#will they release the live footage with the inevitable next album (like they did for the sunnypa event)? i hope they do~~~~~

[deus-ex-mona]

mona:

Long time no see✨

I had a rehearsal the other day to prepare for the concert!

There’s only a week left to go till I get to see you guys😳 I’m so excited💕 Are you guys looking forward to it too?👀

I’m nervous cuz it’s my first solo concert, but let’s all enjoy ourselves together, ‘kay, Monacas?💖

I’ll be thrilled if those of you who are still on the fence about attending decide to come too🥰🎀

[gayenerd]

This interview was the cover story for the 17th issue of Jaded In Chicago. It was conducted in September of 2004, several weeks prior to the release of American Idiot. It was a fitting end to the fanzine that was named after the band, as “Jaded In Chicago” references Green Day’s 1994 MTV concert special. To come full circle by interviewing the band that inspired the zine’s moniker was somewhat surreal.

With the release of American Idiot, Green Day has transcended punk rock. By crafting the first punk rock opera and fashioning what is likely the first tasteful concept album of the new millennium, they’ve provided pop punk bands everywhere with a blueprint for how to mature gracefully. Additionally, as much as American Idiot is about innovation, it’s also a return to the fundamentals of punk rock. The album sears with dissent, takes aim between the eyes of the Bush administration and contains a dangerous sense of unpredictability. It’s been ten years since Green Day was the most popular band in the world and with any luck American Idiot will allow them to recapture that title in no time. (Interview with drummer Tré Cool).

Bill – Before we talk about American Idiot, I wanted to discuss the infamous “lost” album first. About a year and a half ago, you guys recorded what was to be the follow-up to Warning, but reportedly the master tapes were stolen. What can you tell me about what happened?

Tré – We just knew that if it ever came out, we couldn’t do any of those same songs on the actual record. If somebody puts it out, like crappier versions of the songs, it’s going to totally ruin it. Plus, it happened right around the same time that Billie wrote the song “American Idiot” and most of “Holiday.” We were in the middle of working on those songs, so we just decided not to look back and we kept going forward.

Bill – I’ve read that you feel American Idiot is “maximum Green Day.” Why exactly do you feel this way?

Tré – Well, because we’re firing on all cylinders, ya know? Everything about even just being in the band now feels so right. Everything from the recording process to the live shows to our ambitions. This might sound kind of dumb, but even the clothes we’re wearing during photo shoots. It’s more together like a band.

Bill – People are certainly expecting this record to be political, but I think they’re going to be surprised when they hear how you really go for the throat with some of the lyrics. Examples of this would of course be the title track and also the breakdown section of “Holiday.” What are some of the main reasons why you’re so pissed off with this country?

Tré – It’s more like confused and jaded, if you will, (laughs). The bombardment of bullshit, fake news, like Fox News and CNN. All the reality-based shit that’s on television, stuff like Fear Factor that the government is using to keep everybody like good little sheep and not asking too many questions. It’s like how if a cop hears you use the word “terror” it basically means he can take any normal American citizen’s rights away from them. A cop can do that at his or her discretion if they think you might be a terrorist or whatnot. The whole Patriot Act. It’s like do we actually have any rights after all? We don’t have the right to a proper election, we already found that out. The fabric of our government right now is basically just made out of one hundred dollar bills that are drenched in oil. As far as this upcoming election goes, I know that John Kerry is extremely conservative and he’s nowhere near the liberal we need in the White House to clean up the mess. However, he’s not George Bush. Kerry’s money is in ketchup. Bush’s money is in oil and blood. I’d choose ketchup over that, (laughs).

Bill – How do you hope people react to these songs?

Tré – I hope they can look past the strong language and go into the meaning of it. I hope they realize there’s a bit of sarcasm. I hope they don’t feel that we’re telling them what to do. We’re just sort of pointing the fingers at ourselves, saying like “I don’t want to be an American idiot or I don’t want to be a part of this bullshit.”

