Recent Report on AI Music

Total Page:16

File Type:pdf, Size:1020Kb

Recent Report on AI Music thereport ISSUE 425 | 25 NOVEMBER 2019 AIs on the prize What will AI-generated music and machine-learning tools for creators really mean for our industry? 1 ISSUE 425 25.11.19 AI REPORT ive years ago, music:)ally encountered “There is a growing realisation that our first startup creating music with one: this is inevitable. Two: that this can artificial-intelligence (AI) technology, be used positively. And three: that if this is when British firm Jukedeck won a inevitable, and if it can be used positively, Fpitch contest at the Le Web conference in then there’s almost an onus on potential Paris. partners to lean in and get involved, so that Drawing on decades of academic they have a seat at the table, and influence research into both machine-intelligence on where this goes,” says Drew Silverstein, and musicology, the company’s aims were CEO of Amper Music. initially modest: to help people create music “If I were a larger business focused on for use in YouTube videos and other digital- content creation – musical or non-musical media projects. – I would have at the top of my priority list Since then, Jukedeck has been joined ‘How do we engage with AI music?’ You can by a host of other startups exploring the partner, build, buy or do nothing. But the role that AI might play in music creation, worst thing you can do is to do nothing.” from fully ‘AI-created’ music to tools for One important point, before you read this human artists driven by machine-learning report: music-creation is just one aspect of and neural networks. Bigger technology how artificial-intelligence technology can be companies like Google, OpenAI and even used by the music industry. Facebook have also published research Machine-learning, for example, is and tools. well established as a tech that can Any kind of automation in music-making power better, more personalised music has historically been controversial. Past recommendations. Meanwhile startups like arguments about whether synthesizers or Musiio and FeedForward are deploying it for drum machines would put human musicians the purposes of analysing and tagging big out of work (or whether tracks using these catalogues of music, to solve the problem of tools even counted as ‘proper’ music) reflect AIs on the prize un-futureproofed metadata. current sensitivities around AI. What will AI-generated music and machine-learning music:)ally will continue to cover these Yet in 2019, music:)ally has spotted and other uses for AI technologies within our some constructive engagement with these tools for creators really mean for our industry? industry, but for this report, we’re isolating technologies. Artists like Holly Herndon the music creation part of the puzzle. and Yacht have talked about how they used robots somehow replacing us,” says Lydia from industry-backed accelerators and “Like all new things, people AI as a creative collaborator on their latest Gregory, CEO of FeedForward AI, and incubators (Techstars Music and Abbey overestimate its impact in the short term, albums – finally providing evidence for the previously head of growth at Jukedeck. Road Red in particular). and underestimate its impact in the long ‘AI won’t replace artists, it’ll be a creative “But in the generative-music space, artists “I would be surprised if there are term,” says Stephen Phillips, CEO of tool for them’ theory that the startups have are working with it, exploring how we can any executives at any significant music startup Popgun. always expounded. work with this technology to do new things, companies that are not aware of what’s This report is our attempt to address “There’s this connotation of ‘robots rather than just focusing on the existential, happening in this space. And I think there’s an some of those imbalances and spark more- report making music’, with the stock images – nihilistic questions.” effort, in some cases, to turn that awareness constructive discussions about what this there’s one of a robot playing a trumpet! The industry is leaning in, too, nudged into action,” says Alex Mitchell, CEO of one of technology is capable of, by focusing in on They play in to these deep-rooted fears of by the engagement with AI startups the newest startups in this field, Boomy. eight talking points. :) the 2 ISSUE 425 25.11.19 AI REPORT the BPI, Jukedeck’s CEO reveals that Amper Music – whose product is similar to its software has already been used to Jukedeck’s – raises $4m of funding from a The timeline of compose more than 500,000 tracks. group of VC firms. Jan 2017 Apr 2017 A veteran of generative music, Brian Eno, British startup AI Music joins the Abbey Road releases his new album ‘Reflection’ as an Red accelerator in London. Its technology app that “creates an endless and endlessly uses AI not to create original music, but to modern AI music changing