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Pride Through Our Eyes

 

June has arrived! We are officially half-way through the year. June is also Pride Month. Pride is known in the LGBT Community as a month filled with celebration, joy, and parades. But this Pride Month is different. Pride parades and events across the globe are canceled. But this doesn’t have to stop the spirit of Pride. I couldn’t write this article without including others. I asked our SoundGirls Community that identify as LGBTQ+ to share experiences and insight. Here is what some have to say.

What does Pride mean to you? 

“Pride to me is just being true to yourself. Loving what makes you different from everyone else. Loving the parts of yourself that people will try to shame you for. Being you and loving it. That’s pride to me.” (Alexi Wright, She/Her)

“Pride means being able to bring your whole self to any situation and not feeling like you have to hide or amend any part of who you are” (Kacie Willis, She/Her)

“Pride means being unashamed of who I am and what I accomplish, or how I live.” (Samantha Potter, She/Her)

“Pride means not being afraid or ashamed of my own identity. (Luana Moreno, She/Her)

“To me, Pride is about being able to come together with my queer community and take up space in a way that we are not normally afforded.” (Audrey Martinovich, bi, she/her)

Have you ever experienced prejudice in a work environment because you are LGBTQ+? 

“I’ve experienced the typical misogynists that come with working in a very male-dominated industry. A lot of LGBTQ women do go through some form of bs, which is very unfortunate because these women are more than capable of doing their job. But, I personally don’t have any crazy horror stories when it comes to my experiences.”

“Not overtly, as in “we don’t hire lesbians”. But I have experienced being equated to “the guys” and being expected to be complacent with the objectification of other women because I’m attracted to them. I have been objectified because I am a bisexual woman. And heard that this orientation is “just an excuse to be slutty”.”

“I am very fortunate to have never had my sexuality be an issue at work but I recognize that this is not the case for many LGBTQ+ people.”

In what ways can the Entertainment Industry, particularly the Audio Industry be more inclusive? 

“The industry should make conscious and consistent efforts to provide educational/shadowing opportunities to students in under-represented demographics. It all starts with exposure.”

“Be more welcoming to women in general. Stop the boys club culture, because toxic masculinity and homophobia come in that same pack.”

“The audio industry can be more inclusive by marketing towards minority groups of all kinds and encourage participation. It’s becoming way more of a casual topic, gayness, and the like than it used to be. I think the Entertainment Industry probably has the highest ratio of LGBT-to-het/cis-gendered individuals. Audio is not a large group and by sheer numbers, there are just statistically more white straight men. It’d be nice if we could have a space for LGBT audio folk. It comes down to the question, “How do we get people who have no idea this industry exists involved in said industry?”

“The audio industry needs to make a conscious decision to be more open and include images of Queer, POC, and women in their advertising and media campaigns. Normalize the look of someone other than straight, white, men as a place to start. Hiring people with the intent to have a diverse staff. If Beyoncé can find 15 black women who can play the violin while being her tap-dancing backup dancers, it’s possible to find more queer engineers/producers for projects.”

What advice could you give to a SoundGirl that is struggling with their identity? 

“Best advice I can give you if you’re struggling with your identity is, trust yourself.

Nobody knows YOU better than YOU. Trust that you’re not crazy, and there’s NOTHING wrong with you. Most importantly, love yourself. You’re beautiful in every way.”

“Anyone struggling with their sexuality or identity should find a group of friends through which they can find a support system. SoundGirls is a great community to sort of shout “Hey, is there anyone else like me out there?” and find those other people who can relate or at the very least, are strong allies. We should never be afraid to live like how we want, but there are some real-life limitations and it’s a tough line to walk — that world between being true to yourself and a working professional. Sometimes those can be mutually exclusive but often are not. Like most things, there’s a huge land of gray where we can live as ourselves and be amazing professionals in pro audio.”

“Reach out to the community, in private if needs be. It’s incredibly inclusive and most people in this group are committed to being supportive.”

“I would tell a struggling SoundGirl to find a community. Whether that’s a friend they trust or to post in the SoundGirls Facebook page. We are here for each other from amateurs to pros, gay/straight/everything in between and beyond, and I know personally that older LGBT+ folks went through some stuff and love passing down advice and guidance to the younger generation. Whatever you’re experiencing, someone has been through it. Find them and ask how they dealt with it and how it turned out.”

