sounddiplomacycities
sounddiplomacycities:

Music is at the heart of a healthy, thriving, liveable, sustainable city.  Not only in the openness of cultural creation and delivery, but also in influencing how residents view where they choose to live and work.  However, when music policy is applied to urban planning, large scale initiatives (such as Olympic bids and branding) and city development, the impact of and on the music industry is not often thoroughly considered.  However, the music industry impacts a number of key imperatives in city / municipal development and urban affairs, from singular sector development to education and training capacities, regulatory affairs, soft diplomacy and city branding, international network expansion and market development.  For a city, region or municipality to thrive, music industry development must be strategised within its key economic policies, as a healthy music (and greater cultural industries) output creates and sustains world-class cities.  
In our increasingly borderless world, where art can be discovered and heralded via an Internet connection, cities are competing to train and retain talent, drive new business ventures and economic prosperity, identify and encourage skilled immigration and define itself as globally leaders.  By appealing to skilled young entrepreneurs and creating economically prosperous centres and creative clusters, city development, image and branding are enhanced.  This turns cities in future cities and smart cities, and one of the key variables to attaining and creating such development is by supporting cultural development with an economic strategy.  
At Sound Diplomacy: Cities, we believe that a healthy, robust music industry impacts not only musicians, managers, labels, publishers, venue goers, consumers and copyright holders, but also a number of secondary and tertiary industries from food vendors at music festivals to sound and light providers, local bars and restaurants and infrastructure providers such as logistic companies, utility providers and hospitality.  However, too often cities have talent (the artists) but lack business people in the contemporary music industry, leading to a dearth in sustainable career development.  When this occurs, the creator migrates elsewhere, impacting the entire value chain that surrounds them, from the bars and restaurants they perform in to the equipment they hire and the transport they use to reach the venue.  Music is part of a city’s central nervous system.  By analysing educational provisions, licensing, live music policy, music industry development and education, economic impact, festival impacts, taxation and business support mechanisms, a healthy music industry can and does create the world’s most liveable, smartest and most desirable cities.  This is the mission of Sound Diplomacy: Cities.  We use music industry development strategy to make cities (or neighbourhoods, regions and municipalities) an economic  return, via more prosperous and industrious music industry policies that engenders a more vibrant place to live and work. 
As the Hacienda branded Manchester and The Beatles branded Liverpool, there is an artist in your city right now who can be the next international star.  It is this robust analysis and strategy of what is needed and a series of delivery mechanisms to further enhance music industry development that will find them and provide them with the tools for international success.  That, in turns, brings a return the city and those who live and work within it.   
The picture above is of Adelaide, one of the most forward thinking cities in terms of music industry development. We’ll explain why soon. 


This company has it spot on. Sound Diplomacy!

sounddiplomacycities:

Music is at the heart of a healthy, thriving, liveable, sustainable city.  Not only in the openness of cultural creation and delivery, but also in influencing how residents view where they choose to live and work.  However, when music policy is applied to urban planning, large scale initiatives (such as Olympic bids and branding) and city development, the impact of and on the music industry is not often thoroughly considered.  However, the music industry impacts a number of key imperatives in city / municipal development and urban affairs, from singular sector development to education and training capacities, regulatory affairs, soft diplomacy and city branding, international network expansion and market development.  For a city, region or municipality to thrive, music industry development must be strategised within its key economic policies, as a healthy music (and greater cultural industries) output creates and sustains world-class cities.  

In our increasingly borderless world, where art can be discovered and heralded via an Internet connection, cities are competing to train and retain talent, drive new business ventures and economic prosperity, identify and encourage skilled immigration and define itself as globally leaders.  By appealing to skilled young entrepreneurs and creating economically prosperous centres and creative clusters, city development, image and branding are enhanced.  This turns cities in future cities and smart cities, and one of the key variables to attaining and creating such development is by supporting cultural development with an economic strategy.  

At Sound Diplomacy: Cities, we believe that a healthy, robust music industry impacts not only musicians, managers, labels, publishers, venue goers, consumers and copyright holders, but also a number of secondary and tertiary industries from food vendors at music festivals to sound and light providers, local bars and restaurants and infrastructure providers such as logistic companies, utility providers and hospitality.  However, too often cities have talent (the artists) but lack business people in the contemporary music industry, leading to a dearth in sustainable career development.  When this occurs, the creator migrates elsewhere, impacting the entire value chain that surrounds them, from the bars and restaurants they perform in to the equipment they hire and the transport they use to reach the venue.  Music is part of a city’s central nervous system.  By analysing educational provisions, licensing, live music policy, music industry development and education, economic impact, festival impacts, taxation and business support mechanisms, a healthy music industry can and does create the world’s most liveable, smartest and most desirable cities.  This is the mission of Sound Diplomacy: Cities.  We use music industry development strategy to make cities (or neighbourhoods, regions and municipalities) an economic  return, via more prosperous and industrious music industry policies that engenders a more vibrant place to live and work.


