UK vinyl sales created far more money than music downloads last week

Figures show that for the duration of week 48 of 2016, shoppers spent £2.4 million on vinyl, although downloads took £2.1 million. Examine that to the exact same period last year when £1.two million was spent on records, with digital downloads bringing in £4.four million. The ERA puts the surge in sales down to recent buying events like Black Friday and the recognition of the format as a Christmas gift. It is also helped by the fact that Sainsbury’s and Tesco now stock records in a lot of of their branches.

It really is welcome news for vinyl lovers and the music business in common, but digital music is also going from strength to strength. As an alternative of buying music to keep, Brits are increasingly turning to streaming services like Spotify to get their music repair. Last weekend, The Weeknd broke streaming records on Spotify after his new album was streamed 40 million instances on day a single and 223 million occasions in its 1st week.

It’s also worth contemplating that vinyl albums are usually a lot more pricey than downloads. BBC News reports that last week’s biggest-selling vinyl was Kate Bush’s triple-disc live album Just before The Dawn, which expenses about £52. The same album is £13 on Amazon. Downloaded albums are nonetheless much more well-liked, although: last week saw 295,000 digital downloads versus 120,000 vinyl album sales.

Current study suggests that some people do not even get vinyl to listen to, with 7 percent of collectors admitting they don’t own a record player. It’s believed that some purchase records to support assistance artists they like, although other folks might use the sleeves to decorate their property.

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Harmony Space win top prize at MIT Hacking Arts for music learning app that feels like Pokémon GO

In Boston this weekend, computer software developers, hardware engineers, artists and entrepreneurs gathered for the Hacking Arts 2016 conference and hackathon at MIT.

Of twelve finalists, the following teams took leading honors.

  • Greatest All-Around Hack: Harmony Space
  • Greatest All-About Hack, 1st Runner-Up: Revive
  • Greatest All-About Hack, Second Runner-Up: möbel
  • Hackers’ Option: Inkfinity

A list of the winners, and descriptions of their projects offered by MIT follows at the end of this post.

Hackathons are typcially hosted by corporations or schools to promote certain technologies, drum up new product concepts, and identify prospective recruits. But the Hacking Arts occasion calls on participants to attempt one thing a bit a lot more grandiose.

Interdisciplinary teams are asked to “design and generate a prototype that enhances the arts, [or] improves access to the arts,” and could “change the world via technology and the arts,” according to the Hacking Arts 2016 site.

Hackathon organizer and Sloan MBA candidate Helen Smith mentioned this year, 250 individuals had been invited out of a pool of 700 applicants. In the end, 177 participated, 58% of them girls and 87% of them students, largely undergraduates. Most were from Boston and New York, but other folks flew in from universities around the country.

The projects they formed spanned from mobile apps and wearables to immersive entertainment experiences. A preponderance of hackers sought to use augmented reality, virtual reality and robotics to accomplish distinct goals, mentioned Smith. A typical theme this year was the thought of employing tech to inspire empathy, she noted.

The Artmatr painting robot was part of MIT Hacking Arts 2016 hackathon.

The Artmatr painting robot was component of MIT Hacking Arts 2016 hackathon.

Tech providers courting developers at the occasion and mentoring teams there included: Adobe, Autodesk, Shapeways, Jibo and Whoaboard. Participants flocked to demos and scrambled to find out how to use the Artmatr painting robot and JIBO personal companion robot in their projects, Smith stated.

Artsy CTO Daniel Doubrovkine, who participated on the judging panel for the Hacking Arts 2015 and 2016 Hackathons, said emphasis had shifted from virtual reality to augmented reality from 2015 to 2016 at the hackathon.

This years’ participants had been very music-focused, with about half of the finalist teams incorporating sound design into their projects in some way, he said. Surprisingly, in a year when the Echo became mainstream, no finalists utilized voice recognition or voice control in their projects.

The CTO said he was inspired by the prototypes built and demonstrated at the occasion, but would advise teams to be even far more experimental in their work at college and on these projects.