“The struggle is real…but on the other side of the struggle, you will eventually find peace. Breathe. Live life day by day.”

As a Black Queer Muslim Woman working in the audio industry, I am thankful for my SoundGirl’s Community. I am grateful that I have a community that is empowering and uplifting. At times, when I felt like my voice wasn’t heard or I was discriminated against in a work environment, I am always able to count on SoundGirls for support and guidance.

Have a safe Pride Month, filled with love and self-love.

Thank you to all of the SoundGirls that have contributed.

El sonido y sus profesiones aplicadas

 

 

El sonido y sus profesiones aplicadas:

Conoce desde la experiencia de profesionales de que tratan algunas especialidades en mundo del audio.

Este lunes 15 de junio, tendremos la primera sesión de esta serie de charlas: Sonido en Vivo, estaremos conversando con las profesionales:

Marina Bello, Técnica de sonido argentina, especializada en la operación de FOH y Monitores en shows en vivo desde 2002, a la vez que se desarrollo en el area de Producción Técnica para bandas y productoras de shows internacionales. Ha trabajado con artistas como Miranda!, Gustavo Cordera, Lisandro Aristimuño, Los Pericos, Julio Iglesias, BRMC, Amaia Montero, entre muchos otros.

Actualmente es la operadora de FOH de WOS, operadora de monitores de Ca7riel y Paco Amoroso & la ATR Banda, y jefa técnica del teatro Margarita Xirgu – Espacio UNTREF.

Ximena Montenegro, Técnico de sonido e ingeniera de audio, por mas de 15 años se ha dedicado al refuerzo sonoro, ya sea como asistente, técnico para sala o monitores de diferentes empresas. Ha mezclado para diversos artistas como : Marisela, Lucero, Erick barrios, Denise Rosenthal, entre otros ademas ha participado activamente en festivales como Viña del Mar.

Roberta Siviero,  Con 20 años de experiencia de sonido en vivo, comenzó su carrera en compañías de renta de audio, además cuenta con experiencia en sonido para TV, teatro y estudios de grabación, incluyendo postproducción en audiovisuales.

Roberta es Cofundadora del grupo de mujeres sonidistas “Mulheres do Áudio” en São Paulo que se formó en el año 2012 ayudando a visibilizar a las mujeres en la industria.

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Carolina Anton, es Ingeniera de Sonido – Sistemas/FOH y Mon con más de quince años de experiencia, ha colaborado con artistas y producciones distinguidos en más de veinte tours a nivel nacional e internacional; Ha mezclado para artistas como Kool & The Gang, Gloria Gaynor, Natalia Lafourcade, Mon Laferte y León Larregui, ademas trabaja para compañías como 2hands production services y Eight Day Sound. Actualmente ingeniera para MexFutura. Carolina es cofundadora de la empresa 3BH, que desarrolla proyectos de integración tecnológica para estudios de post-producción y música en México y Latinoamérica y a partir del 2016 comenzó a representar a la organización Soundgirls.org en México, apoyando a las mujeres a profesionalizarse en la industria del espectáculo.

Andrea Arenas, graduada en Ingeniería electrónica, con estudios de música y percusionista, es ingeniero de sonido con 14 años de experiencia. Trabaja para Cirque du Soleil en el show Totem y cuenta con experiencia en audio en vivo, grabación y producción musical en estudios, también grabación y producción musical de orquestas sinfónicas de El Sistema. Su experiencia profesional va desde trabajos en producciones discográficas de la Deutsche Grammophon con Gustavo Dudamel, como también soporte técnico de consolas Digico y otras reconocidas marcas en Hermes Music para bandas como Maná, Vicente Fernández, Ricky Martin; ha participado como voluntaria de audio para soundgirls en eventos como el She Rocks Awards, Girlschool y preparación de gira de Pearl Jam.  Y ha sido técnico de sonido en varios shows del Cirque du Soleil. (At sea, Luzia, Amaluna y Totem)

Post-Production Surround Sound Webinar

Mixing and Sound Design in Surround Sound with Ai-Ling Lee and Paula Fairfield

Join SoundGirls and Women Who Are Sound for a webinar on

Moderated by Leslie Gaston-Bird author of the book, “Women in Audio”, Governor-at-Large for the Audio Engineering Society, and Chair of the AES Diversity and Inclusion Committee. She is also a freelance re-recording mixer and sound editor, and owner of Mix Messiah Productions. She has a Heartland Emmy nomination for the film “Enough White Teacups”, directed by Michelle Carpenter.