As the Hacienda branded Manchester and The Beatles branded Liverpool, there is an artist in your city right now who can be the next international star.  It is this robust analysis and strategy of what is needed and a series of delivery mechanisms to further enhance music industry development that will find them and provide them with the tools for international success.  That, in turns, brings a return the city and those who live and work within it.   

The picture above is of Adelaide, one of the most forward thinking cities in terms of music industry development. We’ll explain why soon.

This company has it spot on. Sound Diplomacy!

CBC Music presents their September music preview!

The preview includes 15 new albums from: 

Rose Cousinsthe Wooden SkyZeus,In-Flight SafetySloanSlow LeavesRich AucoinDeath from Above 1979the Wilderness of ManitobaAdam CohenLeonard Cohen,LightsSaukratesthe Rural Alberta Advantage and Buck 65.

Hit their site to stream these new tunes. 

theawl

durgapolashi:

"Pop stars traffic in symbology, so when white girls like Miley, Katy, and Lily Allen hide behind the claim that they just didn’t know any better, it seems insufficient. Maybe they didn’t, but somebody around them at some point should have. Which is why it felt tone-deaf when Taylor Swift put out a music video for her new single that featured a couple of scenes in which she used black dancers as props to offset her own clueless whiteness."

(…)

"Into this humid cultural climate strolls Nicki Minaj, whose new video for “Anaconda” isn’t technically a response video to “Shake It Off,” but might as well be. The “Anaconda” video is an extremely self-aware deconstruction of twerking as a trend. Nicki inverts the Miley paradigm, putting her own body front-and-center and surrounding herself with dancers of all races. “Anaconda” turns Nicki’s butt into a literal force of nature, causing earthquakes in a jungle setting. After parodying the idea of exoticism by opening on a jungle scene, she shifts into a workout setup with comically small weights. All of these setups make the same point: Nicki’s body is the modern ideal. And because Nicki is spitting rapid-fire jokes the whole time she is onscreen, it’s impossible to feel like she’s been reduced to a mere body."

Molly’s Nicki piece x Ayesha’s Nicki tweets

I went to Gillian Bennett’s website deadatnoon.com and read her essay/last memoir regarding the state of law in Canada, wills and testament, and strains on the Canadian system by a growing elderly population. 

I’m frustrated in my respects too, I see a huge issue in the future if we don’t make new rules. After watching my grandmother die in more pain than I can physically imagine (a perforated bowel that killed her over 5 days). At the time she was at the Bethany Center that is partially government paid for, she ended up there after a long wait period after being in an elderly living center that was helping her as the dementia was making a lot of independent living things hard. She’d had 3 strokes and 2 minor heart attacks over the last 15 years. By the time she was in the Bethany Center she hardly knew herself. Memory Lane at the Bethany Center basically locks their patients into the building because they can’t be trusted to leave on their own without supervision. But because they don’t have enough supervision, she is like a caged person. Grandma had other health issues too, but it was the dementia that really hurt her. She was a very social person. Moving to the Bethany Center made everything worse it seemed. The first day she arrived we sort of tricked her, and she couldn’t remember being taken there. So for 2 years it was groundhog day. She thought it was her first day there every single day. It was a nightmare. 

Also she couldn’t use the phone freely. My Grandma used to receive regular phone calls and regularly phone family every day a few times a day. So moving to the Bethany Center was like her saying goodbye to her friends and family (most of whom didn’t live in Calgary) prematurely, and they said so at her funeral. I’d felt similarly. I had a hard time seeing my grandma after she entered the Bethany Center. It wasn’t her, she wasn’t the person I grew up knowing. I missed her phone calls, and hearing about her shopping excursions and trips.

My grandmother had signed a DNR several years earlier when she realized she was going to go the same way her mother went (via Alzheimers in a hospice). She had all the financials and legal specifics figured out with the help of my mom. I think if the option had been there, she would have rather died than go to the Bethany Center. One time I phoned her and they let me through to her, and she begged me to come kidnap her.

My point is that these hospices are not a place anyone would choose to live, and Gillian Bennett has a point. There should be a way to choose how you die in your will, and legally as a society we should be allowed to offer that. 

What I mean, is that if you are so sick you are mentally and physically incapacitated permanently you should be able to make a choice whether your body continues living that way, and a doctor and lawyer should be able to execute that choice for you. At the moment, you can only end your life if you go about it yourself, 100%, with absolutely no aid. If someone assists you, they are considered to have helped murder you and that’s illegal. 

Gillian Bennett may your legacy live on. Here is to starting a conversation. 

- Llu