Play fair.

Subvert - The Collectively Owned Music Marketplace

“Subvert goes beyond hopetimism with a meticulously built, actionable framework. Very exciting!”

Subvert - The Collectively Owned Music Marketplace

“Subvert goes beyond hopetimism with a meticulously built, actionable framework. Very exciting!”

The Social Music Network

Fairness and autonomy for music makers and friends

Indiemusi.ch

The current state of social media leaves us with a lot of questions. How can we stay united as music players amidst of platform monopolies?

Fake Fans

into the digital marketing agency that creates your music taste

Owning media again - Kedara.eu

This year, one of my aspirations is to rely less on the big streaming services for my entertainment. Why? Well, for one thing, if we give too much power to large corporations by getting overly …

Profiting from Hate Music

This report maps how the world's largest digital platforms and music streaming services host, amplify, monetize, and profit from a growing genre of Indian music that dehumanizes Muslims and Christians and incites violence against them.

Last.fm | Play music, find songs, and discover artists

The world's largest online music service. Listen online, find out more about your favourite artists, and get music recommendations, only at Last.fm

Last.fm | Play music, find songs, and discover artists

The world's largest online music service. Listen online, find out more about your favourite artists, and get music recommendations, only at Last.fm

Announcing indiemusi.ch alpha: the groundwork for music streaming on atproto - hilke thinks

The AT Protocol has the potential to shift power dynamics in the realm of music streaming. To get indie artists and labels on board, we can avoid the mistakes of Web 2.0 streaming platform by using standard music industry data points in our lexicons.

ARC Regional Electronic Music Project

We’re exploring how to better connect regional digital music creators with the resources they need to thrive. Our project examines how local infrastructure and online resources can work together to support creative communities outside major cities.

We Are Civic Media

A discipline-crossing introduction to civic media via accounts from grassroots practitioners “Civic media” is the use of contemporary technologies to connect communities, inspire action, build civic capacity, and sustain social change efforts. Written by artists, creators, storytellers, organizers, and others working at the intersections of technology, social justice, and culture, this book summons civic media through the lived experiences of its contributors. Latoya Peterson delves into the therapeutic power of gaming; Akilah Hughes discusses identity and community through the lens of her campaign to change her high school's racist mascot; and Tyree Boyd-Pates emphasizes the potential power of museum curation to challenge power dynamics and bridge digital and physical realms. Through the experiences of these grassroots practitioners and many others, We Are Civic Media offers accessible insights for those interested in understanding, respecting, and practicing civic media.

Shows - Decentralized Show Fliers

brought to you by some nerds in the northeast, in support of music communities everywhere

Rethinking the Large Ensemble Paradigm: Moving Toward Epistemic Justice

In this paper, I center the epistemic dimensions of musics and musicking to consider the ways in which the band/orchestra/choir paradigm of music education prevalent in the U.S. and Canada may be implicated in epistemic injustice. Drawing in particular on the work of Fricker (Epistemic injustice: power and the ethics of knowing, Oxford University Press, New York, 2007), Dotson (Hypatia 26(2):236–257, 2011), and The Routledge Handbook of Epistemic Injustice (Kidd et al., The Routledge handbook of epistemic injustice, Routledge, New York, 2017), I explore facets of epistemic injustice and apply these ideas to music education school contexts in Canada and the U.S. I further explore aspects of school music that may amount to “testimonial smothering” (Dotson 2011) and “cognitive imperialism” (Battiste in Can J Native Educ 22:16–27, 1998). Ultimately, building on existing literature on epistemic justice (Kidd et al. 2017; Fricker 2007), I theorize an epistemically just music education for school music in alignment with culturally responsive, anti-racist, and anti-colonial teaching.