She's not especially worthwhile only to artists but to anyone open to her way of being, anyone drawn to the power of rawness, anyone who's crackling to live their lives a bit more fearlessly, a bit more honestly.
Who needs a record company when you've got fans? With her crowdfunded album, Punk-Cabaret singer Amanda Palmer proved that the current music business is on its deathbed. She sat down with Max Tholl to talk.
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.