Ai-Ling Lee was born in Singapore where she studied music audio engineering. After two years of mixing and editing commercials and music, she moved to Los Angeles in 1998 to pursue a career in sound design for feature films. Since then she has worked as a sound designer, re-recording mixer, and sound supervisor on a variety of films including Jojo Rabbit, La La Land, First Man, Deadpool, Wild, Spider-Man 2 (Sam Raimi) and Buena Vista Social Club. Ai-Ling has had the opportunity to work with directors Damien Chazelle, Taika Waititi, Jean-Mar Valée, Noah Hawly, Wess Ball, Cameron Crowe, Gus Van Sant, and Sam Raimi, to name a few.

Paula Fairfield is an International and Emmy award-winning sound designer for tv, film, commercials, and basically anything that makes noise. She has 10 Emmy nominations with two wins for her work on Game of Thrones, along with multiple wins and nominations for her work in both The US and Canada. During her career, she has had the privilege of working on tv projects such as the iconic “LOST” and visionary filmmakers like Robert Rodriguez, Brian DePalma, Paul McGuigan, and Darren Aronofsky.

Post-Production Surround Sound Webinar

Mixing and Sound Design in Surround Sound with Ai-Ling Lee and Paula Fairfield

Join SoundGirls and Women Who Are Sound for a webinar on

Moderated by Leslie Gaston-Bird author of the book, “Women in Audio”, Governor-at-Large for the Audio Engineering Society, and Chair of the AES Diversity and Inclusion Committee. She is also a freelance re-recording mixer and sound editor, and owner of Mix Messiah Productions. She has a Heartland Emmy nomination for the film “Enough White Teacups”, directed by Michelle Carpenter.

Ai-Ling Lee was born in Singapore where she studied music audio engineering. After two years of mixing and editing commercials and music, she moved to Los Angeles in 1998 to pursue a career in sound design for feature films. Since then she has worked as a sound designer, re-recording mixer, and sound supervisor on a variety of films including Jojo Rabbit, La La Land, First Man, Deadpool, Wild, Spider-Man 2 (Sam Raimi) and Buena Vista Social Club. Ai-Ling has had the opportunity to work with directors Damien Chazelle, Taika Waititi, Jean-Mar Valée, Noah Hawly, Wess Ball, Cameron Crowe, Gus Van Sant, and Sam Raimi, to name a few.

Paula Fairfield is an International and Emmy award-winning sound designer for tv, film, commercials, and basically anything that makes noise. She has 10 Emmy nominations with two wins for her work on Game of Thrones, along with multiple wins and nominations for her work in both The US and Canada. During her career, she has had the privilege of working on tv projects such as the iconic “LOST” and visionary filmmakers like Robert Rodriguez, Brian DePalma, Paul McGuigan, and Darren Aronofsky.

Black Technicians Matter 

Before I get into this blog, let me say that I am writing this with very high emotions.  My heart is breaking for BIPOC.  I am horrified by the overwhelming lack of acknowledgment and responsibility in regards to the aggressive use of police brutality that has plagued this country for years, decades, even centuries.  I am utterly sickened by the blatantly flagrant display of racism that pours out of the White House every single day.  So, yes, it’s possible that you are reading a different, maybe more fiery tone from me today because I am fired up.

In an effort to provide some kind of tangible support, I want to use my small platform here to discuss some ideas for the future, when we’re able to live and work freely in the world again (remember, even through all of these recent atrocities, we’re also still in a pandemic).  One day, we will be healthy again.  One day, we will be able to work again.  One day, people will start forgetting the protests, the rallies, the news.  That’s the time that we need to remember that even when we’re not inundated daily by all of these disgusting displays of inhumanity pouring in through social media and other news outlets, it will still be happening and will continue happening until enough of us start using our fiery emotions as fuel to actually DO something about it.  It’s not just the inhumanity toward BIPOC that is a problem, it’s also white complacency, and, frankly, blindness.

