[Ableton Live] enabled a lot more people to leave their home studios and bedrooms, and go on stage—and that fuelled the whole festival culture. I don't think we would have the same amount of electronic music festivals these days without this software, because suddenly everyone who's producing electronic music had a clear path how to bring this on stage. | | | | | "Tina mixtape." (jm3/Flickr) | | | | |  | “[Ableton Live] enabled a lot more people to leave their home studios and bedrooms, and go on stage—and that fuelled the whole festival culture. I don't think we would have the same amount of electronic music festivals these days without this software, because suddenly everyone who's producing electronic music had a clear path how to bring this on stage.”
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| | rantnrave:// In a time of upheaval, uncertainty and division, artists have lots of good options: join protesters in person, raise cash, donate cash, etc. But the best option is often the most obvious one: continue making art. NPR's TINY DESK CONCERT series hosted MARGO PRICE the morning after the US election and got this cathartic performance that's as good as protest music gets—regardless of which, if any, of the three songs in her set were conceived in the commonly understood spirit of protest. This is an artist responding to a moment, with shattering results. I linked to ARETHA FRANKLIN's stunning, religious national anthem on MONDAY and I'm going to link to it again because, without a single partisan word, it's as good a response as anyone has delivered to what's going on in WASHINGTON, on the streets of AMERICA and on football fields across the country (not to mention the flat-out beauty of her voice, if you can imagine separating it from the context, though I don't recommend that). My old boss MICHAEL HIRSCHORN, pondering the counterculture under the next president, reports on the day-making pleasure of hearing YG's "F*** DONALD TRUMP" blasting out of two cars in NEW YORK, its meaning and its power presumably different on the streets of New York in November than on SOUNDCLOUD in March, when it originally appeared... Oh lord, is the ROCK AND ROLL HALL OF FAME voting rigged, too? H/T COURTNEY E. SMITH for this amusing thread... End-of-the-year lists are second only to CHRISTMAS lights as things that start showing up uninvited before you've had a chance to finish all your HALLOWEEN candy. ROLLING STONE crowns BEYONCÉ (on a list that includes seemingly every classic rocker who released an album this year), while NME opts for THE 1975... Guitarist/producer KURT BALLOU has the most awesome—and useful—business card ever... RIP JOHNNY P, RAY COLUMBUS and JOEY ESPOSITO. | | | - Matty Karas, curator |
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 | Thump |
| In their first joint interview, co-founders Berhard Behles and Robert Henke look back at Ableton’s roots in Berlin’s 90s techno scene and its impact on electronic music. | | |
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 | SPIN |
| On a warm night in late September, minutes before the start of the fall’s first presidential debate, Corey “C.L. Smooth” Penn sits perched on a folding chair in a tunnel beneath Times Square. On the street, crowds have gathered outside the Hell’s Kitchen bars. | | |
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 | MTV News |
| Bands like Harry And The Potters show that imagination can be a powerful tool of resistance | | |
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 | NPR |
| On the morning after Election Day, the Nashville musician and her band visited the Tiny Desk to play three cathartic country songs loaded with new political meaning. | | |
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 | Medium |
| Comparing artists to start-ups is a trend that has emerged this last couple of years as music and tech became ever more increasingly tied and the latter churned out its daily dose of spectacular stories and unicorns. | | |
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 | HITS Daily Double |
| A playlist of commentary from Spotify head of shows & editorial for the U.K., Australia & New Zealand. | | |
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 | The Conversation |
| Whenever you listen to a streamed song, like it but don't buy it and instead stream it again, you are casting a vote for the future nonexistence of professional musicians. | | |
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 | Dazed Digital |
| While OFWGKTA’s members are focused on solo projects today, the photos and videos they shared during their ascent provide a fascinating insight into their collective identity. | | |
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 | The Creative Independent |
| Actor, writer, performer and downtown icon Ann Magnuson on creative urges, the importance of archives, and why not everything needs to be documented. | | |
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 | Billboard |
| The music of Roberto Fonseca, Daymé Arocena and other artists traces "how Cuba was, how Cuba is and how Cuba will be.” | | |
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 | Rolling Stone |
| Beyoncé smashed the system, Chance the Rapper counted his blessings, David Bowie left a powerful goodbye and more. | | |
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 | Hypebot |
| In this piece, David Emery remarks on record labels' directional shift towards promoting and selling artists "stories" as their power and influence in the music industry begins to fade. | | |
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| MTV News |
| Katy Perry and Lady Gaga's actions might look like publicity stunts, but isn't that better than doing nothing? | | |
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 | Vulture |
| The Obama years were too soft anyway. | | |
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 | Radio Survivor |
| This is a transitional time for community radio, unprecedented in the medium’s more than 60-year history in the U.S. Thousands of new LPFM stations are going on the air bringing service to communities that never had community radio, or adding new services to supplement existing community stations. | | |
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 | Complex |
| In October, SZA tweeted that she might quit music. "I'm really frustrated, and I'm kind of over it," she says now. What does that mean for her future? | | |
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 | NME |
| T In The Park is cancelled for 2017 and the future of the festival is uncertain. But their current challenges are not insurmountable. | | |
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| Rolling Stone |
| Jason Aldean reflects on his career milestones and personal stumbles in a candid, wide-ranging interview. | | |
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| Thump |
| We caught up with one of the community's more outspoken members to discuss David Mancuso, Noam Chomsky, Martin Luther King and a lot more. | | |
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 | WTF with Marc Maron |
| Singer-songwriter Scott Fagan created a beautiful album in 1968, called "South Atlantic Blues." But things didn't go the way they were supposed to. Scott talks with Marc about why the album and his career fizzled, how they were both resurrected, and how he connected with a son he never met, who is an accomplished artist in his own right. | | |
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 | via YouTube |
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