. All the movie trailers set to moody orchestral versions of pop songs are a direct result of “Mad World” doing what it did.</blockquote>]]></description>
<dc:subject>music movies 80s</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:58e19658b191/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:movies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:80s"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/features/article/sample-snitching-how-online-fan-chatter-can-create-legal-trouble-for-rap-producers/">
    <title>Mosi Reeves: Sample Snitching: How Online Fan Chatter Can Create Legal Trouble for Rap Producers (Pitchfork)</title>
    <dc:date>2021-01-24T21:15:56+00:00</dc:date>
    <link>https://pitchfork.com/features/article/sample-snitching-how-online-fan-chatter-can-create-legal-trouble-for-rap-producers/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>By publicly identifying and discussing unlicensed samples, hip-hop fans on websites like WhoSampled and YouTube may be unwittingly putting their favorite producers at risk.</blockquote>]]></description>
<dc:subject>sampling music hiphop</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:904c46aeb4e3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sampling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hiphop"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://decoupled.app/itunes-artwork-finder/?term=yaeji+remix&amp;country=us&amp;entity=album">
    <title>iTunes Artwork Finder</title>
    <dc:date>2020-11-14T06:24:11+00:00</dc:date>
    <link>https://decoupled.app/itunes-artwork-finder/?term=yaeji+remix&amp;country=us&amp;entity=album</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Works like a charm.]]></description>
<dc:subject>itunes music artwork design apple macos</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a8aaa27414c8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:itunes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:artwork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:macos"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.stereogum.com/2103260/linkin-park-hybrid-theory-turns-20/franchises/reviews/the-anniversary/">
    <title>Tom Breihan: Linkin Park's Debut Album 'Hybrid Theory' Turns 20</title>
    <dc:date>2020-10-26T02:03:12+00:00</dc:date>
    <link>https://www.stereogum.com/2103260/linkin-park-hybrid-theory-turns-20/franchises/reviews/the-anniversary/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>In the early days of Linkin Park’s dominance, a lot of us made fun of the band for being whiny suburban kids in love with their own anguish. Today, it’s tragically clear that Chester Bennington had always had real demons — a history of sexual abuse and substance dependency that he’d discuss at length whenever anyone asked. Hybrid Theory was a product, a laser-calibrated angst-engine sold to America’s teenagers in the closing days of the CD era. But every album is a product. Listening to Hybrid Theory today, I’m struck by the thought of how many kids found real solace and relief in an album like that, and how Linkin Park had a plan to get it to them.</blockquote>]]></description>
<dc:subject>music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:5e97e47f516f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.reddit.com/r/menomena/comments/9bof3m/i_found_a_bunch_of_obscure_menomena_tracksearly/">
    <title>I found a bunch of obscure menomena tracks/early demos and put them on youtube (Rose EP, Split EP, etc.)</title>
    <dc:date>2020-10-17T05:07:17+00:00</dc:date>
    <link>https://www.reddit.com/r/menomena/comments/9bof3m/i_found_a_bunch_of_obscure_menomena_tracksearly/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>I found A bunch of obscure menomena tracks/early demos and put them on youtube (Rose EP, Split EP, etc.)</blockquote>]]></description>
<dc:subject>music portland</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:0da4d4e001b6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:portland"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://webamp.org/">
    <title>Webamp</title>
    <dc:date>2020-08-24T16:26:45+00:00</dc:date>
    <link>https://webamp.org/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Winamp 2.9 reimplemented in HTML5 and JavaScript.</blockquote>]]></description>
<dc:subject>javascript audio music webdevelopment</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:4e875efa8d4a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:javascript"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:audio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:webdevelopment"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://docs.google.com/spreadsheets/d/11ouNaaVrNp60Ib34Kp0TO1n1XSc7-9DvfiZ9ZiTiD2c/edit#gid=469091836">
    <title>User18081971 Mega Spreadsheet</title>
    <dc:date>2020-08-24T05:41:22+00:00</dc:date>
    <link>https://docs.google.com/spreadsheets/d/11ouNaaVrNp60Ib34Kp0TO1n1XSc7-9DvfiZ9ZiTiD2c/edit#gid=469091836</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Aphex Twin (Richard D. James) has, a few times, released a ton of music via Soundcloud. This is all that, organized and notated.]]></description>
<dc:subject>electronicmusic idm music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:cadc3c78c203/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:electronicmusic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:idm"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://dwellerforever.blog/library/">
    <title>Dweller Electronics Library</title>
    <dc:date>2020-08-13T20:17:55+00:00</dc:date>
    <link>https://dwellerforever.blog/library/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Our co-editor Ryan Clarke has researched a list of articles, interviews and documentaries about techno and its history. We have compiled it into this library that will be updated as we find more relevant work.</blockquote>]]></description>
<dc:subject>history music techno electronicmusic</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:3e24ff749833/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:techno"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:electronicmusic"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.roberthenke.com/technology/lfo.html">
    <title>LFO 2.0 by Robert Henke</title>
    <dc:date>2020-08-10T16:40:01+00:00</dc:date>
    <link>https://www.roberthenke.com/technology/lfo.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>LFO 2.0 is the result of trying to build the best general purpose swiss knife LFO for myself. It needs Ableton Live 9.x with Max4Live installed.

It offers three basic ways of modulating a target: Directly via Live's engine, (Engine) which disables manual control of the target parameter and is perfect for fast modulations. Or via a method similar to manually turning a knob on the user interface (GUI), which can create automation data when recording.
And, as a third mode it can put out the modulation as audio signal (Audio) which is useful for creating control voltages for analog synthesizers.</blockquote>]]></description>
<dc:subject>music software ableton</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:d17a5d217a3f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:software"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:ableton"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brokenorchestra.foundsoundnation.org/#download">
    <title>Broken Orchestra Typewriter</title>
    <dc:date>2020-08-09T18:53:38+00:00</dc:date>
    <link>https://brokenorchestra.foundsoundnation.org/#download</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Free download of samples made from a collection of broken instruments.

