DOCSLIB.ORG

JOE HILL; IWW SONGWRITER the Truth About "The Man Who Never Died ": $1.00

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOE HILL; IWW SONGWRITER the Truth About PREAMBLE OF THE INDUSTRIAL WORKERS OF THE WORLD The working class and the employing class have nothing in common. There can he no peace so long as hunger and wa nt are found among millions of working people and the few , who make up the employing class, have all the good things of life. Between these two classes a struggle must go on until the wo rk ­ ers of the world organize as a class, take pos~e~sion of the earth and the machinery of production. and abolish the wage system. We find that the centering of the management of ind ustries in­ to fewe r and fewer hands makes the trade un ions unable to cope with the ever growing power of the employing class. The trade unio ns foster a state of affairs which all ows one set of work ers to be pitted aga inst another set of workers in the sa me industry. thereby helping defeat one another in wage wars. Moreover, the trade unions aid the employing class to mislead the workers into the belief that the working class have interests in common with their employers. These conditions can be changed and the interest of the work­ ing class upheld only by an organization formed in such a way that all its members in any one industry. or in all industries if necessary, cease work whenever a strike or lockout is on in any department thereof, thus making an injury to one an inj ury to all . Instead of the conservative motto, '"A fair day's wage for a fair day's work ," we must inscribe on our banner the revolutiona ry watchword , "Abolition of the wage system." It is the historic mission of the working class to do away with capitalism. The army of production must be organized, not only for the every-day struggle with capitalists, but also to carry on production when capitalism shall have been overthrown. By or­ ga nizing industriall y we are forming the structure of the new society within the shell of the old. SONGS of the vvorkers TO FAN THE FLAMES OF DISCONTENT 34th Edition Issued May 1, 1973 Second Printing March 1, 1974 Third Printing November 1, 1976 Fourth Printing July 1, 1980 published by the INDUSTRIAL WORKERS OF THE WORLD 3435 N. Sheffield, Suite 202 Chicago, lliinois 60657 USA :~t::. Shci, .460 lllTcy ..... s...r.-, N.Y. song index All Hell Can't Stop Us ............................ .............. ...... .......... .43 Are You A Wobbly? ................................ ....... ...................... .49 Banner of Labor ............................ .................... .................... 19 Blanket Stiff. .. ........... .. .................. .. ..................................... 42 The Boss ............ ..... .. ..... .. ..... ........ .. ............................. .......... IS Casey Jones - The Union Scab ............. ........................... 60-61 Christians At War .. ........... ..................... .................. .............. 12 Commonwealth Of Toil ...... ................................................ .. 13 Dollar Alarm Clock .. ... .. ............................ ......................... ... 53 Dump The Bosses Off Your Back ........................................ .. 16 Fifty Thousa nd Lumberj acks ...... ......................................... 52 The Four Hour Day ............. ........................ .. .......... ....... ...... 42 General Strike Song .......... .... ............... ... ............... ........... 18-I 9 Hallelujah, I'm A Bum! ... .................................... ............. ...... 9 Harvest Land ............... ........................................................ .. 24 Harvest War Song ............... .. .... .. ... .. .. .................................. .. 25 Hold The Fort. ...................................................................... 33 I'm Too Old To Be A Scab ............. ... ...... .............................. 21 The International.. .. .................. ...... .... .............. ................... 5-7 It's A Long Way Down To The Soupline ................... ............ 28 Larimer Street. ................................................ ...................... 40 The Lumberjack's Prayer. ....................... ......................... 50-51 Mr. Block .................. .... ... .................................. .............. 36-37 My Wandering Boy .... .......................................... ............. 30-31 Mysteries Of A Hobo's Life ................................................... 29 Out In The Breadline ..... .............. ............................ ............. 61 Outa Work Blues ............. ...................................................... 59 Overalls And Snuff. .................................... ............ ............... 37 The Popular Wobbly .... .................. ............................ ... ....... 