Bill – Talk about the character called “Jesus of Suburbia.” What sort of journey does he embark on throughout these songs and what made you choose this type of format for your songwriting?

Tré – The album is sort of like a timeline of his life. Depending on where you’re at with your life, you probably fit somewhere on that timeline yourself. Whether it’s the “Holiday” party stage, or the “Give Me Novacaine” drug stage or the “Extraordinary Girl” being in love stage; all these different stages in life show that what paths you choose will inevitably lead you somewhere. It’s not necessarily the happiest ending in the world, but it’s pretty realistic.

Bill – Are you at all worried about some of your fans possibly being alienated by the two nine-minute rock operas found on the album?

Tré – I don’t think they’ll even notice they’re nine-minute songs. They’ll think they’re a bunch of short songs put together. It’s definitely short attention span theater. It’s not like Wilco, where they have a ten-minute song with the same drumbeat and the same chord progression. Not saying anything bad about Wilco, they’re a fine band. They’re great to relax to and drink iced tea to, (laughs). I think we’d get bored doing that. We just sort of get to the point, say what we want to say and move on to the next part of the song. The way the energy flows in the songs is sort of like the way America is now too, just so scattered. There’s a big misrepresentation of how we feel in this bullshit climate right now.

Bill – One of the most important topics you address on this record is the American media. Specifically, how it perpetuates fear amongst the public and does little to question the President’s follow-through on his promises. Do you think the average American is aware of how the wool is being pulled over their eyes?

Tré – No, not at all. Say you see some guy driving down the street with a Bush/Cheney sticker on his Chevy S-10, beat-up truck with a pair of flip-flops hanging off the back. I want to ask him, “Why the fuck are you a Republican? What’s in it for you, dude?” Bush isn’t doing a thing for those people. He’s not helping them get a better truck or put food on the table. He’s not going to give them a tax break. Republicans don’t care about you. They’re not going to try and help you in any way. They just want to use you and get your dead peasants insurance once you’re gone.

Bill – Tell me about the upcoming club dates that you have scheduled where you plan to perform American Idiot in its entirety. Who came up with the idea and what are you looking forward to most about it?

Tré – I’d credit Pete Townshend with the idea. We’ve always admired The Who and their lack of inhibition as far as going for whatever crazy idea they had. As crazy as something like Tommy was when it was just a small idea, compared to what it’s become now, it’s pretty insane. They did A Quick One, where they played that live. That was a quick one, but ours is an hour. Basically, we just want to kick The Who’s ass. I listened to Who’s Next yesterday, which a lot of people are comparing American Idiot to. We totally got them beat. I’ve always aspired to be as good of a drummer as Keith Moon and I think I’ve fuckin’ passed by him on this record.

Bill – Roughly ten years ago, Dookie was released and went on to sell over ten million copies and become one of the most notable albums of the ‘90s. A decade later, I think you’ve constructed in American Idiot what is arguably your strongest record yet. Is there anything specific that you hope American Idiot accomplishes?

Tré – Yeah, I think it’s about time that people think of Green Day in a different light. We’re not snot-nosed kids anymore, we’re men now. I want people to think of us more as one of the mainstay supergroups of today. I’m not asking for too much, (laughs). We’re superheroes in our own minds. We think we’re really cool, why doesn’t everybody else?

Bill – What was the weirdest thing about being the biggest band in America in 1994?

Tré – I don’t think we really had time to enjoy it when it was happening. We were just trying to pay our rent and be able to make records for the rest of our lives. We didn’t know anything like that was ever going to happen. It sort of freaked us out a bit, but at the same time I was kind of busy just moving and doing it. We didn’t have time to look back since we were doing so much. By the time we had taken a break to make Insomniac it was like, “Do you guys know what you just did?” We were like, “Oh…shit.”

Bill – Earlier this year, Thick Records released the Out of Focus DVD, which featured live Green Day footage circa 1992. What are some of your favorite memories from playing at McGregor’s in Elmhurst, Illinois?