<blockquote>The Broken Instruments Sample Pack is a free download of Found Sound Nation's favorite sounds from the Symphony for a Broken Orchestra Project.</blockquote>]]></description>
<dc:subject>music sound audio samples</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1a74fb09cee3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:audio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:samples"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://music.avclub.com/terry-riley-turns-an-r-b-ditty-into-20-minutes-of-madne-1798283052">
    <title>Sean O'Neal: Terry Riley turns an R&amp;B ditty into 20 minutes of madness (AV Club)</title>
    <dc:date>2020-08-09T05:34:31+00:00</dc:date>
    <link>https://music.avclub.com/terry-riley-turns-an-r-b-ditty-into-20-minutes-of-madne-1798283052</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Riley was particularly interested in the way playing the same patterned phrases against each other can create a disjointed rhythm and unusual harmony (a technique he would apply to some of his more familiar, more formal minimalist compositions like 1964’s ‘In C’). So when the owner of a Philadelphia disco—clearly still addled from watching Riley perform an all-night concert of alto-sax feedback—commissioned him to compose a “theme” for his nightclub, Riley took the opportunity to apply that process to something a little more club-friendly that he could totally fuck with.</blockquote>]]></description>
<dc:subject>music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f3197dafa4d0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://zora.medium.com/black-women-helped-build-house-music-their-credit-is-often-left-off-records-8fc505300bd1">
    <title>Renee Jarreau: Black Women Helped Build House Music. Their Credit Is Often Left off Records. (Zora)</title>
    <dc:date>2020-07-11T18:05:40+00:00</dc:date>
    <link>https://zora.medium.com/black-women-helped-build-house-music-their-credit-is-often-left-off-records-8fc505300bd1</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The emergence of house music is due to Black women in spite of the racism and sexism that they faced.</blockquote>]]></description>
<dc:subject>music sexism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:b003cc2ec17f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sexism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://rateyourmusic.com/list/iyiiki/panda_bears_person_pitch_list/">
    <title>Panda Bear's Person Pitch List (RateYourMusic)</title>
    <dc:date>2020-07-10T05:27:52+00:00</dc:date>
    <link>https://rateyourmusic.com/list/iyiiki/panda_bears_person_pitch_list/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>This list was included on the sleeve on Panda Bear’s album ‘Person Pitch.’</blockquote>]]></description>
<dc:subject>music animalcollective</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:0fceb7c9dc22/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:animalcollective"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.buzzfeed.com/annehelenpetersen/the-keys-to-enyas-kingdom">
    <title>Anne Helen Petersen: Inside Enya's Irish Kingdom (Buzzfeed)</title>
    <dc:date>2020-07-06T21:44:40+00:00</dc:date>
    <link>https://www.buzzfeed.com/annehelenpetersen/the-keys-to-enyas-kingdom</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Over the course of three decades and with 80 million records sold, Enya has morphed into more than musician: She's her own adjective. What makes her music — and the mysterious woman behind it — appealing to so many? Anne Helen Petersen visits the reclusive singer in Ireland.</blockquote>]]></description>
<dc:subject>music musicbusiness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:0dd01530f969/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://1059thebrew.iheart.com/featured/tyson/content/2020-07-01-somebody-remixed-the-joker-and-added-the-slide-guitar-after-every-line/">
    <title>Chad Tyson: Somebody Remixed &quot;The Joker&quot; And Added The Slide Guitar After Every Line (105.9 The Brew)</title>
    <dc:date>2020-07-02T21:40:19+00:00</dc:date>
    <link>https://1059thebrew.iheart.com/featured/tyson/content/2020-07-01-somebody-remixed-the-joker-and-added-the-slide-guitar-after-every-line/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Somebody added the slide guitar wolf whistle after every line in Steve Miller Band's "The Joker" and the result is hilarious!</blockquote>]]></description>
<dc:subject>comedy music self</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:05f968799fc4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.loudersound.com/news/listen-to-steve-miller-bands-the-joker-but-with-the-wolf-whistle-sound-after-every-line?fbclid=IwAR1_kV_B9SXeeGOoHlvl_Fdyw61Dq9MW16TYfIeqt2A4oOK7Od1kU1TDc9k">
    <title>Fraser Lewry: Listen to Steve Miller Band’s The Joker but with the wolf whistle sound after every line (Louder/Classic Rock)</title>
    <dc:date>2020-07-02T21:39:53+00:00</dc:date>
    <link>https://www.loudersound.com/news/listen-to-steve-miller-bands-the-joker-but-with-the-wolf-whistle-sound-after-every-line?fbclid=IwAR1_kV_B9SXeeGOoHlvl_Fdyw61Dq9MW16TYfIeqt2A4oOK7Od1kU1TDc9k</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Hear Steve Miller's 1973 classic enlivened considerably by the addition of dozens more wolf whistles</blockquote>]]></description>
<dc:subject>comedy music self</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:7a898f691a78/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.guitarworld.com/news/this-remix-of-steve-miller-bands-the-joker-adds-the-slide-guitar-wolf-whistle-after-every-line-and-the-results-are-hilarious?fbclid=IwAR36gACgTOfA1-D6B5tOsdMFD8llE3JIMYg3cBWnl7djL796OEvsgMWudqM">
    <title>Michael Astley-Brown: This ‘remix’ of Steve Miller Band’s The Joker adds the slide guitar wolf whistle after every line - and the results are hilarious (Guitar World)</title>
    <dc:date>2020-07-02T21:39:23+00:00</dc:date>
    <link>https://www.guitarworld.com/news/this-remix-of-steve-miller-bands-the-joker-adds-the-slide-guitar-wolf-whistle-after-every-line-and-the-results-are-hilarious?fbclid=IwAR36gACgTOfA1-D6B5tOsdMFD8llE3JIMYg3cBWnl7djL796OEvsgMWudqM</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>That’s right: 49 slide guitar wolf whistles in one track</blockquote>]]></description>
<dc:subject>comedy music self</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:58a0d7fe6b4a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.reddit.com/r/videos/comments/hi90s2/steve_miller_bands_the_joker_but_the_wahwah_sound/">
    <title>Steve Miller Band’s ‘The Joker’ but the Wah-wah Sound Happens After Every Line (r/videos)</title>
    <dc:date>2020-07-02T21:33:53+00:00</dc:date>
    <link>https://www.reddit.com/r/videos/comments/hi90s2/steve_miller_bands_the_joker_but_the_wahwah_sound/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[I got on Reddit.]]></description>
<dc:subject>video comedy music self</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f1c125f522d0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jsonline.com/story/entertainment/music/2020/07/01/someone-added-wah-wah-wolf-whistle-steve-millers-the-joker-49-times/5360616002/?fbclid=IwAR1GLcAxen-0V0KtfiMoql07rtVpq75A-6Ax8CFrSxSnLCUmldlvJYRuCfs">
    <title>Piet Levy: Someone added almost 50 extra wolf whistles to Steve Miller's 'The Joker,' and it's hilarious (Milwaukee Journal Sentinel)</title>
    <dc:date>2020-07-02T15:46:21+00:00</dc:date>
    <link>https://www.jsonline.com/story/entertainment/music/2020/07/01/someone-added-wah-wah-wolf-whistle-steve-millers-the-joker-49-times/5360616002/?fbclid=IwAR1GLcAxen-0V0KtfiMoql07rtVpq75A-6Ax8CFrSxSnLCUmldlvJYRuCfs</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>There are 49 wolf whistles in a new parody version on YouTube that's encouraging donations to the NAACP and Black Lives Matter.</blockquote>]]></description>
<dc:subject>self music comedy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:7839731e8595/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:self"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/lose-yo-job-protest-anthem-interview/">
    <title>Cat Zhang: How the Viral Protest Anthem “Lose Yo Job” Came to Be (Pitchfork)</title>
    <dc:date>2020-06-17T03:59:39+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/lose-yo-job-protest-anthem-interview/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>If all I said was “suck my dick,” you can’t arrest me for that. Before the video even started, I asked him for like five minutes what the reason for handcuffing me was. So I was like: “You can’t hear me? Then I’m going to sing it to you.” The words just came. And I already know, if this went to your supervisor, [sings] you about to lose your job. I know my rights and I know the law.</blockquote>]]></description>
<dc:subject>music viral blm police</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a3a29a710bd6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:viral"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:blm"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:police"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.lyrics.rip/s/Spencer%20Krug">
    <title>lyrics.rip</title>
    <dc:date>2020-05-16T23:49:00+00:00</dc:date>
    <link>https://www.lyrics.rip/s/Spencer%20Krug</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Generate lyrics like they're from Drake or Rihanna – all magic done by a Markov Chain</blockquote>]]></description>
<dc:subject>lyrics music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a9c259573756/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:lyrics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://sfj.substack.com/p/ghost-towns">
    <title>Sasha Frere-Jones: ghost towns</title>
    <dc:date>2020-04-28T16:59:12+00:00</dc:date>
    <link>https://sfj.substack.com/p/ghost-towns</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>On October 10, 1980, Margaret Thatcher delivered a speech to the Conservative Party, something of a Top Ten hit for her followers. She spoke about repaying the “debt which had been run up by our predecessors,” the way predecessors do, what with their curiously unverifiable but limitlessly stupid antecedent behavior. After beating up the previous administrations a bit more, Thatcher celebrated investment “opportunities overseas,” which she said would “help to secure our living standards long after North Sea oil has run out.” It’s amusing to think Thatcher had any intention of bowing to the limits of nature or, worse, accepting a version of “the natural” that wasn’t based on the unnatural condition of state-supported monopoly. Because, hey, we’re all just selves, aren’t we? Look what you can do with a self!