63 The Portland Revolution ........................................ .......... 44-45 The Preacher And The Slave .... .. ............................................ 64 The Prison Song .. ... .... ... ............. ........... ........ ........ .. ... ... ........ 55 The Rebel Girl. ...... ............ .. ... ..... ... .. ... ......... .... .......... ...... 38-39 The Red Feast .. ......... ................. .. .. ...... .... ... .......... ... ........ 14-l 5 The Red Flag .... ..... .. .. ..... ... ........ ......... .... .... .... .. .................... 62 Scissor Bill.. ......... ............... ...... ... .... ....... ...... .... ... .......... ... 22-23 Scissorbill's Song ............ ..... ............................ .. .. ... ... ... ... .. .... 16 Solidarity Forever .. ..... ................ ............. ................. ... .. ... .. 4-5 The Song Of The Rail.. ...... ... ..... ............... ... .. ......... ... .... ........ 31 Stand Up! Ye Workers ............ ............... .............................. .41 Stick 'Em Up .. ............ .. .......... .. .......... ...... ............ ................ 54 Stung Right .. ....................... ... ...... ......... ... ... ... ... .. .. ..... ... ... ... .. 17 There Is Power In A Union ... ... ..................... ... ....................... 8 They Are All Fighters ..... .... ... ... ... ... .... ......... ... ............... ....... 48 The Tramp ......... ... ... ...... .. ................................................ 20-21 Union Maid ........................... .. .. .. ........ .. ..... .......... .... ....... ...... 46 We Have Fed You All For A Thousand Years ... .... ................ 26 We Will Sing One Song ......................... .. ............. .. ........... 34-35 Where The Fraser River Flows .. .. ... .. ..................... ................ 58 The White Slave .... .. ... .... .. ... .......... .... ...... ... .. .... .... .. .. .. ........... 47 Workers Of The World Awaken ... ... .... ..... ......... .... .. .... .... .. 10-l l Workingmen, Unite .. ... .. ............. ... .... ......... ....... .................... 32 * This is the 34th Edition of this series of songbooks, started in 1909 and preceded by a card of four songs in 1908. Unless otherwise indicated, numbers by titles give the year or the edi­ tion in which the song first appeared in the IWW songbook, regardless of when it was written, as: "13th edition, 1917." * We are aware that many of the songs speak of working men and fail to include women. This reflects the language of the period in which they were written, not any exclusionary policy of the IWW. In fact, the !WW has never discriminated against women, either in organizing them or in placing major responsi­ bility on them. Solidarity Forever (Tune: John Brown's Body) (by Ralph Chaplin, January 1915) (9th edition, 1916) When the Union's inspiration through the workers' blood shalJ run, There can be no power greater anywhere beneath the sun. Yet what force on earth is weaker than the feeble strength of one? But the Union makes us strong. Solidarity forever! Solidarity forever! Solidarity forever! For the Union makes us strong. ls there aught we hold in common with the greedy parasite Who would lash us into serfdom and would crush us with his might? Is there anything left to us but to organize and fight? For the Union makes us strong. [ chorus/ It is we who plowed the prairies; built the cities where they trade; Dug the mines and built the workshops; endless miles of railroad laid. Now we stand outcast and starving, 'midst the wonders we have made ; But the Union makes us strong. [ chorus/ All the world that's owned by idle drones is ours and ours alone. We have laid the wide foundations; built it skyward stone by stone. It is ours, not to slave in, but to master and to own, While the Union makes us strong. [ chorus/ 4 They have taken untold millions that they never toiled to earn, But without our brain and muscle not a single wheel can turn. We can break their haughty power; gain our freedom when we learn That the Union makes us strong. [ chorus] In our hands is placed a power greater than their hoarded gold; Greater than the might of armies, magnified a thousand-fold. We can bring to birth a new world from the ashes of the old. For the Union makes us strong. [ chorus} The International (by Eugene Pottier; translated by Charles H. Kerr) (words and music on next two pages) [The First International or International Workingmen 's As­ sociation was founded in London in 1864 and the Second So­ cialist and Labor International in Paris in 1889. This originally French song has ever since expressed their hopes in all the lan­ guages of mankind. [ It is particularly noteworthy that this song was written not at a moment of revolutionary triumph and euphoria, but rath­ er in
Load more

Recommended publications
  • Modeling Musical Influence Through Data
    Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences.