Tré – Demetri. Demetri was this male stripper that came onstage for some girl’s birthday at McGregor’s one night. They had her sit in this chair and the stripper did his thing for her. It was fuckin’ hilarious. In the middle of our show too. We took a timeout and let her get her strip on. I think that was the last time we played McGregor’s actually. I remember seeing State Street and I remember taking acid in Chicago. I remember going to the lake and wondering why all the fish were dead. I was inside Buckingham Fountain too. It was real hot out and I got in there during the Blues Fest. There were like a million people down there, but just one in the fountain. Of course this cop was like, “Get the fuck out of there! What are you thinking?” I was like, “I don’t know. I’m fried, dude.”

Bill – Do you have any comments regarding the rumors connecting members of Green Day to the mysterious band known as The Network?

Tré – The only connection is that their record was on Adeline, which is a label run by Billie Joe’s wife. That’s a few degrees of separation if you ask me. I think they’re getting a lot of mileage out of telling people they’re Green Day or pretending to be Green Day. The Network is not Green Day. Bastards.

Bill – Growing up I know that bands like the Ramones and The Who were very influential for you. What’s it like to now be one of the biggest influences on an entire generation of punk bands?

Tré – It’s kind of wild. Especially when younger bands meet you and they’re all nervous and stuff. You sort of get a little paternal with it, like “Ah…my children.” I feel like Michael Landon from Little House on the Prairie.

Bill – What has been the hardest part about achieving all the success you’ve attained?

Tré – I think you can pretty much choose what you want to deal with. You can choose for it to be difficult or you can enjoy it. It’s kind of up to the person.

Bill – After seven albums, what aspects of punk rock are still fresh and exciting to you?

Tré – I like seeing new bands. Bands that aren’t carbon-copied pop punk bands. Bands like Dillinger Four fuckin’ excite me. I think the Rock Against Bush compilation is a pretty damn good CD. There are some older bands on there that are still going strong and some younger bands that are real fresh and exciting too.

Bill – What does the future hold for Green Day?

Tré – I think whatever we put out next has got to be really fuckin’ good. After American Idiot we set the bar so high. It’s kind of like, “Now what are we going to do?”

[0100100100101101]

There’s a revolution afoot, and you will know it by the stripes.

Earlier this year, a group of Berkeley researchers released a pair of videos. In one, a horse trots behind a chain link fence. In the second video, the horse is suddenly sporting a zebra’s black-and-white pattern. The execution isn’t flawless, but the stripes fit the horse so neatly that it throws the equine family tree into chaos.

Turning a horse into a zebra is a nice stunt, but that’s not all it is. It is also a sign of the growing power of machine learning algorithms to rewrite reality. Other tinkerers, for example, have used the zebrafication tool to turn shots of black bears into believable photos of pandas, apples into oranges, and cats into dogs. A Redditor used a different machine learning algorithm to edit porn videos to feature the faces of celebrities. At a new startup called Lyrebird, machine learning experts are synthesizing convincing audio from one-minute samples of a person’s voice. And the engineers developing Adobe’s artificial intelligence platform, called Sensei, are infusing machine learning into a variety of groundbreaking video, photo, and audio editing tools. These projects are wildly different in origin and intent, yet they have one thing in common: They are producing artificial scenes and sounds that look stunningly close to actual footage of the physical world. Unlike earlier experiments with AI-generated media, these look and sound real.

The technologies underlying this shift will soon push us into new creative realms, amplifying the capabilities of today’s artists and elevating amateurs to the level of seasoned pros. We will search for new definitions of creativity that extend the umbrella to the output of machines. But this boom will have a dark side, too. Some AI-generated content will be used to deceive, kicking off fears of an avalanche of algorithmic fake news. Old debates about whether an image was doctored will give way to new ones about the pedigree of all kinds of content, including text. You’ll find yourself wondering, if you haven’t yet: What role did humans play, if any, in the creation of that album/TV series/clickbait article?