A couple of summers ago, I hired a crew of seven sound technicians to support my theatre company’s summer season. Generally, most of my hires come from the USITT convention, KCACTF, and SETC.  A couple of weeks into the summer, one of my interns said to me,” I just wanted to let you know that I think it’s really great that this crew is mostly women and mostly people of color.  You’ve created a really inclusive department, and I wanted you to know that I appreciate it.”  Wow.  What a fantastic compliment that I, in no way, deserved.  What she said was true.  They were mostly women, and they were mostly people of color.  It’s just that I didn’t do that on purpose, and I didn’t even realize that’s what we had until she brought it up.

I was blind.  I have to imagine that, as a black woman, the person that said this to me probably enters almost every situation looking around the room to see how outnumbered she is in terms of race.  I didn’t think of that, because it’s something I never do.  I really don’t walk into a new situation and think, “Oh good, at least there are other white people.”  That summer’s beautiful blend of racial variety was a complete accident.  I learned from it, though.  I learned that as a person who regularly hires other people, I have an obligation to make sure that I am not just going through the same old motions and that I am using my privilege and my position to promote diversity and equity.

This is not to say that there is anything wrong with the organizations I listed above, in fact, it’s quite the contrary.  USITT, KCACTF, and SETC provide so many opportunities for so many young people throughout the year, and I would be lost without them.  They all have many subgroups within their organizations that are specifically geared toward marginalized communities such as BIPOC, Women+, and LGBTQ.  I just think we can all be taking another step.

Maybe we should recruit specifically within HBCUs.  In researching for this blog, I very easily came across this list of HBCU schools offering performing arts programs. I also came across this HBCU list which provides useful statistics related to the schools and their demographics.  It takes two minutes for that extra Google search, and then finding department faculty email addresses after that is easy!  As I’ve already mentioned, the theatre organizations and conferences I’ve encountered in the past are doing a good job of continuing to promote diversity and inclusion, but this thought led me to Google search “black theatre conferences,” and the first hit was for The Black Theatre Network.  What a fantastic recruitment opportunity that I have been missing out on.

My point is that I don’t want us all to relax when the heat is turned down.  Let’s keep moving forward.  Let’s take another step—push a little harder.  I want to challenge shop heads, recruiters, and managers to remember this blog during hiring season, and ask yourselves if there’s something else you can do.   It’s our responsibility as artists to never stop learning, and never stop growing.

Diversify You Crew

The EQUAL Directory is a global database of professionals that seeks to amplify the careers and achievements of women working behind the scenes in music and audio. Any person around the world can add their name and claim their space. And, any person looking to hire a more inclusive creative team can find professionals in their area.

POC in Audio Directory

The directory features over 500 people of color who work in audio around the world. You’ll find editors, hosts, writers, producers, sound designers, engineers, project managers, musicians, reporters, and content strategists with varied experience from within the industry and in related fields.

While recruiting diverse candidates is a great first step, it’s not going to be enough if we want the industry to look and sound meaningfully different in the future. Let us be clear: this isn’t about numbers alone. This is about getting the respect that people of color—and people of different faiths, abilities, ages, socioeconomic statuses, educational backgrounds, gender identities, and sexual orientation—deserve.

 

Post-Production Surround Sound Webinar

Mixing and Sound Design in Surround Sound with Ai-Ling Lee and Paula Fairfield

Join SoundGirls and Women Who Are Sound for a webinar on

Moderated by Leslie Gaston-Bird author of the book, “Women in Audio”, Governor-at-Large for the Audio Engineering Society, and Chair of the AES Diversity and Inclusion Committee. She is also a freelance re-recording mixer and sound editor, and owner of Mix Messiah Productions. She has a Heartland Emmy nomination for the film “Enough White Teacups”, directed by Michelle Carpenter.

Ai-Ling Lee was born in Singapore where she studied music audio engineering. After two years of mixing and editing commercials and music, she moved to Los Angeles in 1998 to pursue a career in sound design for feature films. Since then she has worked as a sound designer, re-recording mixer, and sound supervisor on a variety of films including Jojo Rabbit, La La Land, First Man, Deadpool, Wild, Spider-Man 2 (Sam Raimi) and Buena Vista Social Club. Ai-Ling has had the opportunity to work with directors Damien Chazelle, Taika Waititi, Jean-Mar Valée, Noah Hawly, Wess Ball, Cameron Crowe, Gus Van Sant, and Sam Raimi, to name a few.