    [Show full text]
  • Photovoice Brochure
    Different but equal… exploring cultural diversity within Deloitte A participatory-photography project conducted by Dr. Maria Quinlan, University College Dublin Different but equal… exploring cultural diversity within Deloitte A participatory-photography project conducted by Dr. Maria Quinlan, University College Dublin Contents Foreword 01 Project design and methodology 02 Findings 1. Inclusion, belonging and home 07 2. Challenges – dislocation and otherness assumptions 23 3. Opportunities – Deloitte and Ireland 41 Appendices Ethics and safety 55 Acknowledgements 56 Participants 57 02 Different but equal… exploring cultural diversity within Deloitte A participatory-photography project conducted by Dr. Maria Quinlan, University College Dublin Foreword We began this project unsure what we might find out. Do people from outside Ireland feel included? If they don’t, what will it take to resolve that? What does an inclusive workplace mean? The participants have been so open and shared their deepest personal experiences. What really stood out for me personally were the stories people shared about themselves. It is so easy to group and categorise people, but through their photos we see the individual shine through: their personal experiences, their hopes, their struggles and their desire to be part of Deloitte and At Deloitte, we aspire to offer the most its future. I was also delighted to see how inclusive workplace in Ireland for our much positivity shone through in terms of people. We know from the research that the opportunities people feel they have having real diversity, people with different both in Ireland and at Deloitte. backgrounds, perspectives, beliefs and ways of thinking and working together, I wish to thank each of them for their leads to better decisions and solutions.
    [Show full text]
  • Yosano Akiko's Princess Saho and Its Multiple Speakers
    WASEDA RILAS JOURNAL NO. 8 特集 5 特集 5 RILAS 研究部門「創作と翻訳の超領域的研究」 Yosano Akiko’s Princess Saho and its Multiple Speakers Janine BEICHMAN Abstract To translate is to interpret, and this is especially so for a difficult poet like Yosano Akiko. The translator con- fronting the task of interpreting the stupendous number of poems that Yosano Akiko (1878-1942) published over the course of her career begins, of course, by looking into the biographical background and reading as many com- mentaries as possible, but often that is not enough. Then come such avenues of inquiry as comparing iterations of the same themes within the corpus of the poetry itself, picking up echoes of Japanese classical and other litera- tures, and noting connections to Western literature, art, and ideas. In working with the poems here, I have used all these avenues. There is also one other approach, and that is to cycle between Akiko’s prose and her poetry. She often touched on the same topic and themes in both genres, sometimes using the prose to explain the poetry and even vice versa. The essay “Bosei Henchō wo Haisu” (I oppose the glorification of motherhood, 1916) is usually considered only in terms of its role in the public debate on the protection of motherhood (bosei hogo ronsō) that Akiko car- ried on in the media between 1916 and 1919, but it also provides a good background for reading her poetry. This is because Akiko explains her criticism of the glorification of motherhood by eloquently articulating her concep- tion of the self as multi-focal, a conception which in a certain sense is the philosophical counterpart of the multiple speakers that populate her poems.
    [Show full text]
  • Release V2.5.6
    MusicBrainz Picard Release v2.5.6 Feb 16, 2021 MusicBrainz Picard User Guide by Bob Swift is licensed under CC0 1.0. To view a copy of this license, visit https://creativecommons.org/publicdomain/zero/1.0 CONTENTS 1 Introduction 1 1.1 Picard Can. ...........................................2 1.2 Picard Cannot. .........................................2 1.3 Limitations...........................................2 2 Contributing to the Project3 3 Acknowledgements4 3.1 Editor and English Language Lead..............................4 3.2 Translation Teams.......................................4 3.3 Contributors..........................................4 4 Glossary of Terms 6 5 Getting Started 10 5.1 Download & Install Picard................................... 10 5.2 Main Screen.......................................... 12 5.3 Status Icons........................................... 18 6 Configuration 20 6.1 Screen Setup.......................................... 20 6.2 Action Options......................................... 21 6.3 Option Settings......................................... 21 7 Tags & Variables 66 7.1 Basic Tags........................................... 66 7.2 Advanced Tags......................................... 70 7.3 Basic Variables......................................... 72 7.4 File Variables.......................................... 73 7.5 Advanced Variables...................................... 74 7.6 Classical Music Tags...................................... 75 7.7 Tags from Plugins......................................
