***** To join INSNA, visit http://www.sfu.ca/~insna/ *****
that is excellent. shelby also sent me a note about the rock and roll
museum in OH (they put together kiosks offering similar research/services)
on a related aside, a professor i had in grad school did SNA for music in
the early 70's. this guy had actually done this for a major label (they
stole him from mckinsey, he's now long since retired though i still see him
around boston) - what he did was - on *paper* - brought together hundreds
of interns to study how music was moving from identification of potential
into production studio and on out through clubs and radio to retail - so
not really as much about history, but purely to understand how social
groups promote music and success for labels and named bands/artists
- at any rate, using a hand-built model that took about 2+ years with many,
many people, he was able to identify hubs and influencers for the entire
rock/blues/then-pop industry by visualizing the roots of origin and tracing
back physically to "around" the los angeles area, and specifically, fewer
than 3 DJ's' and a handful of nightclubs - by using this data, over four
years he moved toward control of these influencers with record label money
and was able to drive up the profitability of the label by over 300% and
grow sales over 10 times, in particular, he was able to rapidly eliminate
investment and promotion of artists who were unable to receive 'embrace' by
the influencers (might feel wrong, but again, this was for a corporation,
not academia). over the years, his model for identification of influencers
on the sell side of music was adopted by every major label, though it is
still common knowledge that labels lose money on over 90 percent of their
artists (except for his own experiences, which was long before pop
saturation, radio spectrum sales and expansive competition - back then, it
was about reducing bets on possible money-loser bands)
did that make any sense? when he taught the story in class, he actually
attempted to sketch from memory what the model looked like across us,
europe etc...with far less detail, obviously, but really brilliant stuff.
they were actually using little 5x7 index cards and taping them up on walls
and connecting them with pencil lines and thread, pinpointing redundancies,
blockage in communications et al (they eventually moved some to a data
store, but very crude)
At 09:48 AM 5/1/2004, Barry Wellman wrote:
>***** To join INSNA, visit http://www.sfu.ca/~insna/ *****
>I found this in the cybergeography list, and thought it of obvious social
>It reminds me of the abortive dot.com I was peripherally involved in some
>years ago, which proposed linking music "creators" and their audiences
> Barry Wellman Professor of Sociology NetLab Director
> wellman at chass.utoronto.ca http://www.chass.utoronto.ca/~wellman
> Centre for Urban & Community Studies University of Toronto
> 455 Spadina Avenue Toronto Canada M5S 2G8 fax:+1-416-978-7162
> To network is to live; to live is to network
>Reply-To: Mapping and visualising Internet infrastructure and Web space
> <[log in to unmask]>
>Subject: MAPPING-CYBERSPACE Digest - 29 Apr 2004 to 30 Apr 2004 (#2004-23)
>Date: Fri, 30 Apr 2004 10:54:42 +0100
>From: Dirk Waldik <[log in to unmask]>
>Subject: MusiCompass : people - artist - music and their connections
>We thought you might be interested in taking a look at our new project,
>It's available at <http://www.musicompass.net>.
>Ideas, suggestions or support is highly welcome and we would appreciate
>any feedback from you.
>Thank you for your time.
>The musiCompass team.
>musiCompass : people =AD artist =AD music and their connections
>A consortium of www.wadi.de =AD www. Audioscrobbler.com =AD www.last.fm
>musiCompass focuses on the world of music. Music is one of the best ways
>to express emotions and moods as a performer as well as a listener.
>Music has been, and continues to be at the centres of society.
>Artists create styles of music, people listen to them and develop
>identifications; collecting music, creating play lists and developing a
>unique music taste are trends of the time.
>musiCompass aims to bring people, artists and music together in a visual
>and interactive environment.
> Find concept at <http://www.musicompass.net>
>Currently released realisations
>Implementation of user map and artist map in the new release of last.fm.
>User map and artist map display the social network and the connection to
>the artist as part of the new pop-up player.
> Find out more at <http://www.wadi.de/musicompass/userartistmap.html>
>Music Map - Development of innovative methods to create a map for the
>entire world of music. Different approaches are involved to analyse and
>transfer the existing data of artist similarity and neighbourhood
>calculation for mapping.
> Find out more at <http://www.wadi.de/musicompass/musicmap.html>
>Semio Music - Analysis of the semantic connections of song titles. Match
>artists and people by a selection and combination of specific words?
> Find out more at <http://www.wadi.de/musicompass/semiomusic.html>
>Project Related Links
>End of MAPPING-CYBERSPACE Digest - 29 Apr 2004 to 30 Apr 2004 (#2004-23)
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