[…]

For a kid trying to understand music in 1981, the future was obvious. All bands were interracial and every album had two parts, the singing version and the dub version. Margaret Thatcher and Ronald Reagan were the enemies of the people and Jah was a post office box in Bethnal Green.</blockquote>]]></description>
<dc:subject>music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1f49bb22d251/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.mentalfloss.com/article/82584/long-history-behind-song-cotton-eye-joe">
    <title>Kenneth Partridge: The Long History Behind the Song &quot;Cotton Eye Joe&quot; (Mental Floss)</title>
    <dc:date>2020-04-27T18:11:04+00:00</dc:date>
    <link>https://www.mentalfloss.com/article/82584/long-history-behind-song-cotton-eye-joe</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Where DID you come from, Cotton Eye Joe?

---

The first known published version appeared in Alabama writer Louise Clarke Pyrnelle’s 1882 novel Diddie, Dumps, and Tot, or Plantation Child-Life, a nostalgic look at the antebellum South. Drawing heavily on her own childhood experiences on her father’s plantation, the novel gives credence to what most experts now hold as fact: "Cotton-Eyed Joe" originated with black slaves well before the Civil War. Pyrnelle’s version describes the titular character as an ugly man ("His eyes wuz crossed, an' his nose wuz flat / An' his teef wuz out, but wat uv dat?") who swoops into town and steals the narrator’s sweetheart.

"Ef it hadn't ben fur Cotton-eyed Joe," the jilted narrator sings, "I'd er ben married long ergo." That basic plot line—boy loses girl to mysterious charmer—drives most iterations of "Cotton-Eyed Joe," including the one Texas-born "song catcher" Dorothy Scarborough included in her 1925 book On the Trail of Negro Folk Songs. As Scarborough writes, she learned parts of the tune from "an old man in Louisiana," who picked it up from slaves on a plantation.