    [Show full text]
  • All Hands Together to Create the Future Bilkent Educational Institutions Include
    All hands together to create the future Bilkent Educational Institutions Include: ● Bilkent University ● Bilkent University Music Preparatory School ● İhsan Doğramacı Foundation, Özel Bilkent Schools ● İhsan Doğramacı Foundation, Bilkent Erzurum Laboratory School ● İhsan Doğramacı Foundation, Bilkent Laboratory & International School (BLIS) The Bilkent family of educational institutions aims to create excellence in education and research. The name “Bilkent”‘ exemplifies the founder’s aim, since it is an acronym of “bilim kenti” in Turkish for “city of science and knowledge.” Bilkent University ranks 28th in Times Higher Education’s 100 Under 50 list of the world’s best young universities. The private, foundation schools run by Bilkent share values and expertise in educating young students from age 4 to 18. All hands together to create the future Welcome Welcome to Bilkent Laboratory & International School Bilkent Laboratory & International School (BLIS) is a proud member of the Bilkent family. Located on the rolling hills of Bilkent University high above the city of Ankara, BLIS provides a rigorous academic program from the International Baccalaureate Primary Years Programme (IB PYP) in Pre-kindergarten through the International Baccalaureate Diploma Programme in Grade 12. A school for international students and Turkish nationals, BLIS provides a unique blend of national and international education, preparing leaders of the future. Our English immersion early childhood program progresses to the bilingual elementary grades, through Cambridge standards in the transitional middle years, concluding with the mandatory international English programs of Cambridge IGCSE and IB Diploma Programme. The rich traditions of Bilkent altruism and humanitarianism are evident as our students build libraries, houses and friendships.
    [Show full text]
  • Lincoln University Herald
    Lincoln University Herald. VOL. xrv. LINCOLN UNIVERSITY, PA., JANUARY, 19 IO. No. I. Larger Funds Needed. annual contributor for years, left it $5,000 ; and J. &new Futhey, of Parkesburg, Pa., Holland, the New York correspondent of who had been acquainted with the University the Philadelphia Ledgel; writing of the wealth and its work from the start, made it his residu- of Columbia University, and the large gift ary legatee, by which it is expected that ten recently left it by Mr. Kennedy, says: or fifteen thousand dollars may come to the “All the great leaders of American univer- institution. sity life recognize the necessity of obtaining It is hoped that others may follow the ex- larger and larger ample of these and funds. A univer- remember in mak- sity cannot stand ing their wills the still financially. If it needs and the de- grows as Columbia serts of Lincoln or as Harvard has, University in Ches- until each of them ter County, Pa. contains approxi- -t mately 6,000 stu- dents, there is a re- For a Negro lative need of addi- Jubilee. tional facilities, and this planning for Said President the future and the Taft in his annual providing of the message : financial ways and “The year 1913 means are among will mark the fifti- the most difficult of eth anniversary of the duties of the the issuance of the administrators of Emancipation pro- American universi- clamation granting ties.” freedom to the Ne- What is true of a groes. It seems white university is fitting that this equally true of a event should be colored.