A world awash in AI-generated content is a classic case of a utopia that is also a dystopia. It’s messy, it’s beautiful, and it’s already here.

Currently there are two ways to produce audio or video that resembles the real world. The first is to use cameras and microphones to record a moment in time, such as the original Moon landing. The second is to leverage human talent, often at great expense, to commission a facsimile. So if the Moon descent had been a hoax, a skilled film team would have had to carefully stage Neil Armstrong’s lunar gambol. Machine learning algorithms now offer a third option, by letting anyone with a modicum of technical knowledge algorithmically remix existing content to generate new material.

At first, deep-learning-generated content wasn’t geared toward photorealism. Google’s Deep Dreams, released in 2015, was an early example of using deep learning to crank out psychedelic landscapes and many-eyed grotesques. In 2016, a popular photo editing app called Prisma used deep learning to power artistic photo filters, for example turning snapshots into an homage to Mondrian or Munch. The technique underlying Prisma is known as style transfer: take the style of one image (such as The Scream) and apply it to a second shot.

Now the algorithms powering style transfer are gaining precision, signalling the end of the Uncanny Valley—the sense of unease that realistic computer-generated humans typically elicit. In contrast to the previous somewhat crude effects, tricks like zebrafication are starting to fill in the Valley’s lower basin. Consider the work from Kavita Bala’s lab at Cornell, where deep learning can infuse one photo’s style, such as a twinkly nighttime ambience, into a snapshot of a drab metropolis—and fool human reviewers into thinking the composite place is real. Inspired by the potential of artificial intelligence to discern aesthetic qualities, Bala cofounded a company called Grokstyle around this idea. Say you admired the throw pillows on a friend’s couch or a magazine spread caught your eye. Feed Grokstyle’s algorithm an image, and it will surface similar objects with that look.

“What I like about these technologies is they are democratizing design and style,” Bala says. “I’m a technologist—I appreciate beauty and style but can’t produce it worth a damn. So this work makes it available to me. And there’s a joy in making it available to others, so people can play with beauty. Just because we are not gifted on this certain axis doesn’t mean we have to live in a dreary land.”

At Adobe, machine learning has been a part of the company’s creative products for well over a decade, but only recently has AI become transformative. In October engineers working on Sensei, the company’s set of AI technologies, showed off a prospective video editing tool called Adobe Cloak, which allows its user to seamlessly remove, say, a lamppost from a video clip—a task that would ordinarily be excruciating for an experienced human editor. Another experiment, called Project Puppetron, applies an artistic style to a video in real time. For example, it can take a live feed of a person and render him as a chatty bronze statue or a hand-drawn cartoon. “People can basically do a performance in front of a web cam or any camera and turn that into animation, in real time,” says Jon Brandt, senior principal scientist and director of Adobe Research. (Sensei’s experiments don’t always turn into commercial products.)

Machine learning makes these projects possible because it can understand the parts of a face or the difference between foreground and background better than previous approaches in computer vision. Sensei’s tools let artists work with concepts, rather than the raw material. “Photoshop is great at manipulating pixels, but what people are trying to do is manipulate the content that is represented by the pixels,” Brandt explains.

That’s a good thing. When artists no longer waste their time wrangling individual dots on a screen, their productivity increases, and perhaps also their ingenuity, says Brandt. “I am excited about the possibility of new art forms emerging, which I expect will be coming.”

But it’s not hard to see how this creative explosion could all go very wrong. For Yuanshun Yao, a University of Chicago graduate student, it was a fake video that set him on his recent project probing some of the dangers of machine learning. He had hit play on a recent clip of an AI-generated, very real-looking Barack Obama giving a speech, and got to thinking: Could he do a similar thing with text?

