I am was planning on going down to Worcester today to grab a bite with the DHB cohort, so I thought I'd check up on their blog to see what's shakin'. I see this -- Indy, a "music discovery" tool -- which seems like a cool development. Basically, it's a tool to play you random music, see if you like it, if so play music that other people who liked that track also liked, and if not try something else.

While this is clearly a very early implementation, this is something that could actually work in the long run. Record labels used to do three things. Produce, Distribute and Promote. At it stands, Production and Distribution have already been largely democratized by technology. While their last remaining ace -- Promotion -- is not going to go away anytime soon, the development of "discovery" tools like this, as well as the outgrowth of social tools are going to steadily erode the ability of the majors to put products over on consumers.

Social tools include things like Mp3 blogs (a return to the oridinal DJ concept), socially oriented filesharing tools like SoulSeek (sort of a giant musical swap meet where downloading means conversation first), and the rising trend of individual music consumers seeing themselves on some level as representatives of the artists they enjoy. These cultural practices and methods are going to pick up steam over mass marketing because they're more likely to deliver a higher quality acoutsic product, and they contain a higher potential for social reward -- usually some kind of positive relationship or interaction -- as a result of their practice. On the other hand, mass promotion methods are more likely to be pimping an inferior creation and have seen their greatest social reward -- the unity that comes with being part of a mass -- steadily erode.

There used to be a time when being a part of it meant seeing it premere on MTV, and you could count on sharing those cultural touchstones with yr peers. This is the entire premise behind VH1's retrospective "I love the 60s/70s/80s" programming, remembering moments of cultural unity. However, as we move into the 90s and especially the 21st century, this type of programming is going to become increasingly problematic. As the media environment becomes more democratic, people find there's more good feeling (and good listening) in being a part of an organic community. For many, the tie that binds becomes a record store or venue rather than a hit debut video. This means diminishing returns on "hit" products, but the upshot is that with support for artists distributed more broadly, the number who actualy develop their talent and create great music increases.

This means monolithic entities (e.g. todays media megacorporations) will have to do more work -- or at least produce, distribute and promote more products -- to roll up the same number of sales; something they're poorly positioned to do. On the flip side, this also means that light, agile, independent entities (e.g. indy labels, self-managed artists, amateurs/hobbiests) will be competing on a more level playing field with the majors.

There's a kind of moral rightness (to me anyway) in this vision of media conglomorations suffering a kind of death by a thousand cuts, but the actual cultural impact is going to be pretty enormous. What does the world look like when fewer artists become rockstars, but many many more are able to earn a decent living off their craft? It could be pretty interesting.

Pop and mainstream music will continue to run strong as long as Americans continue to work as much as they do. People who hold down two jobs generally don't have time to be an active participant in a "scene." Some sort of "default culture" will still persist, though it will probably be more democratic and diverse in its own right, with people sort of following groups of quality artists who consistantly release good sounds. These followings will likely retain an association with people's tastes when they were young -- the "scene" grows up and becomes an institution.

A few final thoughts:

• As major's sales move more and more to catalog (old stuff), artists are going to get smarter about their licensing terms.
• As filesharing becomes accepted as a fact of life, the importance of touring, merch and anciliary products will increase. The Ramones fortune is based on t-shirts, not record sales. Expect more of that.
• Artists who want to 'sell out' and make big money will increasingly do it the way atheletes do: shilling for consumer products.

Getting a lot of spam in German? One of my inboxes has been. Turns out there's a new virus going around that in addition to spreading itself, also promotes a radical far-right German political group.

So this is interesting. I think it's the first time a virus has been released that promotes a political agenda. I also find it interesting in my quick attempts to research the virus that no news outlet mentions that it ONLY AFFECTS WINDOWS. I've been off the virus beat for a while, so I don't know if it's simply assumed now that all these spamtacular viri are Windows-only, or that Microsoft has been doing good PR, or if there's some specific sensitivity around this case because of the neo-nazi angle.

Just saw the Emerson BFA Film presentation. Lots of really good work. Inspiring.

My sister is a damn College graduate!

It's a small world I move in now; at a BBQ with my sister not only were her old friends there, but a girl who I'd met on friday at my birthday, and an MFA volunteer I met in NYC during the RNC. Brie's biting commentary: "It's like MySpace but in real life." It was a good little moment there.

Being on the move has brought some zip into my step. It helps me think like a revolutionary, and by making me a little bit of an observer I'm more likely to see good things. The stickers and sencils all up and down Pratt St; the shirtless wildmen working the grill; the filmmaking, householding and wild mix of different kinds of people.

It was quite a contrast with the actual commencement the next day, which I tend to think is more for the sake of the Institution and the people who support it (read: parents) than the students so much. But the Emmerson kids in general are a different breed. Reminded me of NYU's general population in somewhat disappointing ways. I like my sister's scene. It feels more robust and organic -- oddly mature compared to the kind of aura of mainstream comfort and institutional approval that floated around the college graduates.

Anyway, I'm feeling more free and easy. It's good to be on the road. It's good to meet new people. It's good to laugh and good to talk big and good to flirt with pretty girls (even when you get the heads up via [txt] that she's gulp just eighteen) and good to get a slice on the way home. I'm looking forward to really opening it up for the road. It's going to be amazing.

Party photos are up! Click any to get the page with all 28.

The party was a raging success. We demolished the comestables, including a clutch 2am air-drop of two cases of beer from none other than Jay Carson, who arrived from DC just when the keg kicked. I think everyone enjoyed. Truth is, I never really know what to do at such things, tending to run around doing whatever seems useful to help people have the best possible time, to "increase the fun," but there's something deeply life-affirming for me to wander around in the swirl of a popping social mixture.

Anyhow, thanks to the hosts who were generous enough to open their amazing loft apartment; to Andrew for being my chauffer early on; and to all who came and made it a great night. If I missed you, I'll catch you next time.

The show went over good last night. It was a big ETW reunion with pretty good vibes all around.

Party Arty tonight -- we'll have a keg and goodies; you bring friends to split a car home with. It will be fun.

Tonight. Galapogos (70 N6th St, Billzburg), 8pm: CATCH

Frank and I will be performing in the mix with a collection of other "experimental" artists. It's generally a good mix of show, so come check it out. $7; worth it.

He's one smart cat, and I particularly enjoyed his latest on the Kos, Three Chances for Progressives. It's a good overview of the opportunities which exist for progressive Americans to make big gains in the next few cycles. I particularly liked this bit:

The conservative, in the sense of having a conservative outlook, needs to be appealed to by showing how progressivism values the same things that he does: thrift, hard work, maintaining continuity, tradition, community and earning one's place. Most real conservatives would be progressives if they thought it could work. By showing them that the threat isn't cheating poor people, but people being poor because they were cheated, it changes the dynamics of the equation: most conservatives feel that they have been cheated by the outside. That's why the are conservatives.

Stoller once told me, "Imagine you've been able to predict the future for the past ten years, but no one will listen to you. That's Stirling." Well, it would seem that people are starting to pay attention now. Good thing, too.

Commenting is broken again. I'll try and figure it out. Sorry folks.