Even if one person enjoys a song, it makes sense for it to exist. | | | | Peggy Gou at the We Love Green festival, Paris, June 1, 2019.
(David Wolff-Patrick/Redferns/Getty Images) | | | | |  | “Even if one person enjoys a song, it makes sense for it to exist.”
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| | rantnrave:// If the mid-'70s footage in MARTIN SCORSESE's new BOB DYLAN doc looks a little less than ideal, it may be because it's sourced from a scratchy work print of the 1978 Dylan film RENALDO AND CLARA. The original negatives, which would have been everyone's preferred source, have gone missing, a source in Dylan's camp told ROLLING STONE. The culprits: corporate consolidation and a numbering system for locating archived material that "somehow... fell off" over the years. Companies changed hands, raw materials changed hands, and the master key, so to speak, no longer exists. The footage might be in an IRON MOUNTAIN storage facility, but it doesn't matter because there's no way to find it there. It may be sitting in a box behind four or five other boxes on a high shelf in the middle of a sea of shelves in a vast, climate-controlled, underground warehouse, with no identifying marks, and it might as well be at the bottom of the MARIANA TRENCH. This is one of several ways that master tapes of classic (and not so classic) music can and will go missing, too, as archival producer ANDY ZAX outlines in this account of "how stupidity, incompetence, obsolescence, carelessness, greed, malfeasance, lazy lawyers and a basic misunderstanding of physics are—at this very moment!—eviscerating what’s left of our musical heritage." Zax delivered this speech in 2014. It mentions—and is newly relevant because of—the 2008 fire that incinerated a large chunk of UNIVERSAL MUSIC GROUP's tape archives. But that was yesterday's rantnrave. The question today, and going forward, is where and how and what are your archives now? How are master tapes of 40-year-old analog recordings being stored? Where are they being stored? Who has the keys? Who will still have the keys 10 and 20 years from now? And how are master files of 40-day-old digital recordings being archived? Where is the metadata being filed away? Who's going to be able to access it 30 or 40 years from now and what equipment are they going to use to do so? Are there Linear Tape-Open (LTO) backups? What's the last time the backups were backed up or upgraded? Who's going to be able to read *those* in 30 or 40 years? How many librarians do you have on staff? What's the business case for making sure all of this happens, and who's going to do it anyway when someone in corporate can't make that business case? Where will the 2059 version of GILES MARTIN source her BEYONCÉ recordings for that year's solar system-wide reissue, and what equipment will she use to play them? What's being done in 2019 to prepare for that? What are labels doing? Publishers? Artists? You?... Speaking of metadata, JAXSTA is now in public beta. JACQUI LOUEZ SCHOORL, co-founder of the ambitious credit database, envisions it as "IMDB meets LINKEDIN meets BLOOMBERG for the music industry." More on this soon... SPOTIFY no longer wants to compete with your car radio. It wants to be your car radio... Viral hits of the humpback whales... RIP VELVEL PASTERNAK and SPENCER BOHREN. | | | - Matty Karas, curator |
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 | The Washington Post |
| To new parents, “dad rock” implies that your most adventurous listening years are behind you, when in fact, your ears have never been better primed for exploration. | | |
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 | The FADER |
| The 22-year-old rapper has already gone through multiple eras and become a generational icon. Tucked away at home in Atlanta, he says he’s growing up and making the best music of his life. | | |
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 | Rolling Stone |
| 20 years ago, Smash Mouth went into the studio to prove they weren’t a one hit wonder, and the song they recorded has been playing straight since. This is the story of “All Star,” from the band that made it. | | |
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 | Kerrang! |
| Here are the 50 bands who have defined American metal in the 2010s. | | |
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 | The New York Times |
| The pop star’s friendship with his lyricist is a major focus of the biopic. For years, they each tried not looking back. | | |
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 | Detroit Free Press |
| The Detroit rapper's session tapes may have been destroyed in a fire that claimed some of history's biggest music, but his team got copies. | | |
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 | Music Business Worldwide |
| Ian Montone, manager of Vampire Weekend, Jack White, Margo Price and many others at Monotone Inc., talks about his life, his career, and the state of the modern business. | | |
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 | Guitar.com |
| Upon its introduction in 1954, the streamlined, futuristic lines of the Stratocaster must have seemed as far away from an archtop as a space rocket was from a station wagon. Read on as we chart the development of an icon of mid-century modern design and hear from the people who witnessed its development and evolution first-hand. | | |
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 | Billboard |
| A pair of construction cranes and two unfinished skyscrapers hung over downtown Nashville's historic Ryman Auditorium and Tootsie's Orchid Lounge during the CMA Music Festival June 6-9. | | |
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 | Complex |
| The major players in the Twin Cities scene tell us where they’ve been, where they’re at, and where they’re going. | | |
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 | Interview Magazine |
| Bad Bunny talks with his friend, Spanish singer Rosalía, about acrylic nails, writing songs on planes, and his debut album, "X 100PRE." | | |
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| Rolling Stone |
| Why a nonprofit that gives retirement income advice is the sole sponsor of the group’s upcoming tour. | | |
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 | VICE |
| The Chicago White Sox are commemorating an infamous 1979 near-riot in which a primarily white crowd destroyed records made by Black and gay artists. It's shameful. | | |
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 | NPR Music |
| Seattle's music scene has produced a diverse and talented crop of up-and-coming musicians, each of whom makes bold contributions to this vibrant city. | | |
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 | Spotify for Artists |
| Mastodon, The Flaming Lips, and nothing,nowhere. talk about an artist's most important relationship. | | |
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| The New York Times |
| Her account reveals how mysterious “authentic” selves have become on social media. | | |
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 | Los Angeles Times |
| John Williams wrote a new score for Disneyland's Star Wars: Galaxy's Edge attraction, but that's just a fraction of the music that envelops you during a visit. | | |
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 | What Hi-Fi? |
| Do you know your OGG from your ALAC? | | |
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| VICE |
| Upon his long-awaited return to the United States for sold-out shows on both coasts, the 71-year-old Japanese legend reflects on a lifetime of playful experiments. | | |
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 | i-D Magazine |
| "Every time we see a push to the right politically -- as we are seeing across the globe right now -- it is preceded by a period of liberty, of advancement in civil rights, and of freedom of expression." | | |
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 | YouTube |
| | | | | | From the jazz harpist's "Soul Awakening," out now on her own label. Dedicated to my New York sister. |
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