version”. ‘shapeshift’ existing songs. e say ‘modern’ deliberately: May 2017 the theoretical work behind Google shows off another new project: AI-created music and NSynth. It’s a ‘neural synthesizer’ capable music-making tools goes of creating new sounds and instruments for Wback decades, while Brian Eno coined musicians to play with. the related term ‘generative’ music in the 1990s, when he was making it, not just Jun 2017 talking about the idea of it. Australian startup Popgun comes out of Still, the recent history of AI music and stealth mode in a music:)ally interview its engagement with the music industry revealing its Alice AI, which like Google’s A.I. kicks off five years ago, and a music:)ally Duet can play piano with humans. bulletin story about the latest intriguing- sounding music-tech startup... Jul 2017 It emerges that the head of Sony CSL in Dec 2014 Paris (of ‘Daddy’s Car’ fame), Francois British startup Jukedeck wins the startup Jukedeck Pachet, has quietly joined Spotify to focus on contest at the high-profile Le Web ‘creator tools’. conference in Paris, although its service is still in ‘early-access’ mode. Sep 2016 Feb 2017 Aug 2017 Sony’s Computer Science Laboratories Google shows off a project called A.I. Duet, Musician Taryn Southern reveals an album Dec 2015 (CSL) in Paris unveils two songs – Daddy’s which gets people playing piano duets with called ‘I AM AI’ for which she used several Jukedeck officially launches, having raised Car and Mr Shadow – created by a an AI. It’s part of the tech giant’s Magenta different AI-music tools to create the seeds $2.6m of funding. People can use its collaboration of AI and humans. initiative. for songs. software to make five tracks a month for free before they have to pay. Oct 2016 Feb 2017 Feb 2018 A Twitter bot called LnH AI makes headlines AI-music startups Amper Music and Popgun music:)ally spots a new AI-music startup, Sep 2016 in the tech press by composing metal, blues are among the participants in the first Mubert, which has launched a mood- Google’s DeepMind AI subsidiary reveals or jazz songs on demand for people who Techstars Music accelerator, along with music iOS app based on an algorithm that that it’s been working on a technology called tweet it requests. adaptive-music firm Weav. “composes infinite music that never stops”. report WaveNet, with capabilities including music creation. Nov 2016 Mar 2017 Feb 2018 At an event hosted by music:)ally and Hot on the heels of its Techstars news, Jukedeck collaborates with Korean music the 3 ISSUE 425 25.11.19 AI REPORT company Enterarts on some tracks and a Sep 2018 with Amadeus Code: a tool to write songs for Feb 2019 live concert, which sees K-Pop songwriters Amazon’s startups investment program, musicians and non-musicians alike. AI Music (the company) releases its first and producers using its technology. Alexa Accelerator, adds startup Endel, which consumer app, Ossia, which shows off creates “personalised sound environments Jan 2019 how its technology works by creating new Feb 2018 to help you focus and relax”. We find out what Amper Music meant remixes of songs on the fly for listeners. Popgun announces a seed-round of funding by ‘enterprise’ – it strikes a deal for from Silicon Valley VC firm Khosla Ventures, Nov 2018 Tencent Music to deploy its B2B AI-music Mar 2019 as well as Techstars Ventures, promising to Popgun reveals that its tech has progressed composition technology for users of its QQ Another new startup, Boomy, opens up its “create awesome original pop songs”. a lot: it can now play guitar, bass and piano Music service. private beta. It’s a tool for people to have “and each one of those AIs can listen to one original music created for them, by inputting Mar 2018 another and play together” Feb 2019 certain parameters. Amper Music announces another $4m Abbey Road Red adds another AI-music funding round, led by Horizons Ventures – Nov 2018 startup, LifeScore, whose co-founder and Mar 2019 whose previous investments include Spotify German startup Melodrive launches the CTO is Tom Gruber – previously co-founder Google reveals its latest AI-music project: an and DeepMind. beta version of its AI-generating music of the startup that created Apple’s Siri voice AI-powered ‘doodle’ for its search homepage engine for games developers, capable assistant. celebrating Johann Sebastian Bach. Mar 2018 of creating music in real-time to match Japanese startup Amadeus Code launches gameplay. Feb 2019 Mar 2019 an ‘AI songwriting assistant’ app that’s Startup Ecrett Music launches its service Endel makes headlines for becoming the designed to create seeds of songs for Jan 2019 for video creators, using AI to create first AI ‘signed to a label deal’ – although songwriters, or just nudge them out of Startup WaveAI launches a mobile app background-music tracks – the same model that’s quickly rowed back on, since the writer’s block.