Three years earlier, in 1922, the noted black cultural historian and longtime Fisk University chemistry professor Thomas W. Talley shared a slightly different rendition in his book Negro Folk Rhymes. The son of former Mississippi slaves, Talley came across a version wherein "Cotton-Eyed Joe" isn’t just a person, but also a dance: "I'd a been dead some seben years ago / If I hadn't a danced dat Cotton Eyed Joe." The song ends by saying Joe has "been sol' down to Guinea Gall," which again implies he was a slave.</blockquote>]]></description>
<dc:subject>slavery music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:e61550300a0d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:slavery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/anohni-reflects-on-her-climate-crisis-anthem-4-degrees-and-the-fight-for-the-planet/">
    <title>Marc Hogan: ANOHNI Reflects on Her Climate Crisis Anthem “4 Degrees” and the Fight for the Planet (Pitchfork)</title>
    <dc:date>2020-04-25T15:28:02+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/anohni-reflects-on-her-climate-crisis-anthem-4-degrees-and-the-fight-for-the-planet/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The singer-composer offers a call to action and discusses why her defining environmental song is more urgent than ever.

---

You ask, “What can we do?” You can talk to everyone you know about this on a constant basis and try to create consensus about it. You can create groups of people and think tanks to try to counter the billionaire-subsidized think tanks that are forming our current trajectory as a species. If there’s anything you can do, it’s to get profoundly involved. Like, quit your fucking job and do something useful. Hold yourself accountable. It’s painful, I can say that from experience. You’re going to have to sit with your own hypocrisy. And then you have to get real comfortable with people telling you that you’re a killjoy.</blockquote>]]></description>
<dc:subject>music climatecrisis</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c0e33be50d53/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:climatecrisis"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.npr.org/2020/04/18/837268674/dj-dahi-jeff-weiss-sampling-pusha-t-kendrick-lamar-money-trees">
    <title>Jeff Weiss: Kendrick Lamar's 'Money Trees' Is a Time Machine</title>
    <dc:date>2020-04-25T15:27:09+00:00</dc:date>
    <link>https://www.npr.org/2020/04/18/837268674/dj-dahi-jeff-weiss-sampling-pusha-t-kendrick-lamar-money-trees</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>A song from the rapper's landmark album good kid, m.A.A.d city, produced by DJ Dahi, is built around an atmospheric sample. For one writer, it's a portal back to a night out in L.A. in 2015.</blockquote>]]></description>
<dc:subject>music musicwriting sampling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:91e5a80271dc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicwriting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sampling"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://medium.com/@matdryhurst/interdependent-music-vs-independent-music-ba265e2ea996">
    <title>Mat Dryhurst: Interdependent Music vs Independent Music</title>
    <dc:date>2020-04-24T17:34:47+00:00</dc:date>
    <link>https://medium.com/@matdryhurst/interdependent-music-vs-independent-music-ba265e2ea996</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Independent music:
• Listeners rent music for pennies on streaming platforms
• Artists rent listeners for ad dollars on ad platforms
• Isolated artists make tunes in their bedrooms for isolated listeners in their bedrooms
• “Hustle” myth makes a virtue of being selfish and finessing others
• Trickle up attribution (lone genius myth) and compensation models (star makes all the $)
• Irreverent of institutions and the archive in favor of individual freedom and ahistoricity
• 20th century kitsch individualism
• Fracking / short termist

Interdependent music:
• Listeners pay artists directly on Bandcamp/Patreon/Mixcloud/Currents.fm
• Artists own and nurture their contacts and supporters
• Artists and audience contribute to global scene ecosystem where the sum is greater than the total of its parts
• Humble ethos makes a virtue of being considerate and supporting others
• Artists attribute and pay their collaborators
• DJs pay the producers whose music they use
• Respect the archive and understand strong institutions actually make it possible for individuals to thrive
• 21st century democratic socialism
• Permaculture / long termist</blockquote>]]></description>
<dc:subject>musicindustry music capitalism socialism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:ef8cd7836f06/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicindustry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:socialism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/tiktok-report-benees-supalonely-and-the-inexplicable-power-of-vibeyness/">
    <title>Cat Zhang: TikTok Report: BENEE’s “Supalonely” and the Inexplicable Power of Vibeyness (Pitchfork)</title>
    <dc:date>2020-04-23T16:38:02+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/tiktok-report-benees-supalonely-and-the-inexplicable-power-of-vibeyness/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>In our new recurring series, we look at the good, the bad, and the straight-up bizarre songs spreading across TikTok via dances and memes.

---

TikTok’s trend-setting prowess has given famous people an even greater incentive to dip their toes into the mortal world. A little song and dance comes with the possibility of a handsome reward, at least for the musicians: hits that soundtrack TikTok memes clobber their way to the top of Spotify’s Viral 50 with the rapaciousness of King Kong scaling the Empire State Building. It usually works like this: some impossibly cool teenager with above-average rhythm choreographs a dance; said dance must be rudimentary enough for anyone to learn—give or take a few hours and several YouTube tutorials—but dynamic enough for you to look impressive if you put in the work. Like a fast-casual burrito, TikTok dances are customized from the same basic ingredients, but adding something new and spicy to the mix can work wonders. Particularly fresh choreo—or at least moves backed by the right influencer—can single-handedly rocket a song to the top of the viral charts.</blockquote>]]></description>
<dc:subject>memes music internet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:9fc2a9d56aa7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:memes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/features/article/how-loops-are-changing-the-sound-and-business-of-rap-production/">
    <title>Ben Dandridge-Lemco: How Loops Are Changing the Sound and Business of Rap Production (Pitchfork)</title>
    <dc:date>2020-04-23T16:36:32+00:00</dc:date>
    <link>https://pitchfork.com/features/article/how-loops-are-changing-the-sound-and-business-of-rap-production/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>With rappers recording at a nonstop clip, and sampling more difficult than ever, hip-hop producers are increasingly outsourcing their melodies to a global network of loopmakers.

---

These loops are snippets of original music that Prasad composes at his computer, melodic ideas that might serve as the instrumental hook of a song—but without the rest of the song attached. They range in length and complexity: some incorporate one or two different sounds, while others are multi-layered miniature compositions. Every two weeks, he packages around 40 of his best loops to send to established producers he connected with on Instagram. If everything goes perfectly, a producer will use one of his loops in a beat—they might change the tempo, adjust the pitch, chop it up and rearrange it, or just drop it in as-is—and an artist will record a song over it.