    [Show full text]
  • Council Hears Democrat's Rent Stabilization Proposal Forum to Look
    Now incorporating New Providence-Berkeley Heights Dispatch Summit!9 ^ Herald ... Summit * only real newspaper VOLUME 100 NO. 40 May 10,1986 Price: 25* Council hears Democrat's rent stabilization proposal By PAIGE TUNSTALL community existence now present from rent control." Also, she almost 100 percent success rate in Councilman Murray Ross said, has a right to a return on his in- SUMMIT--Common Council in Summit." said, "You have to look at our resolving landlord-tenant "We can't afford to treat this as vestment, yet our society's values has opted for a "wait and see" Schneider lives at 390 Morris record here—we can't penalize all disputes. However, they said, the a total community situation if it's also tell us 'No, you can't policy on a rent stabilization pro- Avenue, where rent hikes of up to the landlords just because one of landlord of 390 Morris so far has an isolated situation. If it's not displace these people, you've got posal put forth by Phillip 48 percent have been proposed. them won't negotiate." declined to negotiate through the an isolated situation...we could to give them time to adjust,' " Schneider at Tuesday's council Councilwoman Judy McLen- After its regular meeting, commission. have a major problem in Sum- McLendon said that although meeting. don said, "You can't put in rent council adjourned to the con- John Elliott, vice-president of mit." housing costs in the city have Schenider, a Democrat who control for one person, one ference room to meet with the Summit Tenants Association Test case tripled in three years,
    [Show full text]
  • FWWH Revised Songbook ―This Camp Was Built to Music Therefore Built Forever
    FWWH Revised Songbook Revised Summer 2011 ―This camp was built to music therefore built forever‖ These are the songs sung by Four Winds and Westward Ho campers – songs that have expressed their interests and ideals through the years. As you sing the songs again, may they recall memories of sunny days, and some misty and rainy ones too, of sailing on sparkling blue water, of cantering along leafy trails, of exploring the beach when the tide is out. May these songs remind you of unexpected adventure, and of friendships formed through the sharing of Summer days, working and playing together. 1 Index of songs A Gypsy‘s Life…………………………………………………….7 A Junior Song……………………………………………………..7 A Walking Song………………………………….…….………….8 Across A Thousand Miles of Sea…………..………..…………….8 Ah, Lovely Meadows…………………………..……..…………...9 All Hands On Deck……………………………………..……..…10 Another Fall…………………………………...…………………10 The Banks of the Sacramento…………………………………….…….12 Big Foot………………………………………..……….………………13 Bike Song……………………………………………………….…..…..14 Blow the Man Down…………………………………………….……...14 Blowin‘ In the Wind…………………………………………………....15 Boy‘s Grace…………………………………………………………….16 Boxcar……………………………………………………….…..……..16 Canoe Round…………………………………………………...………17 Calling Out To You…………………………………………………….17 Canoe Song……………………………………………………………..18 Canoeing Song………………………………………………………….18 Cape Anne………………………………………………...……………19 Carlyn…………………………………………………………….…….20 Changes………………………………………………………………...20 Christmas Night………………………………………………………...21 Christmas Song…………………………………………………………21 The Circle Game……………………………………………………..…22
    [Show full text]
  • [Bill Knott's] Poems Are So Naive That the Question of Their Poetic Quality Hardly Arises
    "[Bill Knott's] poems are so naive that the question of their poetic quality hardly arises. Mr. Knott practices a dead language." —Denis Donoghue, New York Review of Books, May 7, 1970 [Bill Knott's poems are] typically mindless. He produces only the prototaxis of idiocy. Rumor has it that Knott’s habit of giving his birth and terminal dates together originated when he realized he could no longer face the horror of a poetry reading he was scheduled to give." —Charles Molesworth, Poetry Magazine, May 1972 "[Bill] Knott's work tends today to inspire strong dismissal. [He's] been forced to self-publish some of his recent books. [B]ad—not to mention offensively grotesque—poetry. appalling . maddening . wildly uneven . adolescent, or obsessively repetitive . grotesqueries . [His] language is like thick, old paint . his poems have a kind of prickly accrual that's less decorative than guarded or layered . emotionally distancing . uncomfortable. Knott . is a willful . irritating . contrarian." —Meghan O'Rourke, Poetry Magazine, Feb 2005 "[Bill Knott's books are] filled with venom. Knott seems to hate himself . and he seems to hate his readers." —Kirk Robinson, ACM (Another Chicago Magazine), date? "[Bill Knott's work] consists almost entirely of pointless poems, that say disgusting things. [His poetry is] tasteless . and brainless." —Michael Heffernan, Midwest Quarterly, Summer 1973 "Knott is making capitol on poetic fashion, attempting belatedly to enter the canon of the Language poets by reviving the idiom of Ezra Pound. [His poetry] so successfully defies communicating anything that one wonders what [his publisher] had in mind. Knott, it may be recalled, "killed" himself in the early 1960s." —R.
