Two important but too-unsung women in media met at an idea this week: that media and advertising are becoming voluntary. Just as it becomes difficult to force people to pay for content, which is no longer scarce, it also becomes impossible to force them to see advertising.
Looking back on 2012, I don't think any year in recent memory comes close to this one in how many times I went to see live music. Here's my view of the top musical experiences I had this past year -- in no particular order.
If our most trusted digital leaders have tornado sirens going off in their heads regarding our current path between technology and its connection to the individual, what does that say about general society and our collective future?
2012 has been quite the year by all accounts. The music industry -- which is still trying to figure out what happened to its former self -- took a serious blow by the concept of crowdfunding this year. And by concept I mean runaway success.
If you can turn a blind eye to Palmer's increasing cultural ubiquity, you will be rewarded, as Theatre Is Evil both stands on its own and represents a career highlight for a musician who has tried just about everything.
She's not the only person who has ever done this. This is not, in my opinion, just a backlash against Amanda Palmer but against a whole cultural phenomenon. We live in a culture of entitlement where people are expected to work for free and be grateful for the "opportunity."
Based on recent trends, we anticipate that more and more established filmmakers, musicians and authors will turn to using the digital world as a liberating resource and vital tool for creating, marketing and distributing their work.
When Amanda Palmer climbed up on stage to play, the word YES was written on her chest in large black letters. Which kind of says it all -- in a nutshell -- about this artist, and the way she shows up in the world.