In recent years, these melody loops, and the musicians who create them, have become a fundamental part of the way rap music is made. For up-and-comers like Prasad, supplying well-connected producers with packs of pre-made melodies has become the most effective method to get a foot in the industry’s door. And for producers working with prolific rappers, outsourcing the time-consuming work of writing a melody to a pool of dedicated loopmakers is the most efficient way to keep making hits.

[…]

The popularity of loops, on some level, is a reaction to the increasingly complex legal and financial barriers placed on sampling pre-existing recordings in new songs, a cornerstone of early hip-hop production. In the past three decades, from pivotal court cases around samples in De La Soul and Biz Markie records in the early ’90s to more recent copyright battles over “Uptown Funk” and “Lucid Dreams,” incorporating references to other songs in your music has become a risky and expensive proposition.

[…]

Within this collaborative spirit, there’s also an inherent power imbalance. When unknown loopmakers—often geographically removed from rap’s centers of industry in Atlanta, New York, and L.A.—send material to big-name producers with connections to artists and labels, the latter have far more leverage than the former for negotiation, a dynamic that can leave loopmakers vulnerable to exploitation.

[…]

Though loops have already become a music industry standard, there’s still a stigma attached to them, according to Jetsonmade. “People have a lack of respect for the loopmakers,” he says. “Some producers don’t want people to know they’re using loops.” For more traditional producers, there’s a prevailing sense that using loops is a sort of cheat code. The separation between clicking through a folder of loops and making a beat from scratch can seem like the difference between ordering from Seamless and cooking a meal. It also suggests a depressing reality for many of the most in-demand rap producers, who may simply lack the time or bandwidth to work from a blank slate on all of their beats.</blockquote>]]></description>
<dc:subject>music musicindustry hiphop sampling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a3f162384e0a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicindustry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hiphop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sampling"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.loudandquiet.com/interview/the-legend-of-serbian-factory-worker-abul-mogard-and-other-cult-origin-stories/">
    <title>Daniel Dylan Wray: The legend of Serbian factory worker Abul Mogard, and other cult origin stories (Loud and Quiet)</title>
    <dc:date>2020-04-22T03:38:16+00:00</dc:date>
    <link>https://www.loudandquiet.com/interview/the-legend-of-serbian-factory-worker-abul-mogard-and-other-cult-origin-stories/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>A look into the hoaxes and dubious genesis tales of cult musicians.

---

However, would the music of Jungle really, truly have taken off in the way it did if it was presented honestly by the creators from the off? Would two white guys from a failed indie band who went to a £20,000 a year private school, knocking out generic laptop music, have been the buzz band of the year?

[…]

The underlying question around all of this remains, of course: why? Pretending to be a retired Serbian factory worker is of course not the same as racial or cultural appropriation but they are linked and the answer is somewhat axiomatic in the fact that articles like this are being written. More pieces have been written about this kind of music because of both its backstory and its likely fakery than ever would have been written if some Scottish band started knocking out some retro 1970s German music. The real answer to this approach arguably comes when McFadyen is asked about the ongoing success of his project, as volumes continue to sell. “It’s been very satisfying to see the music spread naturally through word of mouth. Thankfully, as the advertising budget has been, and remains, zero.”</blockquote>]]></description>
<dc:subject>music marketing electronicmusic</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:fda928005055/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:marketing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:electronicmusic"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.vulture.com/2020/04/fiona-apple-fetch-the-bolt-cutters.html">
    <title>Rachel Handler: Allow Fiona Apple to Reintroduce Herself (Vulture)</title>
    <dc:date>2020-04-20T05:58:12+00:00</dc:date>
    <link>https://www.vulture.com/2020/04/fiona-apple-fetch-the-bolt-cutters.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[With her first album in eight years, Fetch the Bolt Cutters, singer-songwriter Fiona Apple is breaking free of the chains that have bound her for decades.

---

Q: If there is a cohesive statement you’re trying to make with this album, what is it?

A: “Fetch the bolt cutters” is probably the theme of it. I know in The New Yorker piece it says something like, “It’s about not being afraid to speak,” but it’s more than that. It’s about breaking out of whatever prison you’ve allowed yourself to live in, whether you built that prison for yourself or whether it was built around you and you just accepted it. For me, it could be many things — including breaking out of this image that the world told me I was and that I actually believed. That’s the sad part.]]></description>
<dc:subject>music celebrity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f40f0ac17466/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:celebrity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/the-morbid-comforts-of-pandemic-playlists/">
    <title>Jennifer Wilson: The Morbid Comforts of Pandemic Playlists (Pitchfork)</title>
    <dc:date>2020-04-20T04:36:05+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/the-morbid-comforts-of-pandemic-playlists/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Why we are turning to darkly funny music during the coronavirus.

---

Throughout history, music has been an integral part of how people cope with epidemics. Sometimes, we put them in familiar musical contexts to make them less scary (less “novel,” you could say). While the rest of the world called the 1918 outbreak “the Spanish Flu,” at home in Spain it was often described as “the Naples Soldier” after a song from a popular opera; one of the librettists claimed it was because the tune was just “as catchy” as the disease.

[…]