“People are always seeking for objective initial. But we find goal occasionally accidentally just by means of creating wild tips,” the CTO mentioned.

Hacking Arts is organized by MIT Sloan College of Management’s Entertainment, Media &amp Sports Club, in partnership with The MIT Center for Art, Science &amp Technology (CAST) and the Martin Trust Center for MIT Entrepreneurship.

The Hacking Arts 2016 Hackathon winners have been:


HARMONY SPACE: “This application is a musical pondering tool. It remaps our spatial sense to our auditory sense. We can now hear space and see harmony. Your position X (left,correct), Y (up, down) and Z (forward, back) become pitch-shifting controllers of 3 separate musical notes. This means that each location in space is a “possibly-harmonic” location. Like Pokemon floating in specific locations, this planet has orbs that show you the precise places of significant chords, minor chords and more, making use of the 3-D space tracking and augmented reality capabilities of Hololens.”

Designed by Max Harper, Matthew Seaton, and Evin Huggins

Very first RUNNER UP

REVIVE: “This system integrates virtual reality, tactile feedback, and music to teach Tai Chi. The technique provides visual cues by way of a virtual reality environment so that a user knows how to move, and gets feedback on no matter whether their move is right. The system serves to illustrate the abstract notion of ‘Chi,’ or flow of energy, via interaction-primarily based visual effects. It also provides tactile feedback to drive the user’s movements.”

Developed by Paul Reamey, Tim Gallati, Luna Yuan, Liabao Li, Qi Xiong, and Jingchen Gao


MÖBEL: “A ‘social furniture’ art project, möbel brings men and women together in public spaces. The furniture is intentionally annoying to construct and can not be built by a single particular person alone. When at least two individuals work on it, the furnishings lights up and activates. The möbel chair, as it is getting constructed and in use, requires two people to face every single other in a constrained space…forcing folks to literally break down barriers and develop something from them with each other.”

Produced by Kiran Wattamwar and Christina Sun


INKFINITY: “Using virtual reality, InkFinity takes users on a poetic journey inside of ink paintings.  Viewers enter the world depicted in artworks, explore the aesthetics in full detail, and expertise the cultural ethos in 3 dimensions.”

Designed by Sharon Yan, Yaqin Huang, Daisy Zhuo, and Lei Xia

Featured Image: MIT

Trumpers: It is the Rap Music That’s the Dilemma! Blame Rap!

Hey, glad you’ve tuned in! We’ve got a doozy this week on Who Desires to Be a Campaign Strategist?, so let’s get to it.

Here’s the scenario: Footage surfaced of your candidate displaying the attitudes and behavior of a sexual predator. You have already recorded an oddly aggressive apology, and then sent your surrogates out to clean up the mess. Good work so far! Dilemma is, they’ve currently burned by means of their meager supply of “Bill Clinton did worse!” and “well, maybe you just don’t know what locker-room speak sounds like!” and they’re seeking to you to support them extend their careers as human versions of Salacious Crumb. You require a new deflection, and you want it rapidly. What do you inform them to say?

A) “I do discover it rich that we have Democrats and the left talking about rape culture when they’re the ones backed completely by Hollywood. This rape culture is purported [sic] by none other than the entertainment business, none other than hip-hop music, which you can hear on nearby radio stations.” [Katrina Pierson, CNN Newsroom, ten/11/16]

B) “Hillary Clinton expresses that she finds the language on that bus horrific, but in reality she likes language like this, quote: ‘I came to slay, bitch/when he eff me excellent I take his ass to Red Lobster.’” [Betsy McCaughey, CNN Tonight, ten/10/16]

C) “Sounds a lot like hip-hop music from right now. That is the culture we’re in… You cannot be outraged at 1 portion and not the other.” [Stacy Washington, CNN Newsroom, 10/eight/16]

D) All of the above.

It is a tough 1, we know. You don’t have any lifelines left, though, so you are on your own. You can’t phone a buddy due to the fact Paul Ryan hit you with the “new phone who dis?” and you can’t ask the audience due to the fact a nearly insurmountable quantity of them are seeking at the Television like 😐. We can give you a single hint, though: you are screwed no matter what.