Recommended publications
  • An Annotated Bibliography of Current Research in the Field of the Medical Problems of Trumpet Playing
    AN ANNOTATED BIBLIOGRAPHY OF CURRENT RESEARCH IN THE FIELD OF THE MEDICAL PROBLEMS OF TRUMPET PLAYING D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University By Mark Alan Wade, B.M., M.M. ***** The Ohio State University 2008 Document Committee: Professor Timothy Leasure, Adviser Approved by Professor Alan Green Dr. Russel Mikkelson ________________________ Adviser Graduate Program in Music ABSTRACT The very nature of the lifestyle of professional trumpet players is conducive to the occasional medical problem. The life-hours of diligent practice and performance that make a performer capable of musical expression on the trumpet also can cause a host of overuse and repetitive stress ailments. Other medical problems can arise through no fault of the performer or lack of technique, such as the brain disease Task-Specific Focal Dystonia. Ailments like these fall into several large categories and have been individually researched by medical professionals. Articles concerning this narrow field of research are typically published in their respective medical journals, such as the Journal of Applied Physiology . Articles whose research is pertinent to trumpet or horn, the most similar brass instruments with regard to pitch range, resistance and the intrathoracic pressures generated, are often then presented in the instruments’ respective journals, ITG Journal and The Horn Call. Most articles about the medical problems affecting trumpet players are not published in scholarly music journals such as these, rather, are found in health science publications. Herein lies the problem for both musician and doctor; the wealth of new information is not effectively available for dissemination across fields.
    [Show full text]
  • Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
    Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes.
    [Show full text]
  • My Bloody Valentine's Loveless David R
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63
    [Show full text]
  • CCRMA Fall Concert 2013
    Romain Michon is a PhD candidate at CCRMA. After graduating from two bachelors in Musicology and Computer Science in Ireland and in France, he completed a Department of Music Stanford University Masters degree in computer music at the university of Lyon (France). He worked as an engineer in several research center in computer music such as the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), the Groupe de Recherche en Acoustique et en Musique Electronique (GRAME) and the Centre Interdisciplinaire d'Etudes et de Recherches sur l'Expression Contemporaine (CIEREC). Romain’s research interest mainly focuses on digital signal processing, mobile platform and web-technology for music. CCRMA Tim O'Brien is a second year Masters student at CCRMA. His interests include signal processing, progressive rock, and interesting noises. Prior to Stanford, Tim composed and preformed with various bands in New York. He holds a B.S. in physics from the University of Virginia. Fall Concert Rufus Olivier Jr.: a student of David Briedenthal of the Los Angeles Philharmonic. Member, Stanford Woodwind Quintet. Principal bassoonist of the San Francisco Opera Orchestra and S.F. Ballet Orchestra formerly with Los Angeles Philharmonic and San Francisco Symphony. International soloist and recording artist. Teaches at Mills College and Stanford University. Leland C. Smith was born in Oakland, California in 1925. He began composing in 1938 and first studied with Darius Milhaud at age 15. He did some dance band work and then served in a Navy band (and combo) for two and a half years. He studied with Roger Sessions in Berkeley, where he served as his assistant, and received his B.A.
    [Show full text]
  • (At) Miracosta
    The Creative Music Recording Magazine Jeff Tweedy Wilco, The Loft, Producing, creating w/ Tom Schick Engineer at The Loft, Sear Sound Spencer Tweedy Playing drums with Mavis Staples & Tweedy Low at The Loft Alan Sparhawk on Jeff’s Production Holly Herndon AI + Choir + Process Ryan Bingham Crazy Heart, Acting, Singing Avedis Kifedjian of Avedis Audio in Behind the Gear Dave Cook King Crimson, Amy Helm, Ravi Shankar Mitch Dane Sputnik Sound, Jars of Clay, Nashville Gear Reviews $5.99 No. 132 Aug/Sept 2019 christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu Hello and welcome to Tape Op 10 Letters 14 Holly Herndon 20 Jeff Tweedy 32 Tom Schick # 40 Spencer Tweedy 44 Gear Reviews ! 66 Larry’s End Rant 132 70 Behind the Gear with Avedis Kifedjian 74 Mitch Dane 77 Dave Cook Extra special thanks to Zoran Orlic for providing more 80 Ryan Bingham amazing photos from The Loft than we could possibly run. Here’s one more of Jeff Tweedy and Nels Cline talking shop. 83 page Bonus Gear Reviews Interview with Jeff starts on page 20. <www.zoranorlic.com> “How do we stay interested in the art of recording?” It’s a question I was considering recently, and I feel fortunate that I remain excited about mixing songs, producing records, running a studio, interviewing recordists, and editing this magazine after twenty-plus years. But how do I keep a positive outlook on something that has consumed a fair chunk of my life, and continues to take up so much of my time? I believe my brain loves the intersection of art, craft, and technology.