The themes underpinning many of their songs—passion, intensity, body heat—reminds me that art gets much of its meaning from confronting the ephemerality of existence. We want things deeply and quickly because life is, indeed, short. And musicians know that; they usually only get a few minutes per song. Who better to guide us in how to squeeze as much out of life as possible?</blockquote>]]></description>
<dc:subject>music culture health covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:9fc0b52368a5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:health"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/channel/UC08ioUUIxt0As-GwzsGWtkA/">
    <title>Quarantunes</title>
    <dc:date>2020-04-19T21:48:39+00:00</dc:date>
    <link>https://www.youtube.com/channel/UC08ioUUIxt0As-GwzsGWtkA/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Quarantunes is for...
- sustaining the creation of (live) music throughout the COVID-19 pandemic.
- providing a platform for artists + fans to connect, despite the cancellation of tours and shows in venues.
- creating opportunities for artists to recoup lost earnings from cancelled dates through donations from fans via livestream.
- encouraging new experiments in sound and music, using digital technologies and social media interfaces.
</blockquote>]]></description>
<dc:subject>video music livemusic covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a6e8b5056ba1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:livemusic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.vulture.com/2020/04/fiona-apple-fetch-the-bolt-cutters-songs.html">
    <title>Rachel Handler: The Story Behind Every Track on Fetch the Bolt Cutters (Vulture)</title>
    <dc:date>2020-04-19T21:42:12+00:00</dc:date>
    <link>https://www.vulture.com/2020/04/fiona-apple-fetch-the-bolt-cutters-songs.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>With her first album in eight years, Fetch the Bolt Cutters, singer-songwriter Fiona Apple reached into the past to confront her rapist, middle-school bullies, and herself.</blockquote>]]></description>
<dc:subject>art music lyrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c61fbc5ee3be/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:lyrics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/interactive/2020/03/11/magazine/best-songs.html#cover">
    <title>25 Songs That Matter Now (NYT)</title>
    <dc:date>2020-04-18T20:31:36+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2020/03/11/magazine/best-songs.html#cover</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[This is popular music in March 2020. Complete with profiles for each artist.]]></description>
<dc:subject>music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:cf6af26bc864/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2020/04/09/magazine/weird-al-yankovic.html">
    <title>Sam Anderson: The Weirdly Enduring Appeal of Weird Al Yankovic (NYT)</title>
    <dc:date>2020-04-18T19:59:59+00:00</dc:date>
    <link>https://www.nytimes.com/2020/04/09/magazine/weird-al-yankovic.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>National economies collapse; species go extinct; political movements rise and fizzle. But — somehow, for some reason — Weird Al keeps rocking.

---

Onstage, Weird Al sat on a wooden stool and started to snap like a lounge singer. With an orchestra swelling behind him— the tour was called “Strings attached”— he kicked into a soulful medley of 1980s parodies. If that does not sound great to you, if it in fact sounds like a very particular flavor of sonic hell, I’m here to tell you something, Weird Al was absolutely belting. He was singing the bejesus out of this ridiculous music. I leaned back in my chair, reassessing core assumptions I’d made about life. Was this somehow part of the joke? That Weird Al was an amazing singer? His voice was athletic and precise. It was rippling through intricate trills and runs. By the time he reached the medley’s climax, “Like a Surgeon,” his 1985 parody of Madonna’s “Like a Virgin,” Yankovic was stretching for high notes and holding them over his head for the crowd to admire, like an Olympic weightlifter, who had just snatched 500 pounds.

[…]

But it turns out that Weird Al approaches the composition of his music with something like the holy passion of Michelangelo painting the ceiling of the Sistine Chapel. Looking through the “White & Nerdy” file felt like watching a supercomputer crunch through possible chess moves. Every single variable had to be considered, in every single line. The song begins with a simple sentence — “They see me mowing my front lawn” — and even here Yankovic agonized over “lawn” versus “yard” and “my” versus “the.” He sifted through phrases in gradations so small, they were almost invisible.

[…]

Weird Al likes to say that every one of his albums is a comeback album. That’s because a parody career is not like a normal career. It has no internal momentum. Everyone always expects you to go away.

[…]

Weird Al’s bond with his fans is atomic. He will stop and speak with them anywhere — at airports, outside the tour bus — for so long that it becomes a logistical problem. The fans approach him like a guru, and Weird Al responds with sweet, open, validating energy.

[…]

The connection is so deep that it is more like a merging, and after a while it struck me that Weird Al has spent basically his whole life making his music for exactly these people, which is to say for his childhood self. For many decades, he has been trying to delight Alfred Yankovic, the bright, painfully shy kid who grew up alone in his tiny bedroom. For the benefit of that lonely boy, he reshaped the whole world of pop culture. His ridiculous music sent out a pulse, a signal, and these were the people it drew: the odd, the left out. A crowd of friends for that lonely kid.</blockquote>]]></description>
<dc:subject>music profile comedy interview</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:978fe3c370a7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:profile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:comedy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:interview"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/reviews/albums/fiona-apple-fetch-the-bolt-cutters/">
    <title>Jenn Pelly: Fiona Apple — Fetch the Bolt Cutters (Pitchfork)</title>
    <dc:date>2020-04-17T19:43:37+00:00</dc:date>
    <link>https://pitchfork.com/reviews/albums/fiona-apple-fetch-the-bolt-cutters/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>She will not be silenced. That’s patently clear from the start of Fetch the Bolt Cutters. In gnarled breaths on its opening song—feet on the ground and mind as her might—Apple articulates exactly what she wants: “Blast the music! Bang it! Bite it! Bruise it!” It’s not pretty. It’s free</blockquote>]]></description>
<dc:subject>music musicwriting metoo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c4dea6c1d057/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicwriting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:metoo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/features/afterword/remembering-john-prine-the-ultimate-songwriters-songwriter/">
    <title>Jayson Greene: Remembering John Prine, the Ultimate Songwriter’s Songwriter (Pitchfork)</title>
    <dc:date>2020-04-16T16:59:29+00:00</dc:date>
    <link>https://pitchfork.com/features/afterword/remembering-john-prine-the-ultimate-songwriters-songwriter/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The country-folk singer, whose matter-of-fact style attracted a reverent cult following, died this week of complications from COVID-19 at age 73.</blockquote>]]></description>
<dc:subject>music obituary covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:cc070f607b64/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:obituary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/">
    <title>Andy Cush: How Slowed + Reverb Remixes Became the Melancholy Heart of Music YouTube (Pitchfork)</title>
    <dc:date>2020-04-16T04:33:13+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Houston hip-hop’s chopped and screwed sound has inspired one of the internet’s loneliest and most beguiling corners.

---

Moore, known to his 24,000 subscribers as Slater, is regarded among aficionados as the originator of the “slowed + reverb” phenomenon, a simple DIY remixing style that has thrived on YouTube in recent years. Slater provided a blueprint that many others have followed: Start with a moody song that’s already popular on YouTube; ratchet up the sense of druggy melancholy by slowing it down and adding a touch of digital echo; pair it with similarly wistful animation; watch the views pour in.