A text composition needs to be nearly perfect to deceive most readers, so he started with a forgiving target, fake online reviews for platforms like Yelp or Amazon. A review can be just a few sentences long, and readers don’t expect high-quality writing. So he and his colleagues designed a neural network that spat out Yelp-style blurbs of about five sentences each. Out came a bank of reviews that declared such things as, “Our favorite spot for sure!” and “I went with my brother and we had the vegetarian pasta and it was delicious.” He asked humans to then guess whether they were real or fake, and sure enough, the humans were often fooled.

With fake reviews costing around $10 to $50 each from micro-task marketplaces, Yao figured it was just a matter of time before a motivated engineer tried to automate the process, driving down the price and kicking off a plague of false reviews. (He also explored using neural nets to defend a platform against fake content, with some success.) “As far as we know there are not any such systems, yet,” Yao says. “But maybe in five or ten years, we will be surrounded by AI-generated stuff.” His next target? Generating convincing news articles.

Progress on videos may move faster. Hany Farid, an expert at detecting fake photos and videos and a professor at Dartmouth, worries about how fast viral content spreads, and how slow the verification process is. Farid imagines a near future in which a convincing fake video of President Trump ordering the total nuclear annihilation of North Korea goes viral and incites panic, like a recast War of the Worlds for the AI era. “I try not to make hysterical predictions, but I don’t think this is far-fetched,” he says. “This is in the realm of what’s possible today.”

Fake Trump speeches are already circulating on the internet, a product of Lyrebird, the voice synthesis startup—though in the audio clips the company has shared with the public, Trump keeps his finger off the button, limiting himself to praising Lyrebird. Jose Sotelo, the company’s cofounder and CEO, argues that the technology is inevitable, so he and his colleagues might as well be the ones to do it, with ethical guidelines in place. He believes that the best defense, for now, is raising awareness of what machine learning is capable of. “If you were to see a picture of me on the moon, you would think it’s probably some image editing software,” Sotelo says. “But if you hear convincing audio of your best friend saying bad things about you, you might get worried. It’s a really new technology and a really challenging problem.”

Likely nothing can stop the coming wave of AI-generated content—if we even wanted to. At its worst, scammers and political operatives will deploy machine learning algorithms to generate untold volumes of misinformation. Because social networks selectively transmit the most attention-grabbing content, these systems’ output will evolve to be maximally likeable, clickable, and shareable.

But at its best, AI-generated content is likely to heal our social fabric in as many ways as it may rend it. Sotelo of Lyrebird dreams of how his company’s technology could restore speech to people who have lost their voice to diseases such as ALS or cancer. That horse-to-zebra video out of Berkeley? It was a side effect of work to improve how we train self-driving cars. Often, driving software is trained in virtual environments first, but a world like Grand Theft Auto only roughly resembles reality. The zebrafication algorithm was designed to shrink the distance between the virtual environment and the real world, ultimately making self-driving cars safer.

These are the two edges of the AI sword. As it improves, it mimics human actions more and more closely. Eventually, it has no choice but to become all too human: capable of good and evil in equal measure.

[caredogstips]

How Pandora, Bandcamp, and others plan to change your listening garbs

Streaming services were once decreed a death knell for the music business. But those very fellowships converged upon South by Southwest( SXSW) this month to try to mold the industry in their imageand, in the process, save it.

As these platforms, Web works, and apps jostled for ground in Austin, Texas, they likewise battled with an existential crisis: Forget royalty payouts or the perils of free on-demand listeningit is about to change shoppers are entitled, ever-changing buyers whose needs and challenges alteration like a playlist on shuffle. How do you consistently dish that inconsistent gathering?

For decades the music economy could lean on its superfans. Theyd spread the word with sidekicks, splurge for merch, and buy different publications of the same record. But yesterdays obsessive importation vinyl fetishist is increasingly becoming todays monthly Spotify subscriber.

Yesterdays obsessive import vinyl fetishist is increasingly becoming todays monthly Spotify subscriber .

At a SXSW panel, former Rhapsody exec Jon Maples mourned the decline of these big spender, who used to buy a lot of content. And now they get it for a define cost of 10 bucks a few months.