    [Show full text]
  • The Sculpted Voice an Exploration of Voice in Sound Art
    The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional
    [Show full text]
  • Kompakt Putting a Face to Europe in North Africa: Why the EU Needs
    DGAPanalyse kompakt Prof. Dr. Eberhard Sandschneider (Hrsg.) Juni 2011 N° 5 Otto Wolff-Direktor des Forschungsinstituts der DGAP e. V. ISSN 2191-4869 Putting a Face to Europe in North Africa: Why the EU needs a Special Representative to respond to the Arab Spring by Cornelius Adebahr and Almut Möller Juni 2011 | DGAPanalyse kompakt | Nr. 5 Putting a Face to Europe in North Africa: Why Titel the EU needs a Special Representative to Untertitel respond to the Arab Spring Autor Einleitung Cornelius Adebahr and Almut Möller1 Text The European Union and its member states continue to struggle to find a response to the Arab Zwischentitel Spring. Surprised by the force of events that unrolled on their front porch, spreading from Tunisia across North Africa and the Middle East, the EU has since been digging through its toolbox. Past policy approaches had little impact on the area’s regimes, if anything doing more to support them than reform them. So it makes sense that the EU is now looking to counter its lack of credibility with the new movements and powers of reform in the southern Mediterranean area by strongly reorienting its policies. To this end, the EU should utilize one of its established and successful for- eign policy instruments and name an EU Special Representative (EUSR) for North Africa. The Special Representative— for the deployment of the EUSR—to guarantee an An Old Model that Still Works EU foreign policy presence in addition to the Com- mission’s representation—has since become moot. Since their introduction about a decade and a half However, a large part of the foreign policy person- ago the EUSRs have made a significant, though nel in Brussels has come to a consensus that Special often unnoticed, contribution to building an active Representatives are still indispensable for regional and integrated EU foreign policy.
    [Show full text]
  • Popular Music in Germany the History of Electronic Music in Germany
    Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop.
    [Show full text]
  • Nightlight: Tradition and Change in a Local Music Scene
    NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene.
    [Show full text]
  • PARIS 2015 TERM 1 October 25 — November 6
    Red Bull Music Academy Application Info PARIS 2015 TERM 1 October 25 — November 6 TERM 2 November 15 — November 27 APPLY January 21 — March 4 Go to redbullmusicacademy.com to find everything you need to apply for the Red Bull Music Academy in Paris. WHAT IS THE ACADEMY? Since 1998, the Red Bull Music Academy has exercise in pulling people from every corner devoted itself to bringing talent and ideas together of the globe together under one roof — and then in inspiring places. Each and every year, this creating a dialogue that continues long after meeting of minds sees 60 selected participants the Academy ends. collaborate and share with one another, as well as listen to the stories and sounds of pioneering What participants learn at the Academy is that, musical figures — special guest speakers whose while our languages and experiences may footsteps we continue to walk in. vary, what everyone has in common is a desire to explore music’s weird and wonderful ability At each Academy, the past and the present to communicate. You don’t need to be able to play meet to identify and explore future possibilities a dozen instruments, build a synth from scratch, in sound — in the custom-built studios working or know every lyric Björk has ever written. on new music, on the RBMA Radio airwaves, You don’t need to have released music on a label, and on the dancefloors of our month-long run or headlined a stage. But if the idea of being of club and live events in the city’s finest venues.
    [Show full text]
  • Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
    Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music.
    [Show full text]
  • Age of Displacement As the U.S
    CHICAGO’SFREEWEEKLYSINCE | FEBRUARY | FEBRUARY CHICAGO’SFREEWEEKLYSINCE Mayoral Spotlight on Bill Daley Nate Marshall 11 Aldermanic deep dives: DOOR TO DOOR IN THE 25TH Anya Davidson 12 THE SOCIALIST RAPPER IN THE 40TH Leor Galil 8 INSIDE THE 46TH Maya Dukmasova 6 Astra Taylor asks what democracy is Sujay Kumar 22 Age of displacement As the U.S. government grinds to a halt and restarts over demands for a wall, two exhibitions examine what global citizenship looks like. By SC16 THIS WEEK CHICAGOREADER | FEBRUARY | VOLUME NUMBER TR - ­ ­ A NOTE FROM THE EDITOR @ HAPPYVALENTINE’SDAY! To celebrate our love for you, we got you a LOT lot! FOUR. TEEN. LA—all of it—only has 15 seats on its entire city council. PTB of stories about aldermanic campaigns. Our election coverage has been Oh and it’s so anticlimactic: in a couple weeks we’ll dutifully head to the ECAEM so much fun that even our die-hard music sta ers want in on it. Along- polls to choose between them to determine who . we’ll vote for in the ME PSK side Maya Dukmasova’s look at the 46th Ward, we’re excited to present runo in April. But more on that next week. ME DKH D EKS Leor Galil’s look at the rapper-turned-socialist challenger to alderman Also in our last issue, there were a few misstatements of fact. Ben C LSK Pat O’Connor in the 40th—plus a three-page comics journalism feature Sachs’s review of Image Book misidentifi ed the referent of the title of D P JR CEAL from Anya Davidson on what’s going down in the 25th Ward that isn’t an part three.
    [Show full text]