[…]

The songs that people want to hear, in other words, often owe a sonic debt to Screw before they’ve even been slowed, having absorbed it directly or through Screw-influenced artists.</blockquote>]]></description>
<dc:subject>music youtube</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:50ba896b8c61/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:youtube"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.residentadvisor.net/features/3627">
    <title>Matt Unicomb: Chasing The Perfect Loop (Resident Advisor)</title>
    <dc:date>2020-04-15T17:01:00+00:00</dc:date>
    <link>https://www.residentadvisor.net/features/3627</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Why is ultra-repetitive music so special? Matt Unicomb speaks with Robert Hood, William Basinski and more to find out.

---

For the first minute of Robert Hood's "Self Powered," you might focus on the bassline. But as it loops, your attention may shift to the hi-hats and the subtle ways they're manipulated. A great loop techno track hooks a lister with simple pattern. A listener who allows themselves to fall into the track actively follows the progression, whether they realise it or not. Subtle changes, like a slight filter effect on some bleeps, shifts the sound, bringing the listener even closer. The best producers, perhaps inexplicably, know exactly when and what to tweak, to the point where a simple series of tones and a four-on-the-floor kick becomes intensely powerful.

[…]

There seems to be an inverse relationship between the prevalence of great loops and the amount of equipment available to producers.</blockquote>]]></description>
<dc:subject>sound music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1564a049f315/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/features/article/listen-to-music/">
    <title>Jeremy Larson: Why Do We Even Listen to New Music? (Pitchfork)</title>
    <dc:date>2020-04-15T16:44:56+00:00</dc:date>
    <link>https://pitchfork.com/features/article/listen-to-music/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Our brains reward us for seeking out what we already know. So why should we reach to listen to something we don’t?

---

The act of listening to new music in the midst of a global pandemic is hard, but it’s necessary. The world will keep spinning and culture must move with it, even if we are staid and static in our homes, even if the economy grinds to a halt, even if there are no shows, no release parties, and even artists sink even further into the precarity that defines a career as a musician. The choice to listen to new music prioritizes, if for one listen only, the artist over you. It is an emotional risk to live for a moment in the abyss of someone else’s world, but this invisible exchange powers the vanguard of art, even in times of historic inertia.</blockquote>]]></description>
<dc:subject>musicwriting music culture psychology covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:ab34b685fafb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicwriting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/reviews/albums/herbie-hancock-head-hunters/">
    <title>Jeremy Larson: Herbie Hancock — Headhunters (Pitchfork)</title>
    <dc:date>2020-04-15T16:44:21+00:00</dc:date>
    <link>https://pitchfork.com/reviews/albums/herbie-hancock-head-hunters/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Head Hunters states its intent in its name: The music will blow open your skull the second you press play, the instant the bassline from “Chameleon” comes out of the speakers in full stereo sound. And if that doesn’t move you, how about when Harvey Mason comes in with the funkiest drum part in the history of drumming, a groove even Hancock said he had never heard before in his life, that snare hit coming just before the two, the kick drum so dead and relaxed, are you kidding me? Head Hunters rightfully belongs to the Library of Congress as one of our nation's most treasured recordings, sitting there, smoking, untouchable, a factory of winces and hoooos.</blockquote>]]></description>
<dc:subject>musicwriting jazz music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:80a0e704f197/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicwriting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:jazz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/in-iran-coronavirus-is-suffocating-an-already-strained-experimental-music-scene/">
    <title>Philip Sherburne: In Iran, Coronavirus Is Suffocating an Already Strained Experimental Music Scene (Pitchfork)</title>
    <dc:date>2020-03-29T17:52:23+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/in-iran-coronavirus-is-suffocating-an-already-strained-experimental-music-scene/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[An interview with musician Siavash Amini.

<blockquote>Following U.S. sanctions, widespread protests, internet blackouts, and government crackdowns, COVID-19 is the latest calamity to befall Iran’s avant-garde.</blockquote>]]></description>
<dc:subject>music iran politics war covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:662dbd5b53b9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:iran"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://a.currents.fm/about">
    <title>Currents</title>
    <dc:date>2020-03-29T01:13:08+00:00</dc:date>
    <link>https://a.currents.fm/about</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>We're a playlist platform that directly supports independent music, built on our streaming integrations and powerful curation tools. The closest analogy for what we are would be Patreon for music or Substack for playlists.

We enable artists to create a space to elevate the music and artists that they enjoy for their fans and accept tips from supporters. You can think of it as a newsletter of music, featuring thoughts alongside selections for fans to listen to.

We enable fans to have a closer connection to their favorite artists via curated playlists, personal thoughts, and early previews of their work.</blockquote>]]></description>
<dc:subject>music internet playlist</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:19e5b1671a0a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:playlist"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jqbx.fm/">
    <title>JQBX (JU·KE·BOX)</title>
    <dc:date>2020-03-29T01:03:53+00:00</dc:date>
    <link>https://www.jqbx.fm/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>JQBX lets you play & listen to music in sync with friends or public groups.

We believe music is better with friends. JQBX lets you be a DJ, join a party, or just kick back and listen to music with friends or strangers from all over the world in real time.

JQBX hooks into your Spotify account and is 100% free to use. Give it a try and start listening. Together.</blockquote>]]></description>
<dc:subject>dj music social spotify</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:636ea915bb7c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:dj"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:spotify"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.self-titledmag.com/axel-willner-andreas-tilliander-interview/">
    <title>Andreas Tilliander and Axel Willner Revisit Their Stockholm Roots in Exclusive Interview (Self-titled Mag)</title>
    <dc:date>2020-03-25T05:47:18+00:00</dc:date>
    <link>http://www.self-titledmag.com/axel-willner-andreas-tilliander-interview/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Read an exclusive interview with Andreas Tilliander and Axel Willner, discussing Stockholm's underground music scene and such projects as TM404, The Field, Mokira and Lars Blek.</blockquote>]]></description>
<dc:subject>interview music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:6bb003bbd6a2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:interview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.papermag.com/billie-eilish-black-internet-culture-2645514003.html?rebelltitem=9">
    <title>Rob Dozier: When White Kids Grow Up on the Black Internet (Paper Magazine)</title>
    <dc:date>2020-03-24T16:18:40+00:00</dc:date>
    <link>https://www.papermag.com/billie-eilish-black-internet-culture-2645514003.html?rebelltitem=9</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Before Billie Eilish performed the Beatles' "Yesterday," during the Academy Awards "In Memoriam" segment last month, she walked the red carpet in a look that's become something of a signature for her: custom oversized Chanel tracksuit, a chunky, gold cuban link chain, long black acrylics.