Let’s get the light stuff out of the way very first. Surrogates saying that Donald Trump’s language is not an concern since these rap guys (or, in McCaughey’s case, the singers they’re married to) do it as well is a stupid deflection that’s created worse by how basically it’s debunked. When Don Lemon—whose panel moderation style is typically rooted in a “this is fine”-level passivity—shuts you down by pointing out that rappers are not operating for president, maybe you need to have to get your #facts in order ahead of that battery goes in your back.

False equivalences aside, even though, there’s some thing far much more sinister at play right here. Hip-hop is 40 years old we’re effectively past the time when you want to explain that Chuck D when referred to as hip-hop “black CNN.” Yet, the hip-hop bogeyman is alive and nicely. And by continuing in any capacity to equate rap—and yes, blackness—with pathology, Donald Trump’s surrogates are diving into the very same racist muck that the candidate so gleefully treads with his birtherism and Central Park Five obstinance and “Sidney Blumenthal” dog-whistle appeals.

In truth, Katrina Pierson’s subtle mention of rap being some thing you can hear on “local radio stations” bears much more than a little resemblance to final week’s viral sensation in which a woman tearfully recites the lyrics to rapper Vince Staples’ song “Norf Norf.” “That was on our best hits radio station!” she says, disbelieving. The song, which chronicles components of Staples’ teenage years as a gang member in Extended Beach, struck the woman as so toxic when she heard it on her personal local radio station that she necessary to warn other people about it. By no means thoughts that it’s a song of curdled braggadocio, the cold-eyed diary of an individual as well numb to mourn—there’s no context, and why need to there be? This song is a menace.

At one point in the video, the woman reads the chorus aloud (“I ain’t never ran from nothin’ but the police”) and interrupts her own litany to wonder at the sentiment. “Let’s just encourage kids to run from the police, simply because that’s OK, proper?” she says. “We wonder why this society is this messed up, listen to the music.” If her willful elision of precisely why men and women may well be operating from police sounds familiar, that is almost certainly due to the fact you recognize it from the old-school hit “Blaming Hip-Hop for the Social Ills That Spawned It.” (There’s a new remix out this week, even though, by way of a Quinnipiac poll that finds that white adult respondents approve of “stop and frisk” policies 51-45 percent, whilst their African-American counterparts disapprove 78-20 percent.)

But this is not about a video. This is about what the woman is feeling in the video. And that feeling is the feeling that Trump surrogates—and really, in so a lot of methods, Trump himself—are trying to tap into: violation. She’s angry and hurt on behalf of her kids, confident, and that is fine, but hers is the shock of a lady whose really sense of order has been disrupted. How dare this language, this message, this man, invade her ears? How dare she be assaulted with someone else’s reality? How dare the struggles of other men and women threaten to have an effect on in some imagined way her personal quality of life?

So by vilifying hip-hop, Trump’s appointed defenders are letting you know in no uncertain terms: This, this is the enemy. Not us. This. It is as craven and disingenuous as anything else they’ve tried to throw at the wall in the past two weeks, but it’s tinged with one thing else. As Trump professes to want to save the mythic, monolithic “inner city,” a fantasy of blight only his followers think in, his spokespeople are whispering by way of decades of race-baiting: reefer-addled jazzmen, a scourge of “giant negroes,” early rock and roll musicians, and rappers—especially rappers.

And as for Betsy McCaughey, the Trump advisor who mentioned she didn’t listen to “bawdy” rap music and then quoted Beyoncé’s “Formation” as proof of the genre’s intrinsic filth? If you are attempting to keep reasoned, the thoughtful response would be anything about how “Formation” is a spectacular feminist subversion of the misogyny that nonetheless permeates some rap tropes, so citing it as proof of rap’s and Hillary Clinton’s twin problematicnesses is as ill-founded as it was desperate. But if you want to really feel better about things, just know that the Beyhive found McCaughey—and it’s not searching great for her social media accounts proper now.

So watch who ye sting, surrogates, lest the hive sting ye back.

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