    [Show full text]
  • “Captains Courageous” a Story of the Grand Banks
    A Ria Press Edition of Kipling’s Captain’s Courageous. Page 1 of 48 “CAPTAINS COURAGEOUS” “Shut the door, Harvey,” said the New Yorker. “Shut the door and stay outside. You’re not wanted here.” A STORY OF THE GRAND BANKS “Who’ll stop me?” he answered deliberately. “Did you pay for my passage, Mister Martin? ‘Guess I’ve as good right here as by Rudyard Kipling the next man.” He picked up some dice from a checker-board and began throwing, right hand against left. CHAPTER I “Say, gen’elmen, this is deader’n mud. Can’t we make a The weather door of the smoking-room had been left open to game of poker between us?” the North Atlantic fog, as the big liner rolled and lifted, whistling There was no answer, and he puffed his cigarette, swung his to warn the fishing-fleet. legs, and drummed on the table with rather dirty fingers. Then he “That Cheyne boy’s the biggest nuisance aboard,” said a man pulled out a roll of bills as if to count them. in a frieze overcoat, shutting the door with a bang. “He isn’t “How’s your mamma this afternoon?” a man said. “I didn’t wanted here. He’s too fresh.” see her at lunch.” A white-haired German reached for a sandwich, and grunted “In her state-room, I guess. She’s ‘most always sick on the between bites: “I know der breed. Ameriga is full of dot kind. I ocean. I’m going to give the stewardess fifteen dollars for look- dell you you should imbort ropes’ ends free under your dariff.” ing after her.
    [Show full text]
  • Musicbrainz for the World: the Chilean Experience
    MUSICBRAINZ FOR THE WORLD: THE CHILEAN EXPERIENCE Gabriel Vigliensoni1, John Ashley Burgoyne2, and Ichiro Fujinaga1 1 CIRMMT 2 ILLC McGill University University of Amsterdam Canada The Netherlands [gabriel,ich]@music.mcgill.ca [email protected] ABSTRACT 1.1 Music Metadata Metadata is structured information that identifies, describes, In this paper we present our research in gathering data from locates, relates, and expresses several, different layers of several semi-structured collections of cultural heritage— data about an information resource [3, 5, 8]. It can be of Chilean music-related websites—and uploading the data three basic types: descriptive, for purposes such as iden- into an open-source music database, where the data can be tification and discovery; structural, for expressing rela- easily searched, discovered, and interlinked. This paper tions among resources; and administrative, for managing also reviews the characteristics of four user-contributed, resources [8]. Descriptive music metadata commonly pro- music metadatabases (MusicBrainz, Discogs, MusicMoz, vides information about recordings, expressing the song and FreeDB), and explains why we chose MusicBrainz as title and length, the artist name, and the release name of a the repository for our data. We also explain how we col- musical object, usually stored in a MP3 ID3 tag. Structural lected data from the five most important sources of Chilean music metadata is used to document relationships within music-related data, and we give details about the context, and among digital musical objects to allow navigation, such design, and results of an experiment for artist name com- as the song’s order in an album or a playlist, linking song parison to verify which of the artists that we have in our names to video clips, artists to their biographies, and so database exist in the MusicBrainz database already.
    [Show full text]
  • Making Metadata: the Case of Musicbrainz
    Making Metadata: The Case of MusicBrainz Jess Hemerly [email protected] May 5, 2011 Master of Information Management and Systems: Final Project School of Information University of California, Berkeley Berkeley, CA 94720 Making Metadata: The Case of MusicBrainz Jess Hemerly School of Information University of California, Berkeley Berkeley, CA 94720 [email protected] Summary......................................................................................................................................... 1! I.! Introduction .............................................................................................................................. 2! II.! Background ............................................................................................................................. 4! A.! The Problem of Music Metadata......................................................................................... 4! B.! Why MusicBrainz?.............................................................................................................. 8! C.! Collective Action and Constructed Cultural Commons.................................................... 10! III.! Methodology........................................................................................................................ 14! A.! Quantitative Methods........................................................................................................ 14! Survey Design and Implementation.....................................................................................
    [Show full text]