---

The internet has provided, for white youth who've spent a large part of their adolescence on it, a front seat to the creation and distribution of Black cultural products — Black music, slang and dances. But as those cultural products move across the internet, they get farther and farther away from their original context and meaning and often become collapsed under the simplistic label of "youth culture." This isn't as democratizing as it seems. Apps like TikTok and its spiritual predecessor Vine not only encourage the performance of Black culture by non-Black teens, but incentivize it with real money to be made. It used to just be financially viable for pop stars to perform Blackness. Now, it presents an opportunity to non-Black teens everywhere.</blockquote>]]></description>
<dc:subject>culture music fame racism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:0d491d5b81ab/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:fame"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:racism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.newyorker.com/magazine/2020/03/23/fiona-apples-art-of-radical-sensitivity">
    <title>Emily Nussbaum: Fiona Apple’s Art of Radical Sensitivity (New Yorker)</title>
    <dc:date>2020-03-23T05:02:01+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2020/03/23/fiona-apples-art-of-radical-sensitivity</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>For years, the elusive singer-songwriter has been working, at home, on an album with a strikingly raw and percussive sound. But is she prepared to release it into the world?

---

When you tell people that you are planning to meet with Fiona Apple, they almost inevitably ask if she’s O.K. What “O.K.” means isn’t necessarily obvious, however. Maybe it means healthy, or happy. Maybe it means creating the volcanic and tender songs that she’s been writing since she was a child—or maybe it doesn’t, if making music isn’t what makes her happy. Maybe it means being _un_happy, but in a way that is still fulfilling, still meaningful. That’s the conundrum when someone’s artistry is tied so fully to her vulnerability, and to the act of dwelling in and stirring up her most painful emotions, as a sort of destabilizing muse.</blockquote>]]></description>
<dc:subject>art music fame</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:6a845b68b609/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:fame"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/how-coronavirus-is-bringing-the-global-club-scene-to-a-standstill/">
    <title>Philip Sherburne: How Coronavirus Is Bringing the Global Club Scene to a Standstill (Pitchfork)</title>
    <dc:date>2020-03-23T05:01:09+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/how-coronavirus-is-bringing-the-global-club-scene-to-a-standstill/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Electronic artists and agents talk about the potentially catastrophic ramifications of the current health crisis on the world of dance music.

---

But as club cancelations and postponements pile up, DJs and electronic musicians are left facing the prospect of a month or more without earnings. And a global patchwork of measures—the UK has resisted banning large events, for instance, while San Francisco has temporarily prohibited all non-essential gatherings of 100 or more—means that many DJs are still uncertain as to which events they can still expect to play.</blockquote>]]></description>
<dc:subject>music covid19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1eb4be434f9b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:covid19"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.abletonthemes.com/browse/featured">
    <title>Ableton Themes Directory</title>
    <dc:date>2020-03-21T20:37:51+00:00</dc:date>
    <link>https://www.abletonthemes.com/browse/featured</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Browse over 6380 of our featured Ableton 10 themes.</blockquote>]]></description>
<dc:subject>ableton music software</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c474456e9459/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:ableton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:software"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://daily.bandcamp.com/label-profile/kranky-25th-anniversary-label-profile">
    <title>Marc Masters: Kranky Celebrates 25 Years of Independence—and Patient Listening (Bandcamp Daily)</title>
    <dc:date>2020-03-12T04:31:46+00:00</dc:date>
    <link>https://daily.bandcamp.com/label-profile/kranky-25th-anniversary-label-profile</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The experimental/ambient label has survived not just due to hard work, but to the depth, breadth, and persistence of their vision.</blockquote>]]></description>
<dc:subject>music musicbusiness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:3c9c942fec24/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://invisiblemusic.tumblr.com/post/136338520545/invisible-music-rip">
    <title>Mark Richardson: Invisible Music R.I.P.</title>
    <dc:date>2020-03-07T19:07:37+00:00</dc:date>
    <link>https://invisiblemusic.tumblr.com/post/136338520545/invisible-music-rip</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Five years ago I started a tumblr called Invisible Music, in which I posted tracks of (mostly) experimental electronic music and wrote about them without naming them. It was a lot of fun and I loved doing it but, alas, as happens with most online writing projects, I stopped doing it, and it’s time to put it to bed. Here are the tracks I posted, and there are a few pieces of writing here I still like. If you followed it, I hope you enjoyed it.</blockquote>]]></description>
<dc:subject>music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:aeeb8cbd4387/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pitchfork.com/thepitch/a-flashy-new-ai-tool-could-be-a-producers-dream-and-a-copyright-nightmare/">
    <title>Noah Yoo: A Flashy New AI Tool Could Be a Producer’s Dream and a Copyright Nightmare (Pitchfork)</title>
    <dc:date>2020-03-07T17:41:49+00:00</dc:date>
    <link>https://pitchfork.com/thepitch/a-flashy-new-ai-tool-could-be-a-producers-dream-and-a-copyright-nightmare/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Looking into Deezer’s Spleeter and Facebook’s Musixmatch.

<blockquote>Source separation can extract isolated vocal and instrumental tracks from any recorded song, but its potential repercussions for artists and streaming services hangs in the balance.</blockquote>]]></description>
<dc:subject>music ai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:b64a2a91c09e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:ai"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>