Increasingly, he spoke, Spotify and its fortune are more about whats next than observing bands and songs to explore and obsess over. The good information, he remarked, is the data shows you have more various forms of listening than ever before.

Marisol Segal, who helped launch Rdio in 2010, blamed streaming music business. You establish technology in this realm and its flow like a technology companionship, she remarked, and thats acquired her check out from the Internets buffet of services.

And thats the audience to observe. The names and the music manufacture are watching very carefully what prototype harvests the most fund, Pandoras Chief Product Officer Christopher Phillips told the Daily Dot. We allwant to pay artists more fund. Its not clear what simulation works best.

If there was a consensus coming out of the SXSW void, that was it.

A crowded sandbox

Pandora isnt sweating the uncertain times. It has a plan.

Ramon Ramirez

Were with them in the morning, at work, in the workout, at nightpeople invest a lot of occasion with the app, Phillips remarked. The median customer, he answered, wastes 22 hours a month streaming Pandora.

With that in its pocket, Pandora can move into stumping for creators and leading head-to-head with Spotify. Phillips said the 16 -year-old streaming monstrous is on the eve of debuting more bells and whistles, too: In the last year, its acquired international opponent Rdio, concert programme Ticketfly, and the predictive algorithms of Next Big Sound.

Phillips supposed Pandora is also haunting direct treats for its own on-demand representation. At SXSW, Pandora booked the Gatsby and livestreamed performances from trending and diverse identifies like Young Thug, Yacht, and Troye Sivan. In terms of curating exciting notions, thats a big tastemaking win.

But their sandbox continues crowded and contentious.

Its not a one-app-wins-all occasion .

Its not a one-app-wins-all happen, Phillips suggested, before memorandum the chasm between Pandora and Spotify: certainly does restrict, and if you want that see, you have to pay.

Not everyone agrees. Spotify consumer are able to access a vast library and torrent anything with the services offered free, ad-supported model. Overwhelmingly, the majority of members of Spotifys usersas numerous as 75 percentare fine with this version.

( Its been, well, messy. On Monday Spotify announced it contacted 30 million paid subscribersjust as it set a $30 million lawsuit with the National Music Publishers Association for unpaid royalties during SXSW .)

If other services are successful over the long run to keep the ability of free on-demand, well have to address that, Phillips pronounced. But we repute the creator got to go require more.

A most perfect confederation

Music is a consumers tournament. If youre a clique or creator, that entails constructing an audience is trickier than ever. Ten years ago youd upload four tracks to Purevolume or Myspace and badger your Facebook friends to hear a prove.

Now you need a niche.

Bandcamps community-driven bazaar is where you probably want to start. Like SoundCloudwhich is reportedly in financial tribulation, planning a subscription streaming service, and unlike its past did not invest in a high-profile pop-up concert venue at SXSWBandcamp is vast acres of mp3s.

At Bandcamp we consider a somewhat different point of view, Bandcamp Chief Curator Andrew Jervis said during the Ephemeral Now board. We feel that the master should be a little bit more in control, and as a love you pay them directly.

Jervis said that over at Bandcamp, CD sales were up 10 percent, vinyl auctions up 40 percentage, and cassette sales 50 percent last year. Were clearly identifying people want to buy something tangible, Jervis said.( Indeed, vinyl marketings outpaced streaming service income in 2015, according to recent data released by the Recording Industry Association of America .)

Ramon Ramirez

Bandcamp has a social networking angle, too, where one can follow friend love and revel in niche recommendations. Jervis said this model accountings for 20 percentage of Bandcamps total sales. And such matters, Jervis maintained, because theres a disparity between the number of seasons something gets streamed and when it actually goes purchased.

Maybe pulpits need to do a better undertaking of tying things together, Jervis said. If you put your music on a streaming service where there is no option to buy youve missed your 500,000 opportunities.