Paula Fairfield is an International and Emmy award-winning sound designer for tv, film, commercials, and basically anything that makes noise. She has 10 Emmy nominations with two wins for her work on Game of Thrones, along with multiple wins and nominations for her work in both The US and Canada. During her career, she has had the privilege of working on tv projects such as the iconic “LOST” and visionary filmmakers like Robert Rodriguez, Brian DePalma, Paul McGuigan, and Darren Aronofsky.

The Importance of Branding and Social Media Webinar

 

Professionals who want to establish themselves as credible, reliable experts must first develop a strong personal brand. As with a corporate brand, starting your personal branding strategy requires a good, hard look at who you are — your core values, skills, and beliefs — and figuring out how to convey those elements consistently in your digital presence.

If you’re just embarking on your branding journey, you might not know where to begin. So join us for a webinar on The Importance of Branding and Social Media.

Moderated by Laura B. Whitmore a music marketer, singer/songwriter, event producer, and founder of the Women’s International Music Network and The She Rocks Awards. Laura is Vice President of Marketing for Positive Grid.

Laura will be joined by

Dani Mari: Ethereal Vocalist, Producer & Visual Artist. Founder of Female Frequency, BrookLAdelphia & Cruel Beauty Productions. She handles Content Management at SoulSpazm, Inc and is Vice President of GrindEthos Records and Label Services providing management, guidance, social media and web support, booking, promotion, networking opportunities, and many other invaluable services to musical artists of all genres and backgrounds.

Sarah Martinico: Graduated from Berklee College of Music with a Bachelor’s in Music Production and Engineering. She started her professional career in Los Angeles in marketing at BMG where she founded and created the first-ever royalty-bearing stems for sale from a major publisher’s catalogue via Avid Pro Tools. She went on to work for Native Instruments developing sound packages and marketing content with clients.  She then opened her own company in 2019 called SL Music & Marketing. She has worked for numerous Grammy-winning producers, songwriters, and artists from the pop, urban and Latin worlds in marketing, branding, music publishing, partnerships, management, and consulting.

Catharine Wood is an established Los Angeles-based composer/producer & studio owner. She launched her versatile career engineering on high profile commercials – including the first Apple iPhone spot. As a mix/mastering engineer, she has delivered over 500 (both original & client) commercially released songs airing on many major networks. Her facility, Planetwood Studios, LLC specializes in production & composition services for the Film & TV Industries.

 

Ode to 555 Timer

 

Five five five pulse pulse

Vibrations harnessed in time

Ubiquitous chip

Inside many of the electronics used in the Audio Industry is an integrated circuit (IC) called a 555 timer.  The extent of its usefulness goes beyond what I would feasibly be able to list in one article.  Even Wikipedia mentions that it is one of the most common IC’s available.  Under the hood, a 555 timer consists of a couple comparators, a latch circuit (called a flip-flop), and a discharge transistor all bundled into an eight-pin IC.  By itself, it acts as a latch circuit for storing state information (or short term memory for use inside a circuit).  When connected in the astable circuit configuration it becomes a square wave generator that can be voltage controlled.  In a resistor-capacitor (RC) circuit it becomes a one-shot pulse generator, and as an added trick the 555 timer can be a Schmitt Trigger or a simple analog to digital converter (ADC).

How did this chameleon workhorse come to be?  In 1919 the first astable multivibrator oscillator (square wave generator to its friends) was invented.  Other oscillators at the time generated sine waves (or simple waves), while this circuit was rich in harmonics and therefore produced a square wave.  Other uses for the multivibrator were discovered throughout the 1940s.  The IC known as the 555 timer came to be in 1971 by a Swiss engineer named Hans R. Camenzind.  It instantly became a bestseller. Sorry to disappoint the conspiracy theorists out there, but the name was an afterthought.

Stepping back from circuit lingo, why is the 555 timer worthy of adoration?  Where does it exist?  Voltage-controlled oscillators (for synthesizers), dithering (noise generation for sample rate conversion), clock signals (for syncing outboard equipment), analog to digital converters, and not to mention all the various blinking lights that adorn audio gear.  So what does the 555 timer do for fun?  Like many of us, the 555 timer indulges in video games and prefers consoles for their controllers.  The Atari Punk Console, a 1980’s RadioShack DIY synthesizer, happens when the 555 timer invites a friend for a late-night jam session.  In fact, you might have the parts to make one laying around right now (Wikipedia has the schematic).

