Nina Simone’s Music Is More Relevant Than Ever

“For Simone, who lived next door to Malcolm X in Mt. Vernon, New York, and whose first interaction with Martin Luther King, Jr. involved a heated declaration that her activism was on the ‘by any means necessary’ part of the scale, the tune bore none of the turn-the-other-cheek wholesomeness of other protest songs. ‘Mississippi Goddam’ was also an upshot of Simone’s time spent in the care of intellectual co-conspirators like Lorraine Hansberry, James Baldwin, and Stokely Carmichael.”

How Ticket Reselling Is Killing Live Music (And There’s Nothing We Can Do About It)

“Defenders of the ticket resale market will tell you ticket resale is a simple extension of the free market; that the resale market is the best way to learn the true value of a ticket (as opposed to the perceived one asked by promoters, venues and artists); and that if artists don’t like resale (and many don’t), they should set higher prices (in fact, certain top artists, defenders correctly point out, work a percentage of resale profits into their contracts).”

Conlon Nancarrow – Music Too Complicated For Humans To Play

“Nancarrow explored the limits of the player piano with staggering imagination and persistence, diligently punching piano rolls by hand and often with the aid of a magnifying glass. He lived in obscurity and near-isolation for many years before his work was championed by prominent composers such as the Hungarian experimentalist György Ligeti, who claimed that Nancarrow was the most important composer of the late twentieth century.”

The Relationship Between Music And Technology Hasn’t Always Been So Obvious

“One of the most sweeping changes wrought by audio recording and broadcasting technology was that, for the first time ever, music was no longer, by necessity, a visual as well as an aural experience. Music had always been only heard in live performance—which meant the listener was there, looking as well as hearing. (Even exceptions—Vivaldi’s female choristers singing behind a screen or Wagner’s enclosed pit orchestra or the like—were more like unusual variations of the visual context.) But with recordings and radio, the visual portion of musical performance disappeared. All one had was the sound. The technology decoupled eye and ear.”