The Special Men Solve a 21st Century Problem with Vinyl and Alynda Lee Segarra

While the question of how to get paid in the streaming era constantly animates musicians and music fans on Facebook, a second question gets asked less often. How do musicians get people to notice their releases at all? One thing’s clear—the old model of releasing an album every year or so clearly doesn’t work in the current environment. That absence-makes-the-heart-grow-fonder theory suited record labels better than artists as it forced fans who wanted new music from an artist to buy the album that was out because that was all they were going to get for next 12 months.

King Britt Brings Sister Gertrude to Three Keys

Sister Gertrude Morgan’s music, like her painting, was an exercise in planning on the fly. From the looks and sounds of things, the New Orleans street preacher worked out what she’d paint or sing in one moment only milliseconds before she did it. In her paintings, every additional Bride of Christ was an of her faith in action, and on 1970's Let’s Make a Record, you can hear someone proselytizing on the fly.

The Sound of Rock 'N' Rolla

I understand Neil Young’s desire for Pono to catch on, and why Team Tidal launched a lossless streaming service. On the studio quality speakers that they heard their music on when recording it, sonic nuances are present that matter to them—details that get lost as file information is knocked out in the conversion to mp3s. But the truth is that most of us have always listened to music on systems that can’t access those details. I certainly have.

People Say DJs Talk About Vinyl

The People Say Project examines the intersection of commerce and culture in New Orleans, and we've been fortunate to have PSP's Brian Boyles contribute the occasional story (on Lil' Boosie and Wynton Marsalis). Earlier this summer, the project hosted its third annual Backyard Cut Session--a neighborhood party with DJs including Boyles spinning their vinyl favorites.

Jack White Fragile?

My review of Jack White’s show Tuesday at the Saenger is online at The New Orleans Advocate. An additional thought crystalized when photographer Chelsea Dunn sent me some of her photos from the show. It seemed apropos that the stage was well lit, but in a way that provided little illumination. It’s hard to imagine that anybody felt any closer to him by the end of the set, and step back from the music and the show felt very controlling.

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