He persisted: These companies that want to offer everything to everyone at the same duration cant have everything at the same age because they havent constructed that community.

Beyond the album

For followers online, BitTorrent incites heated, homely memories of using its haul protocol to plagiarize books from the Pirate Bay. But the company was at SXSW remixing the future of distribution.

At BitTorrent that symbolizes repurposing albums as downloadable Bundles. The fellowship worked with masters like Thom Yorke, Moby, and Raekwon to deliver licensed artwork via peer-to-peer filesharing. Attack an Internet underground of BitTorrents 170 million useds, chairman of content programme at BitTorrent Straith Schreder told the Daily Dot, and youll find an gathering as a musician.

What is an album after the Internet? What is a label after names ?

BitTorrent calls its pay-gated Bundle a direct-to-fan publishing programme. Here, parties and creators retain 90 percentage of incomes, plus the digital metrics like email addresses needed to organize a base.

Think about a wrap or a flow as something thats much more akin to vinyl: It can hold anything. It can be music, it can be art, it can be liner greenbacks, Schreder announced, drawn attention to another business quandary: What is an book after the Internet? What is a label after names?

Among the big hounds, Pandora can also make a strong case for being the most artist-friendly. Its new AMP( artist marketing programme) assistance for party gives analytics and helps indie creators upload music to its servers. Phillips said that with Pandoras recent expansion, its become one large-hearted A& R patronize. And he used to say necessitates it can organically feed the ecosystem through its various dispensaries, in addition to solving problems like getting beings out to shows.

We use humen for excellence, machines for proportion, Phillips said. We repute the combination is what matters.

Remixing the future

SXSW 2016 brought with it a reenergized focus on live music and reaching passive listeners go out on a Tuesday. Video-production apps like Baeable exist to document and stash live footage, then present it virtually the channel an ESPN app presents scores. Music startups like Festivus, Jamwar, Mixd, Tipcow, and Tunesmap too work to augment the live route( and indicated up to schmooze at SXSW ).

Spotify, YouTube, Pandora, and Mazdas Hype Hotel invested in orchestrating must-see times, then saving that footage to package and stream subsequently.( Samsung, MTV, and even McDonalds, of the all-day breakfast sandwiches, did so as well .)

Ramon Ramirez

At the Spotify House, videos touted upcoming original webseries, including information from Snapchat king DJ Khaled. At YouTubes pop-up warehouse down at the Coppertank, its nascent YouTube Music app was on display for a three-day private concert succession. The busines tracks your streaming wonts and beams in tailor-made playlists, and its tremendous digital library is something of a trump card.

Its not streaming; you have to go and do it .

The YouTube concert by Future was downright crucial: expertly curated as a pivotal showcase for one of raps most dominant krakens. I left wanting to immediately stream his live act of subversively political chant March Madness, which represents I fell hook, pipeline, and sinker.

But of all the ideas trying to convert streaming followers into an IRL economy, Jukelys was the most amusing: Netflix, but for concerts.

With a monthly subscription one gets access to a bank of tickets. You can theoretically go out every night of the month, and use it for any of the 17 cities the service operates in. You can upgrade to a plus-one alternative, and sometimes there are private members-only testifies.

Its not streaming; you have to go and do it, Jukely Head of Business Development Sarah Weiss told the Daily Dot.

Thats the rob, determining new music by having to go and see it: We are trying to encourage people on the discovery area, Weiss replied. In that practice, the industrys virtually come full-circle in the interrelationship with streamingalmost.

But big music streaming is an inevitable example, BitTorrents Schreder imagines. The real question for everyone in townfrom the exec at YouTube, Spotify, and Pandora flexing their muscle with private concerts and open rails, to new minors accompanying meetings like Your Music Startup Sucks that may or may not be here next yearwas how do you change its own experience of listening?

How do we move that meaningful? Schreder alleged. How does that become part of the idiom of streaming?

For now, at the least, the jurys still out.

Illustration by Max Fleishman

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