Honestly, the 555 timer is the popular kid who was never too cool to hang out with you, the team member who always has your back.  From sophisticated audio equipment to garage-built synths, blinking lights to ADC’s, the world is the 555’s oyster.  Three cheers to the little chip that could.  Let’s rock out together.

 

 

Fixing the #BrokenRecord Business

 

Should we be readdressing how we split revenue for streaming?

 

As we approach the middle of 2020, there’s no doubt that we are increasingly living in an online world. While technological developments mean that many of us are lucky enough to stay connected with loved ones, the hit taken by those working in the music and entertainment business has been a big one. Since the Covid-19 crisis took hold a large proportion of industry professionals are struggling financially, unable to work, bringing the issue of musicians’ earnings to the forefront. In May the USA asked Congress for improved support for musicians in the next relief package, however, in the UK there have been several prominent conversations happening about music streaming payments.

Streaming revenues have gone up year on year and the IFPI announced 56% of $20 billion global revenues last year from streaming. The average payout per stream is £0.00076 on Apple Play and £0.0004 on Spotify. These numbers are an average as the calculations for payment are often complex and take into account many different factors. The overall split example of the current working model outlines:

 

 

In the UK the Ivors Academy and the Musicians’ Union have formed the “Keep Music Alive” alliance and launched a petition to the Government for an industry review of streaming. Ivors Academy CEO Graham Davies believes the current model is out-dated and not suited to the way the industry currently works:

“It is time to replace the pre-digital record industry models with a system that is fit for our digital future. Currently, payments are still structured around record labels being exclusively responsible for recording, manufacture, shipping, and marketing. Those days are gone and now we see songwriters, publishers, performers, managers, and producers investing heavily in developing music and acts. They do this in their own studios, at their own cost, in their own time and at their own risk.”

Another campaign initiated by UK musician and PRS Director Tom Gray has been working for change in tandem by launching the #BrokenRecord campaign to #FixStreaming. Gray argues that the split amounts broken down further into their respective copyright areas highlight some of the problems when it comes to streaming.

The 4 associated rights with a song are:

Gray explains the current model states there is no broadcasting element to streaming, and so the Neighbouring Right doesn’t get taken into account at all and is eliminated from the equation. He argues the suggested songs that automatically play next on streaming platforms are more like broadcast radio and that this element should be changed. Another point he makes is the companies that own the Major Labels are also the biggest publishers in the world. If there are publishers working on behalf of songwriters then they will control the song, which means the Performance Rights and the Mechanical Rights goes to them.

Whilst Gray covers the legal and technical elements of ownership in-depth, he also equates how many streams it takes in the current model to afford various supermarket items, using practical examples we can all understand to demonstrate the stark reality of streaming for musicians.

Gray also highlights an interesting area of streaming that may have been unknown to most of us: your subscription fees do not necessarily go to the artists that you have listened to. “If you listen to one song in a month, of your £9.99 subscription, £0.005 would go to the one song you listened to. £3 would go to Spotify and £6.995 would go to music you haven’t listened to.”

 

Along with Gray, several arguments for a “user-centric” model have been made by others in recent years to address this issue. Stuart Dredge from musically.com explains:

“The current ‘pro rata’ system used by streaming services divides their royalty pool by each track’s share of streams in a given period. If Drake gets 5% of the streams, his rights holders get 5% of the royalties. Which means that even if you never play Drake’s music, he’s getting 5% of your subscription. However, under a user-centric model, the royalties from your monthly payment would only go to the tracks that you listened to.”

Dredge acknowledges it is unknown just how successful this change would be in practice, but also notes that Deezer plans to trial a user-centric model in France (with labels only) to find out how this might translate in the future.

While it still seems that the answer to fully addressing the complexities of streaming revenue may be some way off, it’s a topic that is getting a great deal of coverage with one main theme in common: the streaming market is largely unregulated at present and there seems to be a unanimous call to collecting societies to become more active and involved in this area.

You can read more about the current petition updates at https://www.change.org/p/the-rt-hon-oliver-dowden-cbe-mp-secretary-of-state-for-digital-culture-media-and-sport-it-s-time-to-fixstreaming

Ivors Academy: https://ivorsacademy.com/campaign/keep-music-alive/

Tom Gray: @MrTomGray https://threadreaderapp.com/thread/1249290407088881675.html

Stuart Dredge: https://musically.com/2020/05/13/what-are-user-centric-music